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NO NUKES: A RHETORICAL ANALYSIS OF MUSIC MESSAGES. Item Type text; Dissertation-Reproduction (electronic) Authors RODGERS, STEVEN DEAN. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 04:42:18 Link to Item http://hdl.handle.net/10150/188038 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are miSSing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMf Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, MI 48106-1346 USA 800-521-0600 8525603 Rodgers, Steven Dean NO NUKES: A RHETORICAL ANAL VSIS OF MUSIC MESSAGES The Unlve'sify 01 AriZa". PH.D. 1985 University Microfilms International XON.ZoQRoId.AMAt'OOf.'"ue'08 Copyright 1985 by Rodgers, Steven Dean All Rights Reserved NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received. 186 This reproduction is the best copy available. UMI NO NUKES: A RHETORICAL ANALYSIS OF MUSIC MESSAGES by Steven Dean Rodgers A Dissertation Submitted to the Faculty of the DEFARTMENT OF SPEECH COMMUNICATION In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 1 985 Copyright 1985 Steven Dean Rodgers THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the dissertation prepared by Steven Dean Rodgers entitled __~N~o~N~u~k~e~s~·~. __~A~Rh~e~t==o=r=i~c~a~l=-~An~a~l~y~s~i~s~o~f~~M~u~s~i~c~M~e_s_s_a_g~e __ s ____ and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy Date Date / h~//C;rJ Date ~} I' ('1 j~ \.-. / /;70 r Date Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ! Dl.sS . tatl.on Dl.rec Dcite I STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduc­ tion of this manuscript in whole or in part may be granted by the copyright holder. SIGNr".· r:-.--- ACKNOWLEDGMENTS I wish to thank the following: Andrew A. King, Chairman and keeper of the flame; committee members Henry Lee Ewbank, William Bailey and David A. Williams; Erika Louie, who prepared the' final manuscriptj and most of all, my family and friends, without whose encouragement and patience this work would never have been completed. iii TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS............................................. vi LIST OF TABLES.................................................... vi i ABSTRACT .....•...••.•..........•.......•...•....••...•.•.•....•... viii CHAPTER 1. INTRODUCTION TO THE RESEARCH PROBLEM ..••....•••....••..... A History of Music as a Rhetorical Form............... 1 Music, Identification and Association................. 4 Identifi cation and Association........................ 6 Ethos and Identification.............................. 8 Music Communication Production •...••....••.......•.... 11 Music Communication Delivery Systems ••...•••.......... 11 The Unique Nature of Music Communication Events ....... 12 Summary. • • • . • . • • . • • . • • . • • . • . • . • .. 23 2. THE ROLE OF POPULAR MUSIC IN SOCIa/POLITICAL MOVEMENTS .•.. 25 Prior Research ..••........••.............••.•••.•••..• 25 The Rhetorical Vision in Socio/Political Movements .... 33 Identification and the Rhetorical Vision •.••.......•.. 34 Popu lar Protest............................. 35 3. AN EXAMINATION OF THE ARTIFACTS: OVERVIEW .•.•.•.....•.•.. 41 Critical Lexicon...................................... 42 Procedure............................................. 44 The Materials of Investigation........................ 45 Justi fication. • • . • • . • . • . •. • . • . • . • . • • . • . • • . • 46 Assumptions and Question ..•...•..••.•••...••..•..••... 49 4. THE EXAMINATION OF THE ARTIFACTS ••••......•.•........•.•.. 50 Scenic Elements....................................... 50 Logic of the Rhetoric of the Movement ..•••••••.•.. 50 The Cold War.... • . • . • . .. • •• •. • • •• • • •• . • 50 The Rise of the Mass Media........................ 51 The Exigence.... • . • • • . • • . • . • . • . • • • . • . • . 53 iv v TABLE OF CONTENTS -- Continued Page Ennui. • . • . • . 54 Exigence. • . • . • • . • . • • • • . • . 56 Anxiety....................................... 59 Anomie. • • . • . 62 Alienation.. ... .... .... .... .... .. .. .... ..... 67 Agents. ..•••..•... ........••......•.... .....•......... 71 Posi ti ve Agents................................... 73 Increased Urbanization .....................•.. 73 Increased Affluence ........................... 73 Positive Agents ........•.••..•................ 73 Spiritual Fathers ........•.................... 75 MUSE. • . • . • 79 Artistic Leadership .......••....•......•...... 97 Negative Agents •.....•..•....•..............•..... 106 Figures ..•..•..•.••..•..•...••..•...•••..•.... 114 Places .•..••..••................•....•...•.... 1]5 Events ........•...•.................•......... 116 Substances. .. 116 Miscellaneous ...........................•..... 116 Neutral Agents ...••.....•......................... 116 Agents Summary •...................................•... 118 Acts ....•....•................•....................... 119 Agencies. • . .. 131 Identification ..........................•.•....... 140 Empathy ..............................•............ 142 Scapegoating ......•.....••.•......••.......... 146 Implicit Corporate Identification ............. 148 The Process of IdentHicati on •.................... 149 Language-in-Use ..........................•........ 155 Metaphor. • . • . .. 162 Agencies Summary ..............................•....... 175 Purpose .......•..........•.................•...•...•.. 176 Imp1 ici t Moti ves. • . • . .. 182 Purpose Summary....................................... 187 5. CONCLUSIONS. • . • . • . • . • • . .. 189 Scene. • . • . • . • . • • . • • . • . .. 194 Agents ...•.......•...•..•......•..........•........... 196 Act s. • . • . • . • . • • . • . .. 200 Agencies ..•.................•.............•..•.••••... 201 Purpose. • . • • . • . • • • . • . .. 206 REFERENCES. • . • . • . • .. 213 LIST OF ILLUSTRATIONS Figure Page 1. Lyrical analysis worksheet ................................ 123 vi LIST OF TABLES Table Page 1. The development of nuclear energy ....•.•...•..••••..•..... 125 vii ABSTRACT This study investigated the antinuclear musical compositions that occurred between the droppi ng of the first nuclear detonatl on device in 1945 and the accident at the Three Mile Island nuclear energy facility near Harrisburg, Pennsylvania. This study utilized a framework provided by Kenneth Burke in that the five areas of the pentad--scene, agents, acts, agencies and purposes--were investigated in relation to one another. Each of these areas was investigated with regard to the unique nature of the medium of popular song operating as a cultural key. The scenic analysis centered upon the cause of the exigency that brought about the antinuclear music. As the uses of nuclear energy changed from military uses to energy generation, the musical and lyrical content also changed. Special consideration of the Musicians United for Safe Energy movement was presented in an historical context, noting antecedent move­ ment activity. Other positive, negatl ve and neutral agents were also considered. The specific acts of the nuclear age are divided jnto actual physical, historically
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