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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. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. STRUCTURE, FUNCTION, AND PROCESS IN THE EARLY SONG CYCLES AND EXTENDED SONGS OF THE CANADIAN ROCK GROUP RUSH DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Music Theory in the Graduate School of The Ohio State University By Brian M. Walsh, M.A. ***** The Ohio State University 2002 Dissertation Committee: Approved by Professor Burdette Green, Adviser Professor Marc Ainger Adviser Professor Charles Atkinson Music Theory Graduate Program Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number 3049131 Copyright 2002 by Walsh, Brian Michael All rights reserved. UMI’ UMI Microform 3049131 Copyright 2002 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Copyright by Brian Michael Walsh 2002 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT This study develops analytic methods that provide an informed explanation of the musical aspects of Rush’s song cycles and extended songs composed “by committee” during the period from 1974 to 1976. This period contains Rush’s first four studio recordings: Rush (1974), Fly By Night (1975), Caress O f Steel (1975), and 2112 (1976). This analytic approach takes advantage of the wealth of information available in the traditional parameters of investigation (pitches, rhythms, form), but also attends to details commonly overlooked. Rather than abandon existing systems, analytic techniques commonly reserved for art music are modified by adopting an insider’s perspective on the process of rock music composition, with the goal of establishing the norms of rock form, harmony, and compositional process—an approach that is lacking in the current literature. In certain cases new techniques are developed to address aspects of rock music that are not well served by traditional analytic methods. The desired result is an informed analysis that does not misrepresent the musical aspects of this important genre. Chapter 1 presents a brief discussion of Rush, a literature review, and a statement of goals. To establish a foundation for discussing the music of Rush, Chapter 2 investigates the norms of structure, function, and process in rock music and proposes the application of a range of analytic techniques that explore select aspects of the “musical ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. text.” The second part of the study (Chapters 3-6) discusses songs on each of the four studio recordings. In this context, Rush’s statement that 2112 represents the first real synthesis of their diverse influences is measured. The concluding chapter explores the larger issues raised by this study, both for the future study of Rush’s music and for the analysis of popular music in general. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Dedicated to my wife Danielle for her infinite love and patience iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS I wish to thank my adviser, Burdette Green, for his constant encouragement, enthusiasm for the topic, thoughtful suggestions, and for his infinite patience in correcting my stylistic errors. Without his support, this study would not have been possible. I am eternally grateful to my wife, Danielle Hundley, for her unconditional love, patience, support, and understanding through this entire endeavor. I wish to thank Professor Gregory Proctor for his inspirational tutelage and for providing the foundation of the functional analytic method developed in Chapter 2. Special thanks to Pegi Cecconi and Anthem Records for the permission to use Rush’s lyrics, album artwork, and musical examples. I also wish to thank all my friends and family, especially Marie Zaim, for their interest, support, and for allowing me to discuss aspects of this study with them ad infinitum. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. VITA October 29,1968 ..........................................Bora-Boston, Massachusetts 199 1 ............................................................ .B.A. Music, B.A. Psychology, Boston College 1994 .............................................................M A Music Theory, The Ohio State University 1992 - 1997 ................................................. Graduate Teaching Associate, The Ohio State University 1998 - 2000 ................................................. Sr. Software Instructor, ExecuTrain of Boston 2000 - present ............................................. Software Support Specialist, Deloitte & Touche FIELDS OF STUDY Major Field: Music Theory vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Page Abstract ............................................................................................................................ii Acknowledgments ............................................................................................................ v Vita..................................................................................................................................vi List of Tables ................................................................................................................... x List of Figures ................................................................................................................. xi Chapters: 1. Introduction .................................................................................................................. 1 2. Structure, Function, and Process in Rock Music ......................................................... 18 2.1 Structure...........................................................................................................19 2.1.1 Rock song form ........................................................................................... 21 2.1.2 Graphic diagramming system ...................................................................... 21 2.1.3 Overview of formal functions ...................................................................... 24 2.2 Function .......................................................................................................... 35 2.2.1 Guitar technique and its influence on rock harmony ....................................35 2.2.1.1 Notation and performance .......................... '......................................... 35 2.2.1.2 Chord types ......................................................................................... 38 2.2.1.3 Scale types .......................................................................................... 46 2.2.2 Rock tonality ............................................................................................... 49 2.2.2.1 Cadences ............................................................................................. 50 2.22.2 Modality.............................................................................................. 53 2.2.2.3 Levels analysis and concepts of prolongation ....................................... 57 2.2.2.4 Functional analytic method .................................................................. 60 2.3 Process ............................................................................................................ 77 2.3.1 Timbral and textural articulation of structure ...............................................79 2.3.2 Stratification ...............................................................................................