Forms of Intertextuality: Keith Emerson’S Development As a “Crossover” Musician
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FORMS OF INTERTEXTUALITY: KEITH EMERSON’S DEVELOPMENT AS A “CROSSOVER” MUSICIAN Akitsugu Kawamoto A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Department of Music. Chapel Hill 2006 Approved by Advisor: John Covach Reader: John Nádas Reader: Severine Neff Reader: Allen Anderson Reader: David Garcia © 2006 Akitsugu Kawamoto ALL RIGHTS RESERVED ii ABSTRACT AKITSUGU KAWAMOTO: Forms of Intertextuality: Keith Emerson’s Development as a “Crossover” Musician (Under the direction of John Covach) Despite the broad range of attempts to mix “rock” and “classical” music by “progressive (“prog”) rock” musicians from the late 1960s, many writers on prog rock have interpreted the music in a relatively monolithic manner; they often have interpreted the resulting intertextuality simplistically as an elitist experiment that opposes rock’s populist origin. This could certainly be one interpretation of prog, but it is only one of many; there are additional kinds of possible narratives, according to the specific ways in which the materials are combined and fused. Yet the variety of intertextual approaches has rarely been recognized explicitly, and little analytical or musicological attention has been paid to the distinctly different intertextual styles. Generalized approaches to intertextuality have been common not only within popular music studies, however, but also within many humanistic fields. Since Julia Kristeva’s coinage of the term intertextuality in the late 1960s, theorists of the arts (literature, music, painting, architecture, etc.), sociology, politics, economics, and many other fields, have almost always treated intertextuality in a singular manner, presuming that all intertextual practices are more or less of the same kind. Consequently, dynamic aspects of intertextuality that result from correlation between diverse forms of intertextuality have rarely been fully considered, though they play crucial roles in the history of iii twentieth-century arts. This dissertation suggests the need to view intertextuality in its multiplicity and dynamism, by disclosing and interpreting a variety of intertextual practices and their important historical developments in the case of prog-rock keyboardist Keith Emerson’s “crossover” music. Six new models of intertextuality are introduced and explored in detail as Emerson’s important intertextual styles. These models are termed: background intertextuality, dialectic intertextuality, revisionary intertextuality, subtle intertextuality, multi-ply intertextuality, and framed intertextuality. These are distinct from the Bakhtinian “dialogic” model of intertextuality, but play crucial roles in the stylistic development of the musician. This study thus proposes and models a range of pragmatic ways to expand the scope of intertextual analysis, and transcend the limits of certain intertextuality theories in music, as well as in the arts in general. iv To my father Yoshikazu Kawamoto who guides my work spiritually v ACKNOWLEDGEMENT I am foremost grateful to my dissertation adviser, John R. Covach, for his careful reading, expert editing, consistent encouragement, productive suggestions, and his scholarly influence on this dissertation as well as on my work for the rest of my career. Thanks should also go to Sarah Weiss whose thoughts on critical theory influenced my work. I am thankful to the following professors at UNC-Chapel Hill as well: John Nádas for his long-time encouragement from the beginning of my study in this program; Severine Neff for her patient training of my ears for trichords, tetrachords, pentachords, and hexachords; and Allen Anderson and David Garcia for thoughtful suggestions. Some off-campus professors should also be acknowledged. Walter Everett, Kevin Holm-Hudson, Russell Reising, and Adam Krims read my earlier work and sent me a large number of useful comments which have been incorporated into this dissertation. My friends at UNC-Chapel Hill, Andy Flory, Marc Medwin, and John Brackett, helped shape my ideas and refine my English. Copyright issues concerning musical examples would not have been cleared without the help of Keith Emerson himself, John Arnold (the webmaster of KeithEmerson.com), and, especially, Nick Yeldham of Music Sales. Finally, I acknowledge my family members: my mother Matsuko, and my parents-in-law, Yasuyo and Haruo Nakagawa, for their continuing support and encouragement in many respects. Most sincere thanks should go to my wife, Makiko, whose vi patience and support, as well as cooking, were indeed essential in completing this dissertation. vii TABLE OF CONTENTS Page List of Examples················································································································ix Chapter Introduction ················································································································· 1 Intertextuality and Musicology ········································································· 1 Intertextuality and Progressive Rock······························································· 16 Intertextuality and Keith Emerson··································································· 29 1. Background Intertextuality: Adaptation, Reworking, and “Pictures at an Exhibition” (1971) ········································································ 37 Context············································································································ 40 “Pictures at an Exhibition”·············································································· 77 Interpretation ·································································································· 89 2. Dialectic Intertextuality: Borrowing and Juxtaposition in “Intermezzo from the Karelia Suite” (1968) ························································· 95 Context············································································································ 97 “Intermezzo from the Karelia Suite”····························································· 103 Interpretation································································································· 111 3. Revisionary Intertextuality: Influence and Revision in viii “Knife Edge” (1970) ··························································································· 119 Context·········································································································· 125 “Knife Edge” ································································································ 133 Interpretation································································································· 155 4. Subtle Intertextuality: Transformation and Recontextualization in “Karn Evil 9” (1973) ······················································ 161 Context·········································································································· 166 “Karn Evil 9” ································································································ 176 Interpretation································································································· 202 5. Multi-Ply Intertextuality: Reference and Allusion in “Piano Concerto No. 1” (1977)······················································································· 207 Context·········································································································· 216 “Piano Concerto No. 1”················································································· 230 Interpretation································································································· 250 6. Framed Intertextuality: Framing and Extrapolation in “Inferno” (1980) ································································································· 257 Context·········································································································· 264 “Inferno” ······································································································ 281 Interpretation································································································· 302 Conclusion: “Progressive” Intertextuality································································· 309 Discography·············································································································· 315 Bibliography ············································································································· 335 ix LIST OF EXAMPLES Example Page 1.1: “Sonata-Form” Elements and Compound AABA Form with Reintro ·······················································································································42 1.2: Development from Contrasting Verse-Chorus Form to Compound AABA Form ···························································································46 1.3: Cream, “Spoonful” (1966, in Fresh Cream) ·······························································49 1.4: Jimi Hendrix, “Voodoo Chile” (1968, in Electric Ladyland) ·····································51 1.5: King Crimson, “21st-Century Schizoid Man” (1969, in The Court of the Crimson King) ·······················································································54 1.6: Yes, “Close to the Edge”