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Where the Waves Meet the Sky: Virginia Woolf, Kate Bush and the Expression of Musical Androgyny

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Where the Waves Meet the Sky: Virginia Woolf, Kate Bush and the Expression of Musical Androgyny Where the waves meet the sky: Virginia Woolf, Kate Bush and the expression of musical androgyny Jenny Margaret Ann Cubin B.A. (Hons.), MLitt. Sociology Department, Lancaster University December 2020 This thesis is submitted in partial fulfilment for the degree of Doctor of Philosophy Declaration Excepting that which has been properly acknowledged, this thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere. 2 For Barbara, my mother and first love… ‘whose heart is my heart’s quiet home’ Christina Rossetti 3 Abstract In popular music studies, androgyny is frequently used to describe a performance that demonstrates a fusion of male and female characteristics. The commitment to the image of the androgyne dominates interpretative strategies, and any discussion of how androgyny might be expressed in a song’s musical elements are orientated around the concept’s visual presence. In this thesis, I develop and apply a practice of ‘listening out’ to androgynous expression in the musical fabric of popular song, and I mobilise this through a comparative analysis of Virginia Woolf’s novel The Waves (1931) and Kate Bush’s song cycle A Sky of Honey (2005). I begin by providing an overview of the study of gender and sex in popular music, before focussing on examples that specifically consider androgyny. Identifying key discourses and methodological approaches I consider the possibilities and limitations in existing strategies. I close the chapter with some preliminary thoughts on how ‘listening out’ can enrich the understanding of androgyny’s expressive capacity. In chapter one, I explore Woolf’s formulation of androgyny as presented in A Room. By surveying critical responses to her formulation, I claim that the textual expression of Woolf’s androgyny shifts the focus away the specificity of the sexed/gendered body of the androgyne. I then consider the reception of Bush’s music in academic research, highlighting methodological strategies and her existing connection to androgyny. Drawing parallels between Woolf’s and Bush’s artistic ambitions and their expressions of androgyny, I explore the importance of ekphrastic approaches and musical-theoretical techniques, both for transmedial analysis and the interpretation of androgyny. In chapter two, I begin the comparative analysis of The Waves and A Sky of Honey by examining the creative context surrounding each text. I then explore expressive parallels in form, genre and narrative, before considering how Woolf’s and Bush’s textual 4 representations of pastoral complicates androgyny’s connection to states of nostalgia. In chapter three, I examine the technical expression of characterisation. I argue that the evolving relationship between characters progresses through a state of deconstruction to the disarticulation of ‘I’, and in privileging a choric community reveals the androgynous subject as multiple, fluid and fragmented. The final chapter expands these explorations by examining the material life of androgyny. I mediate this through a study of the revolutionary potential of artistic practice, focussing specifically on the presence of birdsong in both works. Analysing two exceptional moments in A Sky of Honey and recontextualising comparable moments from the final soliloquy of The Waves, I trace the generation and release of androgynous jouissance. 5 Contents Abstract ......................................................................................................................... 4 List of Figures ............................................................................................................... 8 Acknowledgements ...................................................................................................... 9 Introduction: Towards a Reformulation of Androgyny or How to Catch a Rabbit ...................................................................................................................................... 11 Sex, gender and popular music studies: An overview .............................................. 16 Androgyny and popular music studies: Examples of engagement........................... 34 The popular music model of androgyny: Possibilities and problems ...................... 49 ‘Listening out’: Lending an ear to androgynous expression .................................... 66 Chapter One: Virginia Woolf, Kate Bush, Androgyny ˗ Initiating a Dialogue .... 76 A Room of One’s Own: Recovering a Woolfian androgyny ................................... 77 Eat the music: In search of a Bushian androgyny .................................................... 92 Approaching transmediality: Ekphrasis and musical-theoretical method .............. 116 Chapter Two: The Waves meets A Sky ˗ An Intertextual Beginning ................... 134 The Waves and A Sky: a brief synopsis .................................................................. 135 Establishing Context: Creative background and accompanying artwork .............. 136 Play gently with the waves: Form, genre, narrative ............................................... 156 What a lovely afternoon: Pastoralism .................................................................... 173 Chapter Three: Characterisation ˗ A Disarticulated Polyphony ........................ 195 Characterisation and/as subjectivity: Who speaks? Who sings? ............................ 196 Listening to the Androgyne: Disarticulating the myths of unity ............................ 213 6 Who listens? Subjectivity as the expression of choric community ........................ 230 Chapter Four: Becoming Panoramic ˗ The World of Things and Androgynous Jouissance ................................................................................................................. 243 There again comes the rollicking chorus: Androgyny’s material life .................... 244 In widening circles: Art, androgyny and composing the body ............................... 260 The waves broke on the shore: Releasing androgynous jouissance ....................... 273 Conclusion: The Common Listener ˗ ‘Listening out’ to the musical expression of androgyny ................................................................................................................. 294 Appendices ................................................................................................................ 310 Appendix 1: Tabular analysis ................................................................................. 310 Appendix 2: A Sky of Honey – Character motifs and variations ............................ 319 Bibliography ............................................................................................................. 323 Discography .............................................................................................................. 357 Filmography ............................................................................................................. 358 7 List of Figures Figure 1 – Dust jacket design, 1931 .......................................................................... 140 Figure 2 – Album covers, 1978-2011 ....................................................................... 146 Figure 3 – Kate Bush ................................................................................................ 148 Figure 4 – Album cover ............................................................................................ 149 Figure 5 – Daytime .................................................................................................. 150 Figure 6 – Sunset ....................................................................................................... 150 Figure 7 – Olson photo (above), Aerial’s modified version (below) ........................ 151 Figure 8 – Aerial ....................................................................................................... 151 Figure 9 – Creative process ....................................................................................... 151 Figure 10 – Character motifs..................................................................................... 205 Figure 11 – Opening harmony (0:00-0:16) ............................................................... 235 Figure 12 – Wave line (0:00-0:19) ............................................................................ 235 Figure 13 – (0:07-0:16) ............................................................................................. 236 Figure 14 – Harmonic language ................................................................................ 237 Figure 15 – Piano motif (0:19-0:29) ......................................................................... 238 Figure 16 – (0:42-0:57) ............................................................................................. 239 Figure 17 – (1:16-1:25) ............................................................................................. 239 Figure 18 – Narrator melisma (0:39-0:51) ................................................................ 249 Figure 19 – Vocal line, first B section (1:48-2:07) ................................................... 250 Figure 20 – Bass line (1:39) ...................................................................................... 250 Figure 21 – Chorus chant (7:51-8:04) ....................................................................... 252 Figure 22 – Ostinato (0:00-0:03) .............................................................................
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