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Dissertation Final Draft V TIMELESSNESS IN MUSIC by HALLEL ANNE SCHELL A DISSERTATION Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2014 DISSERTATION APPROVAL PAGE Student: Hallel Anne Schell Title: Timelessness in Music This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Music and Dance by: Stephen Rodgers Chairperson Jack Boss Core Member Loren Kajikawa Core Member Alejandro Vallega Institutional Representative and J. Andrew Berglund Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2014 ii © 2014 Hallel Anne Schell iii DISSERTATION ABSTRACT Hallel Anne Schell Doctor of Philosophy School of Music and Dance December 2014 Title: Timelessness in Music This study explores the experience of timelessness in music by examining the musical parameters that are in play and how those musical parameters affect and are affected by memory and expectation. I propose three types of musical timelessness that are derived from specific perceptual transitions and based on my analytical findings in music within the indie-rock, post-rock, and electronica/experimental music scenes. iv CURRICULUM VITAE NAME OF AUTHOR: Hallel Anne Schell GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene Idaho State University, Pocatello DEGREES AWARDED: Doctor of Philosophy, Music Theory, University of Oregon, 2014 Bachelor of Music, Piano Performance, Idaho State University, 2006 PROFESSIONAL EXPERIENCE: Piano Instructor, The John G. Schedd Institute for the Arts, 2010-2012 Book Indexer, Dr. Steve Larson, 2011 Piano Instructor, Self, 2008-2010 Studio Piano Teacher, University of Oregon Piano Pedagogy Department, 2006 2008 GRANTS, AWARDS, AND HONORS: Graduate Teaching Fellowship, University of Oregon School of Music and Dance, 2006-2012 v ACKNOWLEDGMENTS I want to first and foremost express my gratitude to Dr. Stephen Rodgers for his continual help, guidance, and interest over the course of forming this document, and also for being a constant shining example of the kind of teacher and professional I will always endeavor to be. I also wish to thank Dr. Jack Boss, Dr. Timothy Pack, and Dr. Steve Larson (deceased) for their constant availability to and engagement with any and all of my academic interests. All of the music theory faculty at this institution have had a hand in shaping not only who I am as a theorist, but also who I am as a person—and for that I am grateful. Finally, I wish to thank my sisters, Etana and Kassiel, whose ever-available babysitting services enabled me to finish this document. vi I dedicate this document and all that was poured into it first and foremost to the G-d of Abraham, Isaac, and Jacob and also to my parents and husband for their unrelenting support. vii TABLE OF CONTENTS Chapter Page I. TIMELESSNESS IN MUSIC.................................................................................. 1 Introduction: Timelessness in Music..................................................................... 2 Overview................................................................................................................ 9 Literature Review................................................................................................... 14 Chapter Summary.................................................................................................. 26 II. MEMORY, EXPECTATION, AND PERCEPTION............................................... 28 Temporality Is Central to Human Existence.......................................................... 29 Music Is Temporal................................................................................................. 30 The Mechanisms of Time: Memory and Expectation............................................ 37 Perceptual Consonance and Perceptual Dissonance.............................................. 41 How Musical Timelessness Works........................................................................ 45 The Three Types of Musical Timelesness.............................................................. 49 Perceptual Consonance Becomes Perceptual Dissonance............................... 51 Perceptual Dissonance Becomes Perceptual Consonance............................... 53 Perceptual Consonance Is Perceptual Dissonance........................................... 55 Further Considerations Pertaining to the Types of Musical Timelessness............. 57 Chapter Summary.................................................................................................. 62 III. C-->D TIMELESSNESS....................................................................................... 64 Three Fundamental Similarities between “Almost Always” and “Race: In”........ 65 viii Chapter Page Case Study #1: “Almost Always Is Nearly Enough” by Tortoise.......................... 71 The Musical Components of “Almost:” The Sounds...................................... 71 The Frames of “Almost”.................................................................................. 74 Frame One 0:00-0:33................................................................................. 77 Frame Two 0:33-0:44................................................................................. 81 Frame Three 0:44-1:42.............................................................................. 83 Frame Four 1:42-2:03................................................................................ 87 Frame Five 2:03-2:13................................................................................. 89 Frame Six 2:13-2:40.................................................................................. 92 The Role of Expectation in “Almost”.............................................................. 93 Summary of “Almost”..................................................................................... 99 Case Study #2: “Race: In” by Battles.................................................................... 100 Some General Statements about Musical Timelessness in “Race: In”............ 101 The Key Players in “Race: In”......................................................................... 103 The Discontinuity between Frames One and Two..................................... 105 The Discontinuity between Frames Three and Four.................................. 109 Frames Six through Nine........................................................................... 112 The Discontinuity between Frames Nine and Ten..................................... 114 The Discontinuity between Frames Eleven and Twelve............................ 115 The Discontinuity between Frames Thirteen and Fourteen....................... 116 Summary Discussion of “Race: In”................................................................. 119 Chapter Summary.................................................................................................. 123 ix Chapter Page IV. D-->C TIMELESSNESS....................................................................................... 125 One Precondition for D-->C Timelessness............................................................ 125 General Characteristics of “Pyramid Song” and “Panda”..................................... 128 Case Study #1: “Pyramid Song”............................................................................ 133 General Formal Structure of “Pyramid Song”................................................. 134 “Pyramid Song” and a Vague Metric Context................................................. 137 D-->C Timelessness in “Pyramid Song”......................................................... 145 Case Study #2: “Panda”......................................................................................... 148 “Panda” Overview: The Basic Musical Ingredients........................................ 150 Creating a Vague Metric Context..................................................................... 151 D-->C Timelessness in “Panda”...................................................................... 155 Chapter Summary.................................................................................................. 159 V. C<=>D TIMELESSNESS....................................................................................... 160 Some Preconditions............................................................................................... 160 Case Study #1: “Tornado”..................................................................................... 164 The Piano Chord Cycle :00-:25....................................................................... 166 The Voice as a Shadow of the Pulse Cycle :25-:54.......................................... 170 The Bass Drum Kick: Is the Puzzle Solved? :54-1:15..................................... 172 Syncing Moments 1:15-2:03............................................................................ 174 The End of “Tornado” 2:03-end...................................................................... 177 “Tornado” in Its Entirety.................................................................................. 178 Case Study #2: “Gong”.......................................................................................... 182 x Chapter Page The String Ostinato :00-:30............................................................................
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