Abstract
Chromatic mediant motion by major third, such as C major to A♭ major or C minor to E minor, produces a perceptual paradox that simultaneously destroys any sense of background diatonicism and forces irreconcilable interpretations of consonance and dissonance. Studies by Richard Cohn, Richard Taruskin, Matthew Bribitzer-Stull and many others identify art- and film-music examples ranging from Orfeo to Star Wars that connect this type of progression with descriptions of uncanny or supernatural phenomena. The consistent use of the device in diverse styles and historical eras provides a kind of empirical evidence of the perceptual phenomenon. However, most of these studies focus exclusively on highly educated, white, male composers. As with any examination of human perception, the more diverse the survey pool, the more convincing the argument. Building on my 2017 Music Theory Online article, ‘PL Voice Leading and the Uncanny in Pop Music’, this chapter examines the unique level of subtlety and innovation that Kate Bush brings to the technique.
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