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Home , Absolutely Sweet Marie, Ballad in Plain D, Freight Train Blues, He Was a Friend of Mine, Lay Down Your Weary Tune, Motorpsycho Nitemare

OONE WHO SINGS WlTH HIS TONGUE ON FLREn: CHANGE, CONT'WWW AND MEAMNG IN BOB DYLAN'S VOCAL SfYLE, 1960-66.

A thesis submitied to the Faculty of Graduate Studies in partial nilfillment of the requirements for the degree of

Master of Arts

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by MICHAEL JOSEPH DALEY

a thesis submitted to the Faculty of Graduate Studies of York University in partial fulfillment of the requirements for the degree of MASTER OF ARTS

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The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author's written permission. Abstract The central ahof this thesis is to examine the nature of change in Bob Dyian's vocal style fiom May 1960 to Juiy 1966, and to dyzethe semantic and affective strategies employed in Dyian's various 'toices" (this cutoff date was chosen because t marks off Dylan's first major hiatus fkom recording) . This aim is pursued through a study of sound recordings, fïhed excerpts and published reception. The souad recordings comprise the entireîy of Dylan's officiaiiy released product dating fiom the period. The repertory as a whole is examined using an approach derived corn Aian Lomax's Cmtomefn-aproject. More detaiied analyses of spdcmusical examples use a variety of manual and automatic transcription means to explicate pitch and timbre use. A single verse of a 1965 pdonnance is explored in detail, drawing on Michael Mday's approach to grammaticaily hctional speech intonation (Hailïday 1970, 1994). My hdings indude a style history which explores Dylan's four main "voices" as found on 196066 recordings. From my research, 1hd that Dylan alters his vocal style in tandem with changes in harmonic and melodic idioms as weii as lyric style. Listening to the 1965 '2ike A Rolling Stoney'performance, I offer evidence of a mature style which explores the musicaVlinguistic "double pomtreY7of vocal expression, partly by artkulating the sound signifiers of speech alongside more abmactly "musical" qualities. By aitering normative grammatical pitch contours at strategic points, Dylan reaiizes a number of rhetoricai goals and renders his lyric text more forcefùl and aEecting. Moreover, Dylan's performance of this song seems to draw on certain spatial/sonic gesturai metaphors which £hd expression both in body movement and sound. My methods in this chapter suggest a new approach to the anaiysis of vernacular vocal performances. I wish to thidShelley Woods, dogenedy provided a mountain of souice materid 1am grateful as well to Bill Grwves, who patiently introduced me to the joys of Halliday. 1I indebted to Doug GBotd foi hh friendly guidance hghthe compter jungle. ThantP also to men Barns, Bob Witmer, Susan Fiut and Jacqueline Warwick Last and foremat, Belle, Dyhand knox. Table of Contents .. Copyright Page ...... u Certificate Page ...... ~lt Abstract...... iv Acknowlcdgemcn~...... v Chapter One: Introduction...... 1 Gmeral.. cpesfion and hypdheses...... 1 ûrganuaîson of this study ...... 3 Biographical sketch ...... 4 Dylan's impact...... I 1 State of the source materiaL ...... 12 Chapter Two: Literature and MeChodaIogy...... 14 Speech. . and song ...... 14 Smpgand the body ...... 18 The u double posture n of the voice ...... 20 K intruisic*n and (Lextruisic .n mewpoints ...... 21 Problematics of vocal style study: fersna...... 23 Pitch ...... 25 Timbre ...... 27 Previous analyses of Dylan's music...... 28 Chapter 3: Style History ...... 31 Befure Columbirt: H'bbing 1958 ...... 31 Before CoIwmbist: St. Pad 1960...... 32 Bob qyh...... 34 me Fmwheelmf &ib qylm...... 41 me Times meyhA-Clmgin? ...... 46 Another Side of BoL> Dylan...... 53 BMgiqg If Al? asck Nom e...... 56 HMway 61 Revw.l'fed...... 60 Blonde on Blonde ...... ,,.,...... 62 Chapter 4: "Like A Rolling Stone* and ~~~tllllunkation...... 74 . . Linguistics and wech...... - htonafion...... 75 MichaeI Hailiday's work on intcmati on...... 75 Rhythm...... ~...... 76 Tonality...... 77 Tcnuaty...... 78 Tone...... ,., ...... 79 Intonation and the functiom of En&h grammar...... 80 Speech functions and tones...... 81 Thematic areas...... 87 AppenaU A: Database Panmeters...... 105 A# B: Dab~Records ...... 120

Agpendix D: Pifch-fime transcription of the onginJly reldversion of

Gonewho sings with his tongue on fïre..."

hm'Tt's Alright, Ma (17mMy Bleeding)", 1965

Gened questions and hypotheses

In this thesis, 1 will expIore Ebb Dylan's vocal style up to 1966 acros two axes,

following Seeger's definition (1977, Seeger in turn following Saussure) of diachronic

and synchronie orientations in musicology. The diachronic axis, which de& with the

'horizontal' direction of time ["extenial, evolutionary, fÙrtctionaI" (Seeger 1977: 1 ) 1, encompases the dimension of style change in DyIan's singing; the details of Dylan's

performances over the years are examined, with transformations and conhuities

king noted. These details are then compiIed into a general vocal style history, where

'micro' singing style changes are examined in a 'macro' context of Dylan's musical,

texhial and bodily aesthetic. The synchnic, or 'vertical' axis ["intenial, static, structural" (ibid.)], takes a "slicenfrom the diachronic axis and examuies the details of a single performance, a 'frozen momenf hma constantly changing style. This aspect of the analysis focuses on the construction of semantic and affective meaning in a powerful example of Dylan's mature style, the originally released studio version of

'UeA RoIling Stone". The rneanings encoded into this vocal performance are examùied in Iight of recent rrsearch into the semantics of pitch contours in speech.

The findings from this query are then turned back on the diafhnic work, with the intention that Mme general conclusions about Dylan's vocal style might be formulated It should be noted that although the division of musicological shidy into dhchmnic

and synchronie axes is a useful conceptual model, the two are endlessly 1IliLed and

interdependent (se Seeger 1977: 1- 15).

I am worlcing here hmtwo basic hypothesedpremises, with a thkd hypothesis

that seeks to link the two streams of inquiry that 1 am pursuuig:

1.) The changes in Dylan's vocal style are both continuous and pronounced

Even in a seemingiy homogeneous repertory such as, for example, his second to fourth

albums ( me Fmwheelin' Bob Dyhw, me Thes ï2eyhA-ChmgUr; and Anorher

Side Of Bob Dyhm), style changes are readily discemibk. These style changes seem to be most explicitly connected to changes in the themes and diction1 of Dylan's lyrks,

but correspondences are also detectable between vocal style and bachg band sue,

harmonic structure, etc. 1 would suggest that changes in Dylan's vocal style might be

indexed to hrger aesthetic shifts over the years. This is tied to an ancillary hypothesis

that a single artist in a complex, multiiayered culture like the United States might

experience a constantly changing aesthetic/expressive landscape which is nonetheles

as internally cohesive at any given moment (between mediurns of expression) as the

Kalwli cw1ture described by Steven Feld (1 990).

2.) As seen in his performance of "Like A Rolling Stone", Dylan uses pitch in a way that xems to directly draw on the meanlligful properties of pitch in everyday speech. This 'speechlike' pitch use he combines with more abstractly 'musical'pitch to create a performance. The dialectic between these two poles of vocal expression causes

Dylan's performance to be received as 'meanin@ in some rather specific ways; the

I am using the word "diction"hem in the sense of a "style of speaking or writllrg as dependait upon choice of words" (Random House CoLiege Dictionary, rev. ed., 1982) linguistic (especially attiiudinal/affective and textual2) meanings that are encoded in Dylan's performance find a high depe of concordance with some types of meanlligs

decoded by bbners, as recounted in published accownts of the son@ reception

hist~ry.~This might suggest a kcy for the future investigation of transmitted/received meaning in Sung performances.

3 .) The overall charader of Bob Dylan's voice, both as it changes over time and at

any one moment, is one of dynamic adaptation to chan& aesthetic and practical

needs. A midy of Dylan's vocal style wilI show that some salient details are subject to change under certain conditions while others wiu stay the same, only to themseives change at a later date. These 'conditions' include changes in lyric themes, instrumental backing, harmonic climate, and musical idiom. This rnacrocosmic flexiibilty is matched by a certain fluidity at the level of a single performance; Dylan often manipulates his voice quite extremely to serve some affective or rhetorical goal, and his devices for gehga phrase or word across are both subtle and consistent. Moreover, I niggest that it would be naive to thllik of Dylan as the sole exponent of this stylistic dynamim, and that many other singers in the popuiar idiom couId be ewmuied using similar methods.

Organization of this study:

Chapter 2 consists of a survey of some of the research dealing with:

* Texcual meaxting is concemed with the distribution of new or given information in language (seChapter 4 for Michaei Halliday's expianation of experientiai, interpasonai and texttial metafunctions in English grarnmar). This assumes that the deeply embedded meanings of linguistic pi& contours wiü stiü have some expressive power in the context of song. I feel that, given the fact that pi& intonation has developmentai and phylogenetic priority over lexical understanding in humaris, it is a reasonable asmption. a) relationships between ianguage and music

b) the study of singing style generally

c) Bob Dylan's music and lyrics These works are examllied in light of what they can brîng to the problems at

hand, most pertinently the jwncture between singing and speech and the question of how to analytidy deal with a perfonned repertory that is both outside of the Western classical tradition and phted firdy within the Western commercial music milieu. Chapter 3 is a style history that draws on both automatic and manual

transcriptions, cornputer analysis of song style profiles, and informal aura1

observations. It roughly groups Dylan's work up to 1966 by album, describing

changes within the context of other aspects of his expressive repertory of the the.

Chapter 4 is an examination of a single Dylan performance, "Like A Rohg

Stone". This song is analyzed in tenns of vocal pitch intonation, cornparhg the types of sung pitch movement to meaningful contours in spoken language. The conclusions

reached in this study are then compared with published accounts of the song's reception, and aspects of the performance are indexed to metaphorical constructions in the reception history.

Chapter 5 presents the conclusions of this resûuch and comments on the possible implications of the methodology I have developed here.

Biographical Sketch One of the most intluentid figures in American popular music, Bob Dyh began his professional career in 1959-60 as an interpreter of a wide raiyc of African- and Euro-Amerifan traditionai and popufar songs during the so-called "folk boom" of that era. ntough he came fiam a lower-Mddle-classJewish farnily in Hibbing,

Minnesota, Dylan (born Robert Alkn Zhmerman, May 24,194 1) took pains to create an image of himself as a rootless Merwhen he arrived in New York in January

196 1. That fkt$grimage to New York, ostensibly to seek out the ailing folk singer

Woody Guthrie, was the cdmbtion of a paaicuIarly intense and variegated early musical history.

Dylan seems to have bepmaking music in his eady teens, irtspired by Hank Williams. By his high school years, he had discovered rock and roll; early accounts of performances at school assemblies descnk the young Bob Zimmerman's faithful renditions of Little Richard hits, pounding out the chords on a piano. By 1958, he was exploring the rhythm and blues repertory. An avid record collecter,

Zimmennan also made a point of travelling regularly to Muuieapolis to hear iive music. During this the, he adopted a 'greaser' persona, donning a black leather jacket and ding a motorcycle. This image, however, was to yield to sweaters and white bucks as Zimmerman began studies at the University of Minnesota.

At univers@, Dylan wasted no time imrnersing himself in the ment

Minneapolis bohemian scene. It was there that he seems to have discovered Ufolk music" per se, with a growing coffeehouse culture harbouring numerous interpreters of Yauthentic"blues, country, and Anglo-Celtic traditional music. Zimmerman began to adopt a

same time, he was picking up songs and instrumental techniques wherevcr he codd

find them. During 1960, Zimmennan (by now calhg himself Bob Dylan) had fallen

under the speil of WdyCuthrie after dgthe singer's autobiography, Bauidfm

GIoV As his attendance at school was becoming more and more uifrtquent, his

Iliformal study of Guthrie's songs, singing style and persona becartte more intense. By

the end of the year he was a full-fledged Guthrie disciple. By the beginnllig of 196 1

Dylan's school career was in the past and he began to make his way east.

While the stated airn of Dykn's New York trip was to visit Woody Guthrie, dyhg of Huntington's disease, he seems to have ken planning to settle and establish a performing career. He became something of a fixture in the Greenwich Village fok scene, playhg the Vbasket housesm along McDougal and Bleecker Streets. At the same the, Dylan was endearùig himself to the cadre of "old guard" fok musicians that sumounded Woody Guthne, which included Pete Seeger and Theodore Bikel.

Greenwich Village in 1961 was an eclectic, disorganized mùc of artistic activities, with beat poetry, hre jazz, and country blues intennlligiing on the basket house stages.

Dylan, with prompting from revisionists Like Dave Van Ronk and Eric von Schmidt, was immersing hirnself in the country blues of Mance Lipscomb, Bhd Lemon Jefferson and Blind Willie McTell. While opening for John Lee Hooker at Gerde's Fok City in mid- 196 1, Dylan was Udiscovered"by the New York Times music critic Robert Shelton, who published a glowing review of Dyhn's performance the next &y. A reconl contract soon followed, spearheaded by Columbia talent scaut John Hammond.

So named because of the peceof psssing a basket around the audience for donatiom fouowing a performance. There was usudy no guaranteed pay for musicians in th- desand bars (Ridiard Keek personal co~~ununication,December 10,1994). Dylan's first album on Columbia, Bob Q4rn (reIeased March 19, I962),

featured few orighd songs and sold rather prly, but soon after the release of his second album, cliart-topping venions of his early compositions by other artists gave

Dylan his first national exposure.5 His rneteoric rise as a performer began with that second release, nie l3eewheelin'dbb mim (rrleased May 27, 1963), which featwred the songs "Blowin' In The Wind", "A Hard Raui's A-Gonna Fall" and "Don't Think Twice, It's Alright". From this point on, Dylan focwsed much of his attention on the

composition of topical protest lyrics; with the release of The Times meyhA-

Changin'(January 13, 1964) he was generally acknowledged by cornmentators as the

premier exponent of that compositional genre. His critiques of mial injustice and

political corruption gained Dylan his largest followirtg yet, but through the second half

of 1964 (AnotkrSide of Boa Qh,August 8,1964) and 1965 (BM*, lt Hll Back

Home,March 22, 1965) his Iyrics became more imagistic and personal, and his debut of an elechic backing band at the Newport Folk Festival in August 1965 was met with derision by much of the audience. Many of foik music's 'old guard' perfonners and fans saw Dylan's new career path as a seli-out, a squandering of his not inconsiderable talent for politically topicai writing and solo acoustic performance. Some perceived

Dylan's move to rock and roll instrumentation and mng forms as a jump onto the

Beatles bandwagon (the Beatles had appeared on the Ed Sullivan television program in

February 1964 and had thereafter Whially dominated the Amencan pop charts). In retrospect, cntics generally agree that the quality of Dylan's art remained high through

1965 and 1966. Dylan's commercial stock hit its highest peak up to that thewhen he

Peter, Paul and Mary had two top ten hits with Dylan compositions in 1963, "Blowùi' In The Wind" (No. 2, Billboard pop chart), and "Don't Think Twicc, It's AU Right" (No.9, Billboard) (Whitbum 1988). released "Wre A IROIling Stonenin July 1965; the song reached #2 on the Billboard pop

charts, and his August 30,1965 reIease Ncphway 61 Rensifedwasan artistic triumph,

offen cited as one of the most important rock and roll albums ever recurded

Dyhreleased the double album Blonde on Blonde on May 16, 1966 and toured the world with the Hawks, a mostly Canadian group that had baclad d-time

rockabilly singer Ronnie Hawkins. A serious motorcycle accident in late July 1966 curtailed further aaivity until May 1967, when he reconvened the Hawks, soon to

change their name to the Band, in a basement in West Saugerties, New York There

they recorded several hours of traditional and popular songs as weU as new Dylan

compositions, but the tapes would remain unreleased (in official form) until June 26,

1975. October and Novemkr 1967 saw Dylan's return to Columbia Studios to record

John WesleyHiwding (December 2 7, I 96 7), a stripped-down effort replete with

Biblical references and obscure metaphors. Mer another 14 month hiatus through

1968, Dylan recorded Nmhwlle S'ide (April9, 1969) in February 1969, an earnest

country album, and fouowed it with the reviled .%ff-Porh.ai'f Uune 8, 197O), a double

album of cover songs and live cuts from his August 3 1, 1969 Isle of Wight appearance.

By this time, Dylan had a near-mythical status among his fans due to his richly expressive music and reclusive nature, but SeIf-Portrait showed Dylan to be capable of

utterly mundane work Soon after its release, Dylan re-entered the studio to record

Mew Moming (October 2 1, 1%'O), which was seen by many as a retum to fonn

Mer a long pend of recordkg and touring inactivity punctuated oniy by an

uneven fh soundtrack, fit Gmtf and Baythe KÏd uuly 13, 19731, Dylan on

January 17, 1 974 released Hanef Wavar, a collection of new material with the Band backing. In January 1974 Dylan began a large-scale tour with the Band (Dylan had not toured since May 1966, m&ng only a handful of 'one-off' live appearsinces).

With its release on Jan- 17, 1975, Dylan hit another artistic peak with Blaad Oli

nie Trackr,an album that many interpreted as a chronicle of his dissolving marriage

(Bob and Sara Dylan finally divorced in 1977 der 12 years). He continued this period of inhnse activity and artistic success thrat& the 1975 and '76 Rolling

Thunder Revue tours and the Lksk album (January 16,1976). The Rohg Thunder

Revue was conceived as a large travelling carnival/roadshow, with several people on

stage at any given time and a spotlight shared withJoan Baez, Roger McGuinn and

others. Those tours drew out some of Dylan's most compelling performances, some of

which are preserved in the Nms Renaldo and Clma and Hard Rhin. Through I 977

Dylan was consumed in a long and bitter divorce litigation, though he did manage to

complete the edihg of Kenaldo and Ch(released on january 25, I978), a cntidy

damned three hour and Wty minute film that ties together concert performances,

ciramatic scenes and incidental footage in a non-narrative montage. In 1978 Dylan

began a worid tour with an 11 -piece band, rearranging songs drawn from his back

cataIog in a kind of career retrospective. Halhvay through the tour a studio album was

recorded, Shet-kgal (released on june 15, 1978), but by December 1978 Dyhhad

changed direction again following a boni-again experience.

In March 1979 Dylan began sessions for Slow Traui Comïqg (released on

Aupst 18, I979), a collection of Chnstianity-themed songs with Barry Beckett and sou1 producer Jeny Wexier behind the recordhg console. This was another controversial move, hotly contested among Dylan's fans, but the album was a cornmerciai success and was aen by some as a welcome respite front the detached professionalimi of much of the 1978 work Savedfoilowed on june 20, 1980, with Dylan's religinis rhetoric even more! evangelical than on Slow Trsirr, live shows from

that year, which only included material from the two "boni-a@ albums, often saw him lecturing his audiences at length on the imminent end of the world Closing out

what critics have seen as Dylan's "born-again triIogyWwas Shof of bve (August 12,

198 I), which displayed a certain moderation on religious matters and introduced songs on other themes. Another hiatus from live performance and recordhg followed

through 1982 and part of 1983. In April 1983 Dyhentered the studio with Mark

Knopfler, suiger/guitarist fiom the group Dire Straits, producing. MdeIs (November

1, 19831, from those sessions, saw masterstrokes placed alongside plodding failures, and superlative songs like "BhdWillie McTeU" and "Foot of Pride" left off altogether

(though these songs iater appemed on me BcvlfIeg in 1993). From this point on

Dylan's sense of his own works value seems to have become erratic; &ph Bwiqe aune 8,I 985) continued this trend of obscuring strong work with last-minute lyric changes and iIl-advised mixes. Recorded just before a 1986 amphitheatre tour with

Tom Petty and the Heartbreakers, Kitmked Out Wed(August 8, 1986) was sloppy, substandard work and Dom In me Gme(May 3 1, 1988) was an uninspired combination of new songs and old outtakes that followed a short tour and live album with the Grateful Dead (Dyhmand the LA&). In 1988 Dylan began a schedule of almost constant tourhg with a stripped-down backing band that ha9 continued more or less uninterrupted to the present day. His public visibiiity increased again with the release of Travelhg WiIbruys Volume 2 (October 1 8,1988), the product of a lighthearted collaboration with George Harrison, Roy Orbison, Jeff Lynne and Tom

Petty. During 1989 Dyhrecorded Oh Mercy (Septernber 22,1989) in New Orleans with Daniel Ianois producing; this album represented a strong comeback fmm Dylan's 'eighties slump. 1990's Under ne Red S&(Septernber 1 I), Dylan's last album of new

original material to date, was another mixed effort, as was the Wihuqsl foiiow-up,

Volume 3 (Octokr 23, 1 990). Two intriguing solo acoustic efforts, -As IBaen To

You (November 3,1992) and World Cane Wmng (Odober 26,1993), explored

Dylan's folk music mots. These two remdirigs feature songs from rather varied sources, and the almost musicological tone of Dylan's liner notes evince the degree to which he is still engaged with this music The acoustic presentation continued with the release of an MW (r~p~us;pedperforrnanceon May 5, 1995. Dylan continues to tour the world with his band, and at the tirne of writing he has returned to the studio with

Daniel bois to record a new album of original material

Dylan's impact

Me named Bob Dylan as one of the most important Arnencans of the Zûth century (Stekrbauer 1 99O), and his pivotal role in the musical, political, social and media culture of the 1960s is probably the locus of that importance. Dylan was highiy influentid during the period of 1963-66, when his politicdy charged lyrics and scathing critiques of 'shaight' society caused many younger fans to identify füm as the spoksman of their generation. This created a powerful myth and a great deal of pressure for Dylan, as every new iyric was micro~~opicaiiyanalyzed for hidden messages. The increasingly personal lyrics of his pst- 1 966 period seem to have defused the myth of Dylan as pruphet for the most part, though his infiuence on other artists has remained strong, at Ieast up to his 1979-8 1 ''hm-again Mogy* of albums, and his seminal 1963-66 work has continued to cast a long shadow on popular music.

print, sound and film The fîrst rock bootleg album ever released is believed to k

Gresf WteWonder, a 1969 collection of Dyhstudio outtalres and live cuts, and

since that tùne Dylan has been a fav&te for illegdy reIeased recordings, as weU as

informal tapc trading networlcs. Aside h.om unofficial product, though, there exkb a large body of official studio and live recordings, Whially ail of which remains in

circulation, save for a handfuI of B-sides of singles and recalied album cuts. Moreover,

almost the entirety of Bob Dylan's expressive output over the fast 36 years has been presemd and meticulously documented by researchers such as Ciirtton Heylin and

Mickl Krogsgaard In short, I approached this project with an enormous body of

easily accessible recorded product and historical and contextual data.

This incredible breadth and depth of source material is curiously balanced with a dearth of musicological commentary on Dylan as a perforrner. 1 hope to summarize some of the work that has been done in Chapter 2, but for now suffice it to say that much important work is left to do.

ui an atternpt to delimit my source material at some logical point, 1 have kept rny discussion in this thesis to officially released sources, with the exception of some very early recordings that predate Dylan's fist Columbia sessions. My rationale for this is that the acquisition of unofficial pduct is not only expensive but kcredibly difficult for anyone not connected to the Dylan tape trading network, which would preclude most readen from easily referencing the recordurgs disnissed Many libraries house portions of Dylan's catalogue, and recently some songs have appeared in digitized form on the World Wide Web. Another by-product of a reliance on officia1 releases has ken a f&ly consistent sound quality across the repertoire, which has been an advantage for transcription and anaiysis. In addition to sound sources, 1 have consuited video sources, d of which have seen some official release or bdcasf at one the, but may not be annmercially available at present. Discographicai information has ken adapted from Michad Krogsgsard's mEkeIy&b Dy~Irn(1 99 1) and Clinton Heylins &b Dyla: me Reco- Swions

I9M-2994 (1995). Chapter Two: Literature and Methodology

Speech and Song

My study of Bob Dylan's sin* style tzks as an under1ying assurnption the

idea that the difference ktween speech and song is a matter of degrees. Speech is

never hefiom a 'musicaP performance at the same time that song is dways just a

more or les "musicaiized" form of speech. More to the point, song and speech share a

cognitive and generative apparatus as regards the performer and listener (see Sloboda

1985, Wallin 199 1). As Charles Seeger pointed out, "song itself is a peculiarly

intimate synthesis of speech and music, not ody in its currency in a cu1ture but in the

personality of the singer and his singing" (Seeger 1958:4). The blurring of any clear

distinctions between the two ples serves two functions: it rermes us from a hopelesdy

problernatic and indefensible analytical rhism, and it allows us to investigate the ways

in which affective and rhetorical tools are shared across the breadth of human vocal expression.

A few ethnomusicologicaland rnusicological studies have dealt with the

speech-song 'continuum'. A prevailing concern of much of this work is the

formulation of a paradigm for the distinction between speech and song. IstMn Anhalt,

in his study of avant-garde classicai vocal music, suggests that the difference is often

characterized on the basis of duration, with song using pitches of greater duration and

stability than speech (Anhalt 1984: 152). Of course, tones in singing are never totally

stable, while pitch levels in speech cmbe surprisingiy steady in certain kinds of expression. Nor are sung tones necessarily longer thspoken tones in much vernacwlar music.

To Anhalt's definition we might add that pitches in song are commonly ordered to a pitch contour which stands Iargely abshacted from the text. That is, sung

vocalking presumes the invocation of a pitch system separate from the cultdy

deterrnined intonation system of speech. It wiU be ren, however, that even this condition is violated by a singer Lilre Bob Dylan, whose sung pitches offen folfow a

more fluid, microtonal, speechliLe system than the 12 -note equally-tempered de

wddpermit.

Alan Lornax described singing as "a specialized act of communication, abto

speech, but far more formally organized and redundant" (Lomax 1968:3). Pitch irt

song, accordhg to Lornax, is seemingly more systemafic and repetitive than pitch in speech. But Halliday has shown pitch contours in speech intonation to be eminently consistent and patterned from speaker to speaker. We might better understand speech and song as roughly equal in terms of pitch organization and "redundan[cy]",but very different in the degree to which their respective pitch systems are understood on an

Lntrhsic Ievel6. The materiais of pitch in music are apprehended more cornmody as a system, so the level of intrinsic howledge is hi&. Pitch in speech, however, re.emaùis hidden among the lexb (the words and syntactic structures) of the speech act, that is, on the level of popular cornpetence; most people do not understand the systematic nature of speech intonation though they might understand that pitch in music U

I am invoking the terms "intrir\sicmand "extrirrsîcnin the spirit of Charles Seeger, who d them to distinguish the insider's viewpoint (sometimes ded'emicn) hmthe outsider's ("etic?. The intrinsic viewpoint might be understood as prxmarily conmned with the "sensenof a performance, as opposed to the extrïnsic study of the adsound itself. ïhe primariiy intrhsic examination of song 'is based upon what is mgrather than hmit is sung ...upon repertory rather than the style of ib renditionn(Seeger 195854, italics in original). organized hto notes and scales.

George List's article "Speech melody and song melody in Central Thriifand"

(1 96 1) explores the refatiomhip beh~eenthe two fonns of pitch expression in Thai, a

tonal language. Tonal ianguages have semantic pitch accents; meanings of words may

change depending on the pitch datiortships between qdlables or between adjacent

words. List fin& that song is basically a more formalized pitch medium than speech in

Central Thailand, (ir. pitches rkmuch more abniptly in song and the palette of

possible pitch levels is considerably reduced) but there is a definite amantic relation

between the two mediums as far as the use of pitch goes. A speaker of Thai, then,

would probably recognize a song as distinct from speech on the basis of a greater

degree of pitch rationalization and stability. A number of West AfXcan Ianguages are

tonal as well. As Peter van der Merwe points out, "even out-and-out çong is generally

an enhancement of speech in West Africa" (van der Merwe 1989:34). This fact mi@

be of special interest when we discover the degree to which Dylan has studied Ahican-

herican musical expression, especially during his early career. It is certainly

plausible that "Afncan retentions"(to borrow Melville Herskovits' phrase) in American

black culture have often kept Afncan-herican speech highly musical and African- American music highiy speechlike. Dylan's hours of listening to the recordings of

Robert Johnson, Jesse Fuller, Blind Willie McTell and innumerable others must have suggested to him a world of possibilities for expressive and unusual vocal performance'.

'in fa& any notion that Qian's use of a speech-song style is unique must be countemi with the history of African-American vdexpression, as it is captured on recordnie dating badr to the turn of the century- Dylan's innovation was icis appropriation of aspects of this styie and the consequent development of what turned out to be a highIy individual performance style withst the mainstream/white pop music milieu. Other studies explore the relation between the prosodic details of song texts

and the iunes that are ansociated with them. Geoge W. Bosweil's Titch: Musical and Verbal in Folksongn (1977) seeks to step beyond the usual ken of this worlc, which is

prunarily concemed with the reiationship between poetic metre and melodic rhythm,

by connecting pitch use in folksong with the 'voweI pitch' patterns of texts. These vowel pitches are determined not by their fundarnentals, as in intonation theory, but by the positions of their various fked formant regiod. Thus Boswell hypothesizes that pitch choices in foik song are intimately related to the formant frequencies of the sang text's vowels. This cornparison takes as its jumping-off point Swart Poladian's dictum 'The speech outhe of a folk song when recited corresponds to the melodic contour of the heng when it is sung" (cited in Boswell 19 77:s1). Poladian's statement, however, seems to me to expiicitly connect spuken pitch to sung pitch in (presumably

British?) foik song. Though there may be an as yet undiscovered Illik between the fkequencies of vowel formants and folksong rnelodies, Boswell's final assertion of a formant/melody relationship in Child ballad no. 272, 'The Suffolk MVacle", rernains unconvincing. He uses a written score of the ballad as his reference, thus misshg any performed rhythmic and melodic detail, as well as the actual pronunciations of the vowels as Sung by any given singer. The timbres of voweis can Vary in performance, thus potentially altering the positions of the vowel fonnants, which wodd presumbly alter as weU the profile of the extmpolated 'tune'.

The importance of fonnant infonnatioii to the understanding of sung

It has ben discovered by acoustidms that voweis have "formant regions", fixed fi=equency arees where many of their harmonic partiah are concentrated. These formant regions are unchanging for each vowei, regard& of any movement of the fiandamental pi& (see Grey 1973'). performance is not to k discredited by kwell's misaligneci connections. Clearly,

however, the connedon between vowel formants and song lies in the ana of tünhz

My own analyticai work (1995) on Patti Smith's 1975 studio performance of 'Gloria' sought to examine her use of timbre manipulation by transcriig actual pmnunciatiom of voweis and using formant frequency data to generate a timbra1 profile. Thmgh andysis of timbre as a parameter abstractable fimm other vocal features is a simplistic reduction, 1believe that this was a step in the right direction.

Analytical, descriptive studies of timbral use in existing repertones remains an

ïmpoverished field9 with the sigdicant exception of Robert Cogan's work Cogan, in his (with PdEscot) Sonic Des@ (1 976) and more extensively in New hages of

Musical &und ( 1984) explored the morphology of musical timbre in various examples thmugh the use of spectrographie photographs. My use of CECIL spectrograms in

Chapter 3 is kdebted to Cogan's work

Singing and the body

Song in modern Western culture might be thought of as speech with some of its musical aspects (which remain extrinsic to popular howledge) made explicit, rationalized, and pttemed (that is, transplanted and adapted into the mahn of intruisic understanding). Starting in the seventeenth century, the singing tradition of

Europeans and Euro-Americans has moved steadily toward rationalization, with an increasing effort toward making the voice aticulate diçcrete, stable pitches and

Most of the substantiai work on timbre cornes from scientists concerned with the electronic synthesis of instrumentai tones, wMyields more presaiptive tlw descriptive information on dynamic timbial change. uniform timbres- in this way, the voice has more and more emulaied the relatively

stable pitches and timbres of Ilistnunentq the Sirigkg art, foiiowing berchanges in the history of semiality and the fise of capitalism, hm played out a pmcess of generalized dienation from the body in favour of machine-like, ideaiized performance.

Musical @ces are never dectedby these changes. Richard Leppert has explored the relationships between sexuavbody poiitics and music-making and

listening- He asserts:

Whatever else music is 'abouty, it is ine~tablyaboutthe body, music's ad and visual presence constitutes both a relation to and a representation of the body. Nonetheless, the connection between music and the body throughout Western history is highly problematic and contradictory, the product of deep socio-cultural anxieties and antagonisrns (Leppert 1995:~~).

According to Michel Foucault, at the beguuiing of the seventeenth century attitudes towards the body and sexuaIity were quite different from what they would graduaiiy become over the next two hundred years. SexuaLity and sex were dealt with more openfy and the body as a 'site' was less conteste& confîicteci, and alienated

Towards the end of the century the body began to be irnagined

as a machine: its diriplinllig, the optimization of its capabilities, the extortion of its forces, the paraitel increase of its usefulness and its docility, its integration kto systems of efficient and economic controls, ail this was ensured by the procedures of power that characterized the aYsc1pIU1es an matorno-politla of the human My(Foucault 1980: 139, italics in original).

Only in the last hundred yeaa, with the increasing culhua1 diversification of

Europe and the United States and the deche of 'art' music's generd populaRty, hac this prccess of vocal rationalization ruptureci sornewhat. In the axa of commercial popuiar music, Bob Dylan has played a large part in this him back to 'speechified' music (or is it 'musicalized speech?), due to his tremendous popuiarity and infiuence

during the mid-to-late 1960s. The seeds for this revolution were sown, though, at the beginnjng of the rock and roll barni in the hte 19409, when African-American vocai expression was given a mass forum for the first time. Whether this si@ a 'return to the My'is not clear, but Dylan's &bt to African-American music is.

The "double posture" of the voice

Music has its own nilturally determined structural logics that are abstract from language, and the speaking voice artidtes specific, culturdy cllnunscnbed areas of the total sound palette. When music logics and speech logics intertwine in mng, the result is often overwheImingly complex. This can perhaps be attnhted to what

Roland Barthes cded the "double posture" (1988:179) of the voice in music as

'inhument' and communicator of texts. When we listen to a sung performance, we must reconcile this duality, and this constant reference between the singing and everyday voice can be attributed to two factors.

nie first is the common use of the vocal physiology, the sounding medium possessed and utilized by alrnost everyone. The essential sound of the human voice is an index to human relationships; it is a tangible referent of connection between ourselves (our own voice) and others (other voices). nie second factor, at least in texted music, is the sshard use of the language system. The sung text, clearly, derives part of its impact from the semantic sense of the words. What is les understood is the role of the musical aspects of song in the communication pmss. Since we howthat speech has its own 'musifal' system, we cannot pperly conceive of texted song as a fusion of two mediums. What seems to be the essential difference here is the degrce to which the pitches and timbres of a vocal performance are understd by Meners as "music." Part and parcel of this is a certain perception of deliberate pitch articulation

on the part of the pcrfonner, as well as the presence of more obviousIy

'Tntrinsic' and 'extrinsic' viewpoints

Charles Seeger advocszted an equal balancing of speech and musical factors when studying singing Me. He described singing style as "a complex of dispositions, capacities and habits built into the bodily processes and personality of the individuai carrier of a song tradition"(1 958:4), and this description can clearly be equaiiy applicable to mgand speech styks. Seeger also believed that 'exhinsic' (etic)

"wpoints should stand on equai grnuid with 'intrinsic' (ernic) ones when examining singing style. Seeger noted that the intrinsic viewpoïrtt has tended to dominate in studies of slliging style, and he rrgarded the lack of populanty of the extrinnc appraach as a prime factor in the failue of Milton Metfessel's phmophotographic method to gain support arnong succeeding scholars Metfessel's ~onopItofogrsp/iyin tblk MUSC AmeirreirrcanNegro &ngs kt NewNo&fion (Metfesse1 1928) was a pioneerkig

analytical work that used a primitive mechanical transcription method to pmvide

dreprrsentations of various details of sung performsuices- His approach, centered

on laboratory work and deahg little with the valucs and ideas of the musical culture

under mtiny, concentrated on the phenornenological aspects of song, placing the music squarely within the physicd world Perhaps Iater researchea rejected

MetfesseR work because they believed that he intended his approach as an end in

itself, rather than a crucial prelunlliary means. in any case, Seeger's attempted revival

of Metfesseh work in 1958, and his accompanying cdfor a retum to balanced

extrinsic and intrinsic concerns seems to have made few converts,

Perhaps the closest thkg to a thoroughgoing analytical treatis on Bob Dylan's

performance style is Paul Williams' B6bb Dylan:Perfirming Misfbooks (Williams

199 1, 1993). Williams examines a huge body of released and unreleased Dylan

recordlligs, placing the work within the context of Dylan's biography and providing an extremely detailed cntical tour. He concentrates on his favourite performances, pointkg out details and attempting to accmt for the tremendous pleasure he experiences when Listening to these recordings. it is at this point that Williams' work suffers for a lack of Metfesseb 'physicaF readùig of the actual sounds. Because he has no vocabulary with which to talk about sound comparatively, the nature of Dylan's perfonnllig art, ostensibly the main theme of his work, remains totaliy mysterious to

Williams. The concIusions that he does reach are heavily dependent on infodlync analysis and poetically rationalizpd gut feelings; his analysis is overwheimingiy

'intrinsic',concentrating on the 'sense' without the essential study of the 'sound'.

PefionningMSf remains a fascinahg account of one man's emotional rehtimhip with Bob Dylan's recordings, but its wider use is limited by a fdm,at the crucial moment, to speaL comparatively about sonic detaiL The disciphes of music and iinguistics remah too far apart.10 I have been

unable to find any resarch which connects the semantic use of pitch in speech

intonation to the singing voice, where pitch movement may be thought to interact with

the lexical meaning of the lyrics (the exception to this would be the body of research

on tonal languages and song). 1 believe that the analysis of song, when undertaken with an understanding of intonation theoryIi, may negate the need for this Iànd of

distinction, and a situation may be envisioned where human vocal expression cmbe

sen as a whole, with pitch and timbre al- king operative in the rhetorical and

affective reception of an utterance. Of course, song and speech are not the same; there

are crucial differences in the normative functions and structures of these two modes. I

ody wish to suggest that anaiysis of vocal performance, both musical and verbal, cm

bene fit from a more interdir iphry approach.

Probiematics of vocal style study

Some basic things cm be said about the voice which may serve to point up potential problems of analysis:

Io This in spite of a vogue in the 1970s of musicoiogd work drawing on iingmstic theory, @y @y the generative pmnmar approach pioneered by Noam Chomsky. Haiold Powem (1980) explairis some of the pmblems in the adaptation of certain languuge models in musicology. l1 This is the name given to linguistic research into the prosodic pmperties of speech. Mictiael Halliday's work in this area is summarized in Chapter 4. 1.) Persona

Every voice is different - the question of idmtitycomes up when listeniing to

solo sons this aspect feeds into the 'star singe? concept that is so pervasive in Western

cultures. Thus a hgiesinger is heard perfonnuig different materid on different

occasions and we construct a template of recognition which is stored in our mernories

for cornparison at a later date. Of course, th& connection of a sung performance with

a 'persona' brings in other complicatllig factors such as our knowledge of the singeis

biography, visage, age, and so on, and this howledge shades the meanïngs that are

already complexly intemivined between texhial, musical and prosodic parameters.

Thus the listening experience is pmblematized Though my study of Bob Dylan's

slltging style is concemed less with issues of reception than with the 'textyitself, these contextual factors must be recognized as poss1i1e influences on analytical conclusions.

In addition to the single 'persona' created in listeners' imaginations by the singer's distllictive sound, there are a number of sub-personae which correspond on one hand to periods of the singer's career, and on the other to genres and other smd stylistic divisions within the singer's mumz Thus Dylan's so-called 'Nashville Skyline' voice belongs to the nrst category, a more or less homogeneous vocal sound that corresponds to a tune perd in Dylan's career that is more or less donimented in full by his Nashville Skyline album and parts of his subsequent [email protected] For Dylan's fans, this rather sudden change in vocal style and sound is connected to other factors, such as his

1966 motorcycle accident, recovery/seciusion, and subsequent embrace of a country- rock hybrid sound This sub-persona does not sit uncomfortably in our general conception of Dylan, but rather is suhmed into the whole impression as a phase in the whole story, much as those biographicai factors are. Of course, rehtively brief style changes, contextualized by the audience in this manner, do tend to be viewed as

deviations hmsome nom In the case of Dylan's 'Nashvilie Skyline voice', this idea has corne to be pmblematized by the recent surfacing of an early Dylan tape, claimed as a May 1960 Minneapolis recoiding. This tape, if it is authentic, would be the earliest available recording of Bob Dylan (except for the brief snippets on the 1958

John Bucklen tape), recorded prior to his fhst sojouni to New York Thghthe hiss and extraneous noise one can hear Dylan running through a number of traditional songs, in the clear, sweet 'Nashvilie Skyhe voice'. This cab into question earlier assurnptions about this 1969 vocal style that, under examination, prove to have been

Iargely based on contextual details. New contexhial paradigms are immediately constructed - perhaps this is Dylan's 'reai voice' and the classic Dylan vocal style of 'Like a Rolling Stone' is a put-on, a facade briefly dropped for the recordhg of

Nashde Skylie and parts of &If Po&&

Thus the Listener's constructions of contexts to explain musical texts are both difficult to avoid and problematic. Our rationalization of a style pendhuiges precariously on the documentary evidence at hand This partly explains my intent to begin analysis of Dylan's vocal history by using empVical observations of the sound

'texts' of his recorded performances, with an ahtoward the explication of synchronie systerns. Oniy afkr this groundwork has been done can style change be understood diachronically. nie idea is to efface the burdensome and not inconsiderable issues of reception and context surroundhg Dylan's output, clearing the way for possible alternative interpretations of the nature of Me change over the course of his 35-year recording carrer. As Charles Seeger asserted:

"Lest it be taken for a recommcndation of artificial contemplation in let it be said that absence of historid considerations in purely desxiptive andysis of primary data does not codtute a vacuum. Rather, it means a clearing away of underbrush and overlying preconceptiom. After the ground is accurately mapped and dcmibed, there wül always be plen@ of tirne for htegration with history" (Seeger 1977: 1 4).

2.) Pifch

The voice is extnmely ffexiile in the area of pitck Of course, the Western musicai establishment has for hundreds of years promoted scaies of fïxed pitches as the normal pitch palette of music. At the same the, the expressive nuances of pitch have been retained in just about every musical culture outside of the Western classical one

(though, it must be added, string quartets and choirs often use slightly larger and mialler versions of standard intervals to create %eeter" tuning). Afncan music is probably the most often cited example of this, but even British folk music, as Peter van der Menve points out, displays a certain flexibIe intonation: "[English]Molk musicians sing the third, sixth and seventh of the scale relatively flat.. .often different inflections wilI appear in the same piece" (van der Merwe I 9892 1). Because of the continued primacy of European music values in academic music study (and the absence of a widely adopted alternative system), these nuances have ken traditiondy treated as

Ydeviati~m"hm the absolute pitch standard, viz. Erich von Hornbostel's widely used plus and minus signs to indicate pitch uiflections of les than a semitone (Abraham and

Hornbostel 1994 [ 1909 J ). More syrnpathy toward non-standard pitc h resources can be found in the d pocket of microtonal composers and theorists, yet work in this field overwheimingiy favours symmetrical (either hannonic divisions of the octave, as in just intonation, or mathematical divisions, as in the various non- 12 tone equal temperaments) and fixed scales (this probably a function of the continued domce of the keyboard) over more dynamic and flercibIe pitch paradigms. Indeed, the idea of a fixed 'scale' sems inappropriate when discussllig the actual repertory of 'pitch moves'

in a singe& perfo-ces. Charles Kea, following up on his intluential essay "Motion and Feehg Through Musicn (1966) has asserted that the ideas of pexfcct unison, harmony and rhythmic synchyare themsclves artifici4 "weird myths of the West and the eventual death of musicn (1995:9). He argues that 'participatory discrepsincies' nat only exist in all ensemble performances and are patterned in various individual and dynamic ways, but that they are the very lifeblood of music. His shift of analfical attention toward the processud dimension of music suggests that electronic micro- transcription might be a necessary tool in the analysis of how music realiy works - that the most powerfd detaiis of music are found at a level far more detailed than standard artalysis can bar.

A transcription and analysis of pitch use in singing that is too tied to standard

Western notation is bound to force the dynamic, unfixed actual pitch information into the ghetto of "deviationsn from the standard 12-tone aggregate. This is an injustice both to the musicians who are being transcribed and to the student who seks to understand something of the musicai system in use frorn the transcription. Clearly an alternative rnethod must be forged: in this thesis, 1 use a bdof pitchkime graph that is explained in more detail in Chapter 3 as weii as the automatic transcriptions of fundamental pitch contours rendered by the CECIL programme.

3.) Timbre

The voice is relatively fl exiie timbrally. Robert Cogan's New Iht8ges of Musid

&md (Cogan 1984) remains the most useful inquiry into musical uses of hine. His appru,ach focuses on the timbra1 information represented in spectral photographs, which display the objective acoustic characten of sounds as aggmgates of harmonies

and other suundS. He fin& these complex timbra1 images to ~ved"a struchd aspect

of musid shapand fod(Cogan I984:3). Cogan lilrtns these spectral aggregates

to atomic structures, in that they are the underiying complexes beneath seemingly

monolithic entities. His aim is to demystify the connection between objective acoustic

structures and the subjective perceptions by the Mener by analyzïng spectral photographs of entire musical works. His analytical conclusions rnay be questionable, especidy when he 'discovers' thematic uses of timbre in pieces, but Cogantssubstantial contribution to the understanding of tone colour as an aspect of musical morphology is clear. In my own inquiry into timbrai use in Bob Dylan's sirtging, 1 have consulted spectrograms as generated by CECIL to track his use of vocal timbre. As it remains the only analysis of musical spectrograms that 1 am aware of, 1 have adopted some of

Cogan's methods to my own approach.

Previous analyses of Dylan's music

It has long been acknowledged by writers on Bob Dylan that his songs accrue their nch meanings through the process of performance (i.e. Bowden 1982, Herdman

1982, Williams 1990). John Herdmart's literary critique of Dylan's lyrics, Voice

Wirhout is typical of this viewpoint by prefacing its texhial analyses with a celebration of Dylan's voice as a Me-giving, essential medium for his lyrics.

Not only do words which may seem to have a hdof half-life on the page corne into theu full being when he sings thern, but the music is devitalized if we fail to listen to the words it is carrying-.. (Herdrnan 19826).

His marvelous timing and breath-control, hi9 capacity for drawing out hes almost to breaking-point, hi9 emotional subtlety and inspired phrasing maLe it one of his greatest artistic assets (ibid). Often cited is Dylan's practice of renewllig smgs th&variant performances; Herdman compares this proces to that of Albert Lords Yugoslav epic singers, in the sense that Dylan re-composes his songs (which are essenMy frozen and coditied by the reconling process) in performance for new contexts. This prucess of re-interpretation is effeded by Dylan in terms of both rhythmic/timbd/melodic variation and lexical changes (i.e. altering lyrics). This process is achieved largely by playing the systems of language and of music against each other in an endleu dialectic.

Herdman hints at this when he suggests that "the sense [of a song] may be conveyed through temiions between words, expression and musical rnd(ibid, italics in

An analysis of Dylan's singing style must use the 'etic', extrinsic dimension of acoustic realities to reconstruct the 'emic', intrinsic dimension of his linguistic and musical aesthetics. These two aspects are separate only in theory. In the actual performances of Dylan's art, they are complexly inierhwhed, and their parts must be carefully untarigled and studied for the total system to begin to be understood The path to an exhinsic analytical dimension is paved with a universe of acoustic detail; the dif'fidr task of approaching this herworld of music is nonetheless indispensible to a solid intrinsic understanding of a performance style. As the meanhg of pitch in purely mu&d expression remains rnysterious, the most promislig recourse we have in studying the semantics of sin& is the growllig body of work on speech intonation pmvided by the discipline of linguida. Seeger seems to point to this when he asserts:

it must be admitted that it is easier to isolate what is sung rather thhow it is ning. A re printed fom - songs, rnelodies, words, modes, etc. These, king structural in charaber, are dytakd about. A singing style, on the other hanci, consists of a complex of dispositiom, capacities and habits built uito the bodily pruc**ses and pemdity of the individual carrier of a song tradition when he is very young by the social and cultural environment into which he is bom and by which he ïs nurtured. Ring functiond in character it is more diffidt to talk about and, until recent times, impossl'ble to repnstnt graphicaiiy in detail, as functidprocesses so often have been (Seeger 1%8:4, italics in original).

nie -nt shidy, then, consists Iargely of graundwork in an interdiscipIlliary field of inquiry that is both methodobgidy precacious and litile attempted The fact that a cogent study of singing style requires a double linguiStic/musicoIogical method may account for the dearth of research unkrtalen in this area At the same tirne, the questions it seelcs to answer cut to the centre of human vocal communication and the inner aesthetic landscape of the individuaf.

For details of the vocal style database parameters, see Appendiv k Chapter Style

Early Recordings: Hiibing 1958, St. Paul 1960

Although Bob Dytan's fktofficial studio sessions date hmlate 196 1, several

tapes have survived which document earlier stages of development. The earliest

available recording, from 1958, was recently bmadcast in excerpts on the BBC radio

documentary HI@way 61 Rewsifed This hgmentary tape features the seventeen-

year-old Bob Zimmennan and a friend, John Bucklen, tallcing, Sitiging and playing

guitar and piano. Chton Heyh has dismissed the documentary value of the Buckien

tape as "two teenagers muchg about with a tape recordert' (Heylin 1995:2), but the

half-screamed vocal on a song perhaps called "LittIe Richard" and the congested-

sounding and rather tuneless harmonipng wÏth Buckon "We Belong Togethe?' are

points of interest. We are given here a glimpse of Dylan3 later penchant for adapting

his performance style to the genre at hand This attentiveness to the constraints of

established forms was to recur throughout his career, with blues and country genres

creathg especially pronounced vocal style modifications. The "Little Richard vocai is

clearly way over Dylan's vocal abilities and range. Yet he raspg away, because the style he is trying to emulate (presumably, that of the son@ subject) demands it. Likewise

the 12/8 fifties ballad style of "We klong Together"calls for a sweet croon, which

Dylan does his best to supply, again fahgshort of the mark

The evidence suggests that Dylan's vocal skih were slow in coming. Octokr of

1959 saw some eady solo engagements 12 at the Ten O'Clock Scholar in Minneapolis,

l2 Dylan ap-tiy perfonned avidly araund Hibkgwith a series of rdand roll bands hm 1955 through 1958 (WilIiams 19915-8). where Dylan was an errant freshman- Anthony Scaduto, ostensibly relying on the

He sang in a traditiond folk style. He wncentrated more on the mehdy Iine than he would later ...& voice was rather nasal, and most people around thought he was an inept singer (quoted in Williams 199 1: 12).

Spider John Koemer, who piayed with Dylan at the Schoiar later on, through Iate 1959 and early 1960, rernembers that "Dylan had a very sweet voice, a pretty voice, much different from what it became."(ibid.)

The second chapter in the recording prehistory of Bob Dyian centers on a tape recorded at Karen Wallace's aparfment in St. PauL This May 1960 tape has appeared in several partial foms among collectors, with songs like WdyGuthrie's ''Pastures of

Plenty" and The Great Historical Bum" as well as older folk tunes like "Doney Gd"and

'Tak This Hammer" appearhg. This tape reveals a Dylan thoroughly ensconced in the urban folk singer milieu, seeing hiznself l'as an interpreter of a hoary or tradition of self-expression, not as an originator of new foms of song."(ibid.)Bonnie kecher (an early conternporary of Dylan's) as weil as Koerner and others have commented on the sweet, pretty quality of his voice during this period, before the stylistic influences of

Woody Guthrie had reaUy taken hold. The St. Paul tape was either recorded poorly or has deterioratcd through duplication, and is nearly unlistenable. Plainly in evidence through the rnurk of hiss and mmble, though, is the clear, sweet voice that would later emerge during Dylan's N&Me SQhe/&if Po- recording activity. That vd sound was to vimially disappear in the recordings hediately subsequent, rephced by a more nasal, flat sound reMniscent of Guthrie's. The emergence of the St. Paul tape in the early 1980s has in fact forced a xtevaluation of the hitherto anornalutas 1969/70 "Nashville Skylinenvoice. While this

vocal style certainly suits the very different materd that Dylan was perfonning during

the 1969/70 sessions, one would have had to dismiss it as a flukc, sandwiched as it is by th e more 'characteristic' Dylan vocal styles of Jahn Wesley Haraingand New MOfffting. Of course, the break between the "Nashviile Skylinenvoice and these other voices is not clean; transitional performances can k identified, for example, throughout the MfPorfrfil'falburn. Nonetheles, that clear, sweet voice has not resurfaced except very briefly on the 1976 recording of "Sign Language" with Eric

Clapton, and until the St. Paul tape appeared, there was no evidence that the voice had ever been present before '69/'70. Now the "meaning" of that vocal style must be considered afresh - is it a xnuid that is reserved for periods in DyWs career when his material is predominantly folldike or rustic, that is, with a certain musical and 1yricaI simplicityI3? in facf might this point the way for an interpretation of Dylan's vocal style changes on the basis of some chameleon-lilre adaptation to lyric thernes and musical genres?

The question of Dylan's 'wUWnesstin changing vocal styles must be asked as weU. 1s the 'Nashville SQline voice" one that can be wWysummoned to suit the aesthetic of the moment'? No recordings circulate of Dylan singing between January

20, 1968 (thesongs at the Woody Guthrie mernorial concert) and Febniary 13,

1969 (the first Nmhvile S@ihe session). There is no question that the "Nashville Skyline voice" is stylisticdy appropriate to the NashviUe S&ihe materiai - in Iight of

l3 if this hypothesis is accepted, we probably have to hterpret the vocal sound in "Sgn Imnguage* as an anomaiy - the song more or les fits in with the rest of Dyhlsoutput of the tmie (assuming that the Song was written fairly dose to ik copyright date, 1976). the St. Paul tape it seems possible that DyG made a conscious retum to this early,

ahdoned vocal sownd. And this voice was to be abandoned once more., graddy,

th&the first half of 1970. The recorded evidence suggests that Dyhdoes not

change vocal styles on a song-by-mg basis, instead graddy and constantly at a variousty slower or faster rate; there docs seem to be a certain wilhhess, or at least an aesthetic continuity between vocal style, lyric themes and styles, and generic/stylistic

musical characteristics. Thus the "Nashville SLyfùte voice" appears when Dylan's

repertoryxt leans most heavily toward rurai folk and country styles. Because his vocal style changes are rather large-scale and graduai, though, material hmthe same the period that does not necessarily fit the 'rural7description is sung in the same general style.

The official recordings: &b Djdan

The first recording of Dylan's officia1 corpus is Boa Dylan, the product of a newly signed Columbia contract. John Hammond, who 'discovered the 30-year -old, presided over the two aftemmn sessions on November 20 and 22, 196 1. Sixteen cuts hmthose sessions have been officially released, of which thkteen appeared on the album that was released on March 19, 1962. The music is a hodgepodge of black and white rud song (Jesse Fdefs "You're No Gd,the traditional British Isles ballad

"Pretty Peggy-O") combined with more recent faux-folk fiam Eric von Schmidt ("Baby

Let Me Follow You Dom")and DyIants own "Song to Woodyttand 'Talkint New Yorkn.

l4 It must be noted at this üme that my usage of 'repertor~'is ismewht pmblematic Dylan's recorded output at a moment in thne is not ndya complete aonof his acterù performing repertory of that time. Thus, when I speak of Dylan's 'repertory' druing the Bmigmg lt Al1 BdHm sessions, it matbe understood that 1 refer to the state of his material as he chose to represent it on record. Heyh has pointed out that the çelectim on this album are quite unrepresentative of

Dylan's performllig repertory of the tirne - in f&? only a hanuof the sons on Boo - Qdïn are hown to have appeared at aU in the live appearzutces leading up to the

sessions (Heyh 1995:S). w

It is not just in the song selection though, that Dylan seems eager to prove his

venatility. The registers that he sings his songs in are more varied than is generdy

found throwghout his career, as he careens towards the top and bottom of his range as

often as possible. Timbre variation, as weU, is more prevalent here than in his later

solo acoustic recordings. An exaggeratedly passionate version of "See That My Grave 1s Kept Cleannamply dispiays the forced vocal effects and self-consciously varied

phrashg that characterizes rnany of Dylan's performances at these sessionsI5. In

Robert Shelton's otherwisc effusive review of an early New York performance, he notes that Dylan's "stylization threatens to topple over as a mannered excess" (Shelton

196 1: 18) and Rob Bowrnan has characterized Dylan's recorded performance of "See

That My Crave 1s Kept Clean" as exaggerated and 'mannerist' (Bowrnan 1995).

Hammond saw Dylan as quite undisciplined during the sessions: 'In a word, he was

temble. Bobby popped every p, hissed every 5 and habitually wandered off mike."

(quoted in Heylin 1995:S). No doubt he was ill at ease in this new and rather hi@-

pressure situation. Tempi on this session are quite fast in cornparison to later

reconlllrgs, perhaps a symptom of nervousness, and Dylan sings louder, uses more

vocal rubato and sticlcs quite stnctly to stable pitches (except in the 'talking blues' song

Talkin' New York"). As weU, the overail range of each song tends to be rather wide

l5 Interestingly, Dyhreserves bis most m-ered and aggressive perforxnarms for those times when he is interpremg blues songs. hem, with many examples covering a range close to an octave and a nftk16 Except for

Secfions of songs Iike "House of the Risin' Sun" and "Sec That My Grave 1s Kept Cleanm,

where a grinding rasp is cwltivated for occasional emphasis, Dylan maintah a light vocal rasp thrnighout the sessions. Gone is the sweet, clear voice of the May 1960 tape, replaceci by a Woody Cuthrie-insgired nasal =und that is constantly present throughout. Also in evidence here is the cuitivated Okie accent that Dylan had developed by the time he had arrived in New York in January of 196 1. This affedation was seemingly Wed from the Guthne records that Dyhhad been devouring since the summer of 1960. The combination of the nasal Woody Guthrie sound with the hÿuuierist' interpretation of black vocal performance is an unusual mùr indeed, and it represents a clear break from the vocal style of the May 1960 tape. This signifiaint change in Dylan's vocal sound and performance style coincides with a new ernphasis on African-Amencan repertory.

If some of the performances on this record seern overwrought, they do show a nirprisingiy sloïled singer at work, fidl of performative aggression. Dylan remernbers that 'There was a violent, angry emotion ninning through me then ..." (quoted in

~illiams199 127) and several cuts on 6bb 4yIm are striking in thek emphatic and colourful delivery. On 'You're No Cood", Dylan combines a powerful vocal attack with a relatively closed mouth, drïving the sound into his hard palate. This creates a dark, resonant tone colour which is then punctuated by suddedy bright and ndlong a uninds The exploitation of inherently nasal vowel sounds for contrast is a hallmark of

While ttiis might be tied to repertory somewht, Dylan does expand the ranges of sevd songs iike "Houseof the Risin' Sunn and "See That My Crave is Kept CIeanw thrcmgh octave hqmsitions of certain phrases. Such transpositions do not gendyappem in more "hditionalwrecordings by other singem. this performance and others like "Retty Peggy-On, especially at the ends of Enes. At

other thes, for-example in "Hard ThsIn New York Townn, Qian does the opposite;

moments of dark vowel sounds contrast with a largely nasal delivery. ï have used CECIL, a sound analysis prognun developed for Iinguists, to \ generate spectrograms of a potion of "Youke No Goodw,with an aim towards disphyin8 Dylan's timbrai manipulation visually.17 The dark horizontal bands represent harmonic partials, with the fundamental usually occupying the bottom band In spectrograms, vowels and voiced cotl~~l~~~ltswith richer harmonic content and

higher formants (often referred to as "brighter" timbres) create wide, blafk swaths, especially nearer the top of the display, whiIe less complex timbres (which are sontethes described as "darker"),show less activity in the higher frequencies and tend to have a few bands clustered near the bottom of the display. Sibilant sounds such as

Y show up as wide 'noise' bands18 near the top of the display, noise generally appears on spectrograms as amorphous dark patches. Along the bottom of each spectrogram, I have transcribed the lyrics as they occur, with the fïrst letter of each syllable in the lyrics corresponding to the beghmhg of that syllable =und in the display.

Observe Figure 3.1, which shows the spectrogram of the line 'WeU you're the hdof wornan ... rnakes a man lose hic brains". Except for a brief high fonnant region on the glide 'y"and a hi@-frequency noise spike on the "s" of "makes",this line is quite timbrally dark The light vertical band in the first third of the display shows a place where Dylan pauses slightly bctween the words ''the"and "londn.

l7 CECIL cari aiso generate graphs that de@ fundamental pitch, loudness, and the wwovefonn of a signal. l8 in spectrograms, large, amorphoas dark spots usuaiiy indicate noise, whidi is defineci in acoustics as a comtenation of inharmomc, random frequencies. Figure 3.1 : uYou're No Goodw

weU you're the kind a woman makes a man Iose his brak

In Figure 3.2 the next line, "a-yourrethe kuid of wornan... drives a man insane" is transcribed. The beginning of this line is almost identical to the beginning of Figure

1 in terms of lyric text, but the timbra1 profile is quite different. The upper regions of

the spectrograrn are much more active, and this canies on to the rest of the line, which is extremely bright in cornpanson to the second haif of Figure 1. Note rspeciauy the way that Dyianrshard, nasal delivery of the words "man" and "insane" cause the harmonic specmim to differ from the first liners "man" and "brains"; not only are the upper regions of the spectrograrn filled with partials on Figure 2, but the exaggerated brightneu of the same vowels (short and long a) the second time around cause the formant regions to nse, creating the light-coloured space just above the third partiai.

Note also the dark noise band on the word "you're", about halfway up the spectrogram; this corresponds to Dylan's harsh rasp on this word - a similar occumence can be found a few milliseconcis later on the syUable "kind",a little lower in the frequency

spectrwrn.

Figure 3.2: YYou're No Gd

a you're the woman drives man in sane kinda a

'Talkin' New York", an adaptation of Woody Guthrie's 'talkùig blues' style, is interesting in that it represents the only respite from the Guthne nasal sound on the album, though it retains the Iight rasp of the other performances. 'Tah'"in this genre is siightly more sing-songy than normal speech would be, and Dylan delivers his lyrics in a series of rise-fail contours (see Figure 3-31, with higher, accented pitches md a greater degree of pitch change occumng on the accented syllables of lexical

Wting' or action) words like "west"and "towns"and lower, de-emphasized pitches ialling on grammatical (conjunctive or fùnctional) words Iike "the" and "1" (as weLl as

!lie unaccented syllables of lexical words). These types of pitch contours, intensified and exaggerated, would later become a distinctive part of Dylan's style. Michael

Haiiïday's typotypology of speech intonation, to which 1 wili refer later in my analysis of

"LiLe A RoUing Stone", classifies this type of pitch contour as senring a "textualn

function, identifying each rise-fd meas a separate, important piece of information.

h the case of 'Talion' New York", though, this slightly "musicalizednspeech sems tied

to the rhythmic delivery and rhyming structure rather than the distribution of new information; stnicturally, the text is closer to song than speech. In later spoken

performances fie 'Three Angels" ( 19 7O), the rhythmic aspect of the vocal delivery is

downplayed and the performance is likewise much closer to everyday speech.

Figure 3.3: uTalki.n' New York"

Rambllli' of wild west Ieavin' towns love the owt the the I best

&b Dylan evidences an idiosyncratic, rmbitious interpreter of Amencan music, intent on making an impression. Sales were disappointing, though, and Columbia

>taiferswere dubbing Dylan "Hammonch foUyn behind closed doors (Scaduto

1!?73:36). By the tinte &b Dylan was in stores, though, he had Iong since moved on, Wh as a composer and as a performer. It wodd be DyIan's second alh,77ze

hwheeh'lblt Qdim, which would begin his career ascent and, with the move from

traditionai interpretations to original compositions, mark a major aesthetic change

which would be reflected in a sisnificantly altered vocal Me.

me hewheeh3MRyh The sessions which would eventually rdtin Dylan's second album twk place over the course of a full year (March 1 9, 1 962-April4, 19631, during which tirne he wddiargely abandon his rural folk music interpretations and move towards a career as a songwriter, with topical songs a strong suit. Twenty-eight songs have been officially released from eight sessions. Thiaeen of these appeared on the final version of me Fmwheeh'Bol, DyIan, released May 27, 1963. Though songs like 'l3Blowi.n' in the Wind" and "A Hard Rain's A-Gonna FalIn indicated a new direction, examples of the blues form do re& on Fmwheei'; including an original blues called 'Wownthe

Highwaynwhich shows the infiuence of Robert Johnson. Dylan iiftsJohnsonk falsetto wails and expressive, speechlike use of pitch - a technique that was to loom large in his later style. in fact, many of the performances from the ~wheelin'sessionsdisplay an increasingly confident and effective vocaf performer, in tunes like ''RamblUi' Gamblin' Wiiiiel', '%b Dylan's Drearn" and "Mixed Up Confusion" Dylan adopts an intriguing vocal 'shake', a slight, nipid waver in pitch (see Figure 3.4, from "Bab Dylan's Dream" - note the word Irery"), while in "Quit Your Low Down Ways" and "Conha,Coninan he cultivates a yodel last heard in Bob Dyi&s "Freight Train Blues". Figure 3.4: “Bab Dylan's Dreamn

we never much thought we get ver- y old cdd

Perhaps experimentation was in the air. These sessions saw early attempts at full band performances, with versions of ''Corrllia, Corrina"and "Mixed üp Confusion"seeing the light of day. Later in his career the presence of a bachg band would have interesthg effects on Dylan's vocal performances, but on these first attempts he does not audibly modZy his technique except to affect a slightly darker overd vocal timbre on "Mixed Up Confusion". Other vocal style changes are in evidence on these sessions, though. Higher registers become more common in 1962-63, with tempi still faster again in relation to the average over Dylan's career. On the other hand, Dylan's vd loudnessls settles down considerably hmthe performances on Bot, Dylan, and there is a sharp drop in the use of rubato and gihndo. Timbre variation ahbecornes

l9 This is not a hinction of the sound xtix. in Appendix A, "DatabaseParameters*, 1explain my use of this factor. wnsiderably less pronounced~ Dylan is beginnllig to incorporate a speechlike elernent into his sin* on

hewheI.! In nMastersof Warn Dylan uses a type of pitch contour at the ends of lines that lies somewhere between song and speech - the pitches can be thought of as componenb of the scale, yet thek hre, curving contcnars strongly suggest the intonation of speech. This slightly speechlike pitch use is then juxfaposed with strongly pitched, sustained note&. Figure 3.5 shows a CECL pitch transcription of the lines "A-for threatening my baby, unboni and unnamed/ you dtworth the blood that nuis in your veinsn. The first phrase contains accented, strongly pitched 'stabs'

(foliowed by quick falls) on the words "baby"and "[un]named",while the second phrase (Tou ain't worth the blood that nuis in your veins") flutters downmd in a series of pitch inches that vaguely comspond to the scale at the same time that they mimic the cadence of angry, derisive speech.=

2û But not completely absent. Li "OxfordTownm the melodic line bounces between two levels, one hi& in pi& and âark in timbre, the other low in pitch and rather nasal and bright This is a kind of timbre variation, but because it is cadytied to regbter, it is no t really considered as 'variationfi as such in this analyticai systea "Honey, Just AUow MeOne MOR Chancem,thmgh, smdslike an outtalce hmBob Oyh,with its extreme and rapid timbrai swings. Zi A sLnilar tedimque is employed in "Kingsport Townm. * The mdden shiftP downward in pitdi at the second syhble of "baby' and "and un (~mod)' in the kttwo graphs are mediaracnl tmmmiption em>m CECIL sometimes backs pitch in a lower octave than it achinlly occlus. This is due to Lhe presence of diffeRnce tones and ahashg in the digital samples taken of the recotdmg by the compter. Figure 3.5: uMasters of Waf

a- for threat- nid my ba- b~

un- born and un- narned you ain't worth the blood that

runs in your veins

Tliis type of careful manipulation of pitch resources rnight be seen, dong with the concomitant reduction of 'expressive','srnotional' singing details nich as and timbre variation, as an effort on Dylan's part to better serve his increaringly poetic, text-intensive lyrics. At feast on the surface, Dyhis making a shift f?om an African-

American aestetic (with importance placed on timbd and rhythmic pIay) to a more

Euro-American detic(with grrater emphasip on tefeofogid narrative). This makes some sense, yet how do we explain the increase in special vocal kicM iike the shah and the yodel? The yodel can be placed in context, perhaps, when we observe the types of songs in which it appears - blues-based forms, which are les narrative than Dyian's topicaf material and which also remain, as they were on

&b Dyfmz, the repository of his more stylized performances. The s&, on the other hanci, can be understd as a dramatic effect. In "A Hard Rain's A-Gonna Fd" Dylan opposes a slight vibrato/shake in the verses with a straight, cfipped delivery in the rem,perhaps to inject narrative interest into a lyric that is strudually a "catdog, a

'chain of flashing imagesm (Williams 199 I :5 9). In any case, the shake and the yodel were not to last; on his next three albums, a clear, uninflected dechation was to become the rule.

72e Thes 72ey Are A-Chan@'

me TUnes mey& A-Chmgk'was recorded over six sessions at Columbia

Studio A between August 6 and October 3 1, 1963. Two cuts from Witmarka demo sessions held d&g this perdhave also ken released Of the eighteen officially released cuts, ten appeared on the album, which was issued January 13, 1964.

Another performance from this time has ken released, a Lve version of

The Wind" from the Newport Folk Festival dated July 26. Though the instrumental acmrnpaniment is supplied by Dylan's guitar alone, he is joined here by several other

Dylan's music publisher at the time. singe=, who ldose1y hannonize thrrrugh every verse and C~ONS. The vocal sound of

this live cut stands apart from the recordings chronologically preceding and foliowing

it, being higher than usuai and extremely IlSLSal. This seems to represent an effort by Dylan to timbrally differentiate himself from the crowd of other singers that sufiound

him. This is a tendency that will r#w often when Dyhis joined by other voices - his voice will become higher, more nasal, and sttanger, as if to enmthat his voice will

cut thmugh and be heard24.

According to Chton Heyh, "[DyIan's] third album incorporates large elements

of the style, tone and content of its predecessor" (Heyh 199524). Only three months

had passed between the end of the fkewheelin'sessions and the begiruting of the

sessions for Times. Much of Dylan's vocal style remak the same through both dbums,

probably because there was little the for change, but abbecause the other elements of Dylan's music had rernained more or less shik His vocal style changes seem to connect to larger aesthetic shifts, and nich a shift is not reaiiy present here. The alterations that do take place xem like a refinernent of the Fkewheelùt'voice, which downplayed husicalizuig' (xnuid-sense/Ahican-Amencan)elements like timbre variation in favour of clear text declamstion (lyric-rwe/Euro-Amencan);the piano demo of TheTimes They Are AIChangin'" that Dylan recorded in September 1963 features particularly clear enunciation. In some of the performances, the disinteresfed, unchanging vocal sound serves to point up the erngtiness and futility, the cycle of desperation, of the characters' lives, such as in UBalladof Hofi Brown" and 'North

Country Blues". On others, though, likc The Lonesome Death of Hattie Carroll",

24 Wüliam Ediard, desaibing the Canadian singer Stompin' Tom Camnors, referred to a simûar qurtlity in Cornors' voice as "insistentforegroundingn. (Ediard 1995: 143) Dylan does usc a kind of hbrdand rhythmic manipulation, though not in the playful

mode of his eariy, %la&' performances. Here the contra& serve the narrative thnisi

of the lyrics, driving home through performance the niessage that might have been

missed in the lyrics. The first theverses of "Hattie Carrolin feature the dom

timbre and slightly 'closedh sound of much of Ties These verses also codtute the

'setup' for verse four; they provide the setting and baclcground for the miscarriage of

justice which is to folIow. In that fourth verse, the timbre of Dylan's voice suddenly

opens up, a ciramatic vibrato appus, an4 most powerfdiy, rhythmic play sharpIy increases. Frequent pauses appear between phrases in the fourth verse, they accelerate

and decelerate, and beats are dropped in a kind of 'skip"? On the whole, time is

destabilized, and the effect is that of the carpet king pulled out from under the

listener as the courtrwm cornes to be governed by enforced insanitr, the stage is set for

moral outrage to take hold26. The refrain which foUows this final verse features extreme glissando, with a

rne~odramaticand ciimactic effect. Figure 3.6 compares CECIL spectrograms of hes

from the first and iast verses, and Figure 3.7 compares CECIL pitch tramnptions of the fVst lines from the first and last refrains of Wattie Carroll". Note the very

different spectrugrams for lines fiom the first (Figure 3.64 and last verses (Figure

3.6b). Not only is the second example brighter timbrally on vowels, but the

25 The musicai interest of thip veme is matched with a sigmhcant increase in the occummœs of 'poetic' tedrriiqes like aiIiteration and interna1 rhymes. These literary details usudy take effect within the sonic imagimry of the dent reader of wribpoetry, but when mgthey enter the reah of (expliatly) çomc activity. 26 SvenCu~es" aiso uses this kind of timbrai and rhythmic manipulation, with inaeased rhythmrc play and more open timbres in the final, dimactic verse. consonants are "noisier' as weil, with articulations of syllables more clipped and

sharply attacked.

Figure 3.6a: uThe Lonesome Death of Hattie Carroll" - spectrogram (first verse)

Wil-Iiam Zan- Wng-er Med poor Hat- tie Car-roll Figure 3.6b: uThe Lonesome Death of Hattie Carroll" - spectrogram (final verse) and that lad- der of Iaw has no top and no bot-tom the

Figure 3.7~me bnesome Death of Hattie CarroU" - pitch (first refrain)

but YOU who Figure 3.7b: 'The Lonesome Death of Hattie Carroll" - pitch (nnal refraui)

who phil-O- so- phize Glissando is on the increase throughout Th- as DyIan continues his shift toward a more speech-like inllection (pitches in speech most often siide fkom point to point), though his melodies remairt 'sung', that is, with pitches adhering to those of the musicai scale. Timbra1 variation, for the most part, continues to decrease, a trend that wiU reach its apotheosis during the Another Side Of Bob @hn sessions. ib we have seen, Dylan's voice during this theis moving toward a speechiike style; not nirprisingly, TMies contains no songs with blues hannonic structures-

Just before the last session for Timq mian performed at Carnegie Hall, and a couple of performances front that concert have been released Tah7JohnBirch

Paranoid Blues" is interesthg in that it shows a change in Dylan's tahgblues style - hmthe first album He was soon to abandon the genre, and this is one of the last known performances by Dylan of this style of song. 0ddly7it is this performance more

than any other from the era which points forward most StrUngIy to YLiLc A Rolling

Stone" in vocal style. The perforznance is quite rhythmidy fm,and very closeiy

aligned to structural notes of the scale, such as the tonic and fifth degrees. These tones seem to serve as guideposts7between which DyIan slides and ben& his notes hely to

approximate the cadences of spoken expression. Essentially, this is the High way 61

RevLÎifedvucal style, albeit with a lower depeof rhythmic fixedom. Perhaps this late

tahgblues, bma genre of DyIan songs long dismissed as Guthrie-derivative trifies,

holds a key to the development of Dylan's cclassic' 1965-66 vocal style.

A fikned excerpt of Dylan performing UOnlyA Pawn In Their Came" on July 5, 1963 is included in the documentary film of his 1965 British tour, Bn't Look Back

The scene is a voter registration rdyin Greenwood, Mississippi. Dylan seems to be

standing on a wooden porch, singing through a primitive (even by 1963 standards)

P.A. system. In this performance, Dylan's head is slightly lowered and he stands rather

stiffly, his mouth barely rnoving as he articulates the lyrics. On accented syllables, he

tilts his head upwards slightly, as if to thmw the word into the microphone. The visual

element of Dylan's performances is of interest in that it changes as his musical style,

and perhaps general aesthetic, changes. This brief 1963 footage 1 will contrast in tum

with 1 964's Qu& show, Lbn 't @k Bsck (filmed in Apd and May 1 965,released in

May 1967) and E8r me ment(fihed in May 1966, releasd in February 1971 1. Anofher Side of Bot, DyIm

Dylan's fourth CoIumbia album, Another Side Of &b was recorded in a

single d-night session $une 9,1964. Eleven songs hmthis Sespion were reldon

the album August 8, with an outtak;e, "Marna, You ken On My Mindn surfacïng on

me RwfIeg~nksAnother fide can be thought of as a fist foray into what Heyh

calls 'Qylan's playful murangement of language" (Heylin 1 995:3O). If this is a new

begiming for Dylan as a lyricist, Anutlm Side also marks the cwilnination of many of

the vocal style characteristics which had ken develophg since FkewheeILn! Timbra1

variation is almost completely absent, while vocal rubato, another speechlike feature, is

on the rise. About balf the songs feature a rather slurred enunciation, and perhaps this

cmbe partly accounted for by the two bottles of Beaujolais Dylan brought to the

session (Hentoff 1964:46). ahenvise, Dylan's voice is basicdy consistent with that of

his two previous albums, except for a slightly brighter overall vocal timbre. A striking

characteristic of AnoLher S'though, is the great deal of unifortnity in sound and

style from song to song; for example, nasality, syIlabic density, rubato and vocal

volume are consistently the same throughout the session. It makes sense to connect

this with the fact that all the songs corne from a single session, but this still seems curious with a performer as flexible as Dylan. The songs themselves are fairly varied stylisticaily, so why dues the vocal perfomnce stand stationaqî The mermight be found through an observation of Dykn's aesthetic of the the. If his vocal style at me was moving toward a 'demusicalized', 'speechified" treatment of text, then perhaps a

%ta, unchanging vocal sound was the pinnacle of that trcnd; text ddthen be heard without the veil of stylized performance (even 'Black Cmw Bluess, a twelve-bar blues, is given a relatively straight treatment)z7 . But Dylan was rnoving away hmtopical lyrics, and the "playfial rearrangement of Ianguage" of new lyrics Wce uChùnes of

Freedom" and "Mr. Tambourine Mann(an early version was rrcorded at this don but was mleased until the Wway61 lnfefachfachveCD-ROM appearrd) wodd eventually reiurn him to a more 'musi* styIe. So Another Sire stands at an awkward junctun, with a vocal style suited to topical song overlapping with increasingly abstract, irnagistic Iyrics.

In 1964 Dylan taped a CBC program?Qu&, where he perfonned several songs on a studio set designed to look litct a nual cabin. A hidden or overhead microphone was used, so Dylan had no vocal mic to interact with; nonetheless, he does thrust his head slightly forward on accented syllables, especially where the syIlab1e carries an upward pitch slide. This gesture-=und synchronicity has a fùrther exponent in

Dylan's eyes While in the 1963 fh clip Dylan seems to bIink uncontrollably and constantly while singing, the six @est performances show a certain connection between lexical words and bIinks. As an exampie of this, I have transcribed a stanza of

"Girl From The North Country" fmm @est, with upper-case letters used for the syllables where Dylan bhks (the camera is not on Dylan for the first two words):

if youtre TRAVellUi' in the NORTH country FAIR where the WINDS hit HEAVy on the BORderline

-- - My"Chimes of Fdom*stands out as having any lcind of sig16cantIystylized performance; the Last few Lmes are rendered with a harder, more strident timbre than the rest of the song. This is a reiteration of the narrative performance technique used by Dylan on Tims' "The Lonesome Death of Haüie Canoii" and the outtake "SevenCumes", whem a performance variation in the last section of a song serves to drive home the texttlnl point (the series of h+ rhythm intdrhymes of, "for the countlesa conhised accused mipuped stnuig-out ones and worse" heip, no doubt). REmernber ME to ONE who lives THER):

SHE once WAS a TRUE LOVE of mine

Whiie the invocation of such deta& in a vocal style history may seem bd, there is no doubtllig the physid element in vocal expression, and Dylan's gestural behaviotu while perfor-g (blinking would be a smd-scale gesturr, obviously) does seem to index aspects of his art of the the. The nature of this correspondence is not completely clear, but 1 would speculate that we rnight understand the head thnists on upward pitch accents and blinlcP on lexical words as part of some deeper body/I.anguage connection in Dylan's art which will play out more explicitly in later performances.

Bb-glf NB& Home

Like its predecessor, B'It AI1 Back Home was recorded in a rebtively compressed span of tirne - three sessions over three days, January 13- 15, 1965, with only the second two days yieiding album cuts. Of the 16 released tracks, 1 1 were released on March 22, 1965. It would be Uiaccurate to say that Dylan's voice undergoes a wholesale change, but the changes that do happen an quite pronounced

First of d,blues forms rnake a strong retum here, and they seem to bring with them other aspects as well. The occurrence of moderate timbre variation rises sharply, while dtyvaries hmsong to song while king generally dder than on Anofher Side. A special aspect of B- l'All Biuk Home is the appearance of very long phragu - perhaps related to this is the retum to a rather metronomic rhythmic feei (in @cal tenns, longer phrases allow less room for rhythmic play) and the vuhial disa~nce of mekB'is also the album where the play between stable notes and sliding,

speechlike pitch cornes to the fore for the first time (especially on the 'eieCtric1 performances). This is probably the most famous aspect of Dylan's vocal style, and it is

a technique he has constantly returned to since these 1965 sessions*

"Maggie's F-" is interestin8 in its use of pitch - like "Subterranean Homesick Blues", the pitch is highiy iterative, rnarking certain notes again and again, yet this

performance maintains a speechlitce contour between these stnactdpoints, and, iike in speech, the accented syhbies of lexical words are given pitch prominence. Figure

3.8 is a pitch-time graph of Dylan's vocal iine on the lyric "'&y say sing while you

slave and 1just get bored". This type of transcription is intended to show the pitch

contours of Dylan's singing by plottirtg lines across a grid The verâical axis of the grid represents pitch. The horizontal lines represent degrees of the major scale, with two

octaves from top to bottom. The tonic, third and fifth, what 1 would term the structural tones of the rale, are ruled in black, while the other tones are ruled in gray.

The horizontal axis of the grid represents musical tune, with each beat given a line and the fkst beat of each major rhythmic grouphtg ruled in black Cuncerning the pitch contours proper, clearly audible pitch is marked in black, while faintly voiced, 'felt' pitches are marked in gray* The lyrics are transcribed undenteath the graph, with the fikt letter of each syiiable directiy underneath its initial sounding in the graph itself-

Note in this example how Dylan never seîtles on a stable scale note, yet his speechlike pitch contours tend to skctch out sfructural tones like the third and fifth. In this case, tonic prominence is mostly manifestecl as a bermagnitude of pitch change

on most lexical words lilrt "say", "hgnand %0red"2~. This song, like "Subterranean

Homesick Bluesn,"Love Minus Zem/No Mtnand "On The RdAgain" derives its

tremendous rhythmic drive by Whle of a high degree of syncopation. Dylan has

diçcovered during these sessions a hiack for combining on and off-kat articulations in

performance, imbu@ the vocal kewith a certain forward propulsion. And no doubt

this assists in the delivery of the extremely long phrases which pervade these songs

(this is one of many performative techniques that hrrn out to have a primarily utilitarian function). When Dylan retums to acoustic performance during these sessions, we see that his style has changed here as weU, though in a different way from the 'eIe&cr Dylan. "fi.Tambourine Man", for example, is a highly nuanced performance, with a very clear enunciation and a nch tone colour.

The BnZ Lmk Backfilm is not a complete picture of Dylan's performative art in 1 965, as it only includes acoustic performances. Nonetheless, changes are observable in Dylan's performing dcmeanour from the 1 964 @est show. Dylan's head is raised from a downward to a level position (sornetimes his head is tilted to one side) and his mouth is slightly more open while singing. On older material like 'The

Lonesome Death of Hattie Carrollnand 'The Times They Are A-Changin"' Dylan tends to keep his head still, while on "Gates of Eden" he does resume his practice of tilting his head upward and outward into the microphone on accented upward pitch slides.

Perhaps this nflects a greater enthusiasm and passion for the newer material on

Dylan's part. Seemingly during this the Dylan was growing restless with his older

213 Lexical words are nom, verbs, any wmd which refers to wmething in the world or in the mind. Grammatical words, on the other hand, are the cormecting wo& of language üke %ndH, "OPand "bat". PLEASE NOTE The exact nature of this speechlikc singing style is hard to nail down definitively, but a generd tendency towards sliding pitch may be noted, as weU as a tendency to highlight grammatically prominent words with higher pitch levels and a

greater degree of pitch change (though "Like A RoiIing Stonenjuxtaposes contradictory grammatical and musicd messages quite often in perfonnance). Melody lines in this

styie tend to be highly iterative, with phrases usually following the pulualdownd

cuwe of staternents in speech.30 "Like A Rohg Stone" stands as the classic example of

this vocal approach, but eariier versions of this Song are performed quite differently.

The solo piano demo released on îïze Bwfleg&nis, when compared with the

origuially reIeased version, demonstrates that the wide glissandi of the latter replaced more discrete, scalar melismas in the former.

Once the definitive "Rolling Stone" performance of June 16 was in the can,

though, it seems to have acted as a mode1 for nibsequent Highway 61 vocal interpretations - only ''Desdation Row" (recorded last, and the only acoustic performance) stands sigruficantly apart from the other songs on the album.

"Desolation Row" has one of the few non-iterative rnelodies of the album, and though

its performance uses a good deal of glissando, the pitch falls tend to land on stable, axticulated notes rather than fading into oblivion.

Other sung performances on Hiph way 6IRensifed adhere more closely to the

"Rohg Stone" mudel. "TombstoneBlues" dculates an interesthg facet of this style by evoking speech through a mg,though stubbonily flat, vocal he. Only in the chonis does the pitch drift into tune enough to k hdas sung. The persistent fiatnes of the

3û This bears some resembhce to the vocal style of some Af3can-American foksing~, according to scholars iike JefF Todd Titon. verses gives the performance a lay,conversationa1 cuwe which, dong with the

syncopated articwlations, actually serves to enliven the highiy iterative melody. "Ballad

of a Thin Man",dong with "Desolation Row" showcases a newIy rich and controIIed

low register, "Queen Jane Approxhatelynuses regish;il and timbral poiarity similar to

fkewheeWs "Oxford Town", where a timbrally dark high register is balanced with a

brighter Iow register. "Highway 61 Revisitedwstarts out iterative, but Dyian goes on to

Vary the melody of each stanza slightly in performance. Figure 3.9 shows the fïrst

phrases of three stanzas; notice how each hevaries to serve the grammatical

arrangement of the Iyrics, with the lexical word-heavy fïrst phrase (Figure 3.9a) relatively level in pitch compared to the thkd stanzafsfirst line (Figure 3.9~1,which

contains a large number of gratnmatical words. That is, Dylan manipulates his pitches

so that the accented syilabIes of lexical wor& receive higher pitches, so in a phrase Like

Figure 3.9c, the arrangement of lexical and gramrttatical words leaves us with a pitch

profile like:

weU Mack hg said Louie king the er to the

and this can account for the melodic variation from stanza to stanza.

Blonde on BIonde

Dylan's next album, Blonde on BIo..de, was to prove a much longer and more arduous recording projet than its predecessor. Sessions began on October 5, 1965 in

New York with the Hawks, a rock and mLf group that had bacbd Ronnie Hawkins and

would eventually becorne hown as The Band The twelAh and last session was in

Nashville on May 1O, 1966, and the double album was released by Columbia on May

16,1966. Of the 22 rr1eased performances hmthis period, fourteen appeared on the

album, with the remalliing eight camprised of studio outtakes and live cuts. Though

the vocais remain totally solo, the instrumental ensembles used on these sessions are

unudykrge (especially at the Nashville sessions, hmwhich most of this material

is derived). Perhaps due to the cool professiomhm of the Nashville musicians, these

instrumental performances are more subdued than rncrst of the Wway61 rave-ups.

There is strong evidence that Dylan adapts aspects of his vocal performance to the

inshumentd chtewhich swrrounds him, and the Bhde on Blonde sessions seem to

bear this out; with more sonic breathmg space, Dylan's pitch range widens, his vocal

loudness dllninishes, and his voice becomes Iess nasal. ûn the other hand, his

exploration of a speechüke fke intonation continues, with almost every performance

straying far from the fïxed pitches of the idealized equal-tempered scaie.

Harmonically, B'eun BIonde represents a certain reversal of the excursions into

blues forms that charaderized Dylan's two previous albums, B'gingIIt ALI Bsck Home and niphway61 Revisited The vast majority of the songs collected here articulate a diatonic major tonality/modsility.

The most sisnificant aspect of Dylan's vocal style on BIonde on Blonde is the degree to which his speech/song style is developed On "Can You Please Crawl Out

Your Window", a middle gmund between the two poles of speech and Song is rnaintained. Most of the pitches are in a constant state of sliding, bending fin. When stable scale pitches are articulateci, they seem like an accidental by-product of nahiral speech melody. One can imagine Dylan rnapping a speech intonation pattern loorly

PLEASE NOTE

Page(s) nat kiduded wim original maOsrial and unamilable from aulhor or unlversity. Famedas~. This type of antecedent-consequent relationship *dbc familiar to any who have

studied melodic genres in Western classical and folk music, but Dylan's approach is different (in song, not speech) because he places the salient pitch movement on a single syIlable/hotet, rather than distn'buting it over an entire melodic phrase.

The film &t me Lkrment depicts Dylan's 1966 British tour with the Hawks. The performance footage hmthis time shows a startling change in geshual behaviour

from the previous year's tour. On band performances of "iDon't Believe You" and 'yust LiLe Tom Thumb's Blues" the microphone becomes the central focus of Dylan's

performance, as he sways his arms outward, then frames the rnic with splayed hands as if to shield out all outside sounds. He hardly touches his guitar, instead concentrahg all his energy on the microphone, which he approaches from several different angles, leaning in on long notes and then rushing away between phrases. AU the while his body is bobbing up and down slightly in an eighth-note pulse. Other footage documents some acoustic hotel-mm sessions with guitarist Robbie Robertson.

During the performance of a ballad caiied '7 Can't Leave Her Behind" Dylan slowly and deliberateiy pushes his head upward and outward on accented syhbles of lexical words and long notes, eyes closed and occasiondy tilting his head hmside to side. It is tempting to connect this apparent physical libration with the ''free"character

(especiaiiy in the area of pitch) of his late 1 965-mid 1966 singing style, but I will reserve such concIusions for a later date.

This diachronie analysis of Dyh's vocai style from 1960-66 shows the performer working thgha series of 'voices' that an more or less ùidexed to his song repertory. The first of these to appear on tape is the icso-called uNashville Skyline voice", a rich, throaty sound with faidy straight pitch and timbre use. Coincident with this voie is a repertory that focuses primarily on rural fok song (and in the case of the

1969-70 incarnation of the "Nashville Sbhevoice", country music and pop 'oldies'

like %lue Mani"). By the theof Dylan's fïrst Columbia rrcording sessions in iate

196 1, Dylan's repertory is strongly oriented towards African-American blues. Much

of his recorded materid from this time exht'bits a stK,ngly exaggerated blues vofal style, with playfui and extreme timbra1 variation, a variety of vocal %cksn and wide

pitch ranges. Dylan's vocal style changes significantly again over the course of the

Fmwheeh'and Times sessionsIISIn this 'topical song voice', playful timbra1 variation

is significantly downplayed, thou& occasiondy Dylan will employ rhythmic and

timbra1 variation in a way that advances the narrative thstof a song. On the whole,

though, Dylan's voice on TunRF and AnoLher Side is quite clearly enunciated and free

of the playfid sonic elements which dominated his first album. This style suits weiI the

End of material that Dylan was performing on Timesand much of Fnewheel'

topicd, narrative protest song.

While the 'topical song voice' reaches its peak on TUnes and hoher Side, the

performances on Freewheeh'seem to be at a transitional stage stylistically. The even,

rnunciated text declamation is in place, though vocal Lhicks' like yodels and pitch

shakes do mpup occasiondy. This might reflect the transitional nature of Dylan's repertory at the the, of course, which consisted of tallcing blues, rival blues and topical material. But on Another Side of Bot> DyAm, the 'topical song voice' rernains while the lyrics have become more personal and Ilnage-oriented, that is, somewhat less iiarrative'.sl It is not until the sessions for Belt AU Back Homein 1965 that Dylan's voice begins to Ht' his new rnateriaL

B'Binglt AII Beck Home also marks a Shang retum to blues forms. The harmonie and formal idiom of the blues seems to effect sisnificant changes in Dylan's

vocal style thghout his career, and the sons on this album do benefit from a more

flexibIe use of pitch and timbre. More importantly, though, Dylan seems to fuid his

voice during these sessions, in the sense that a version of his most idiosyncratic and

durable vocal style appears. That style, which 1will cdhis 'Wd, mercury' voice"

uses pitch and timbre in a way that is simultaneously playful and powerfdy imbued

with meaning. The Wd, mercruy' voice is strungly linked to the cadences of everyday

speech, and it draws on the semantic power of speech intonation for narrative and

affective purposes At the same time, Dylan's newly-free pitch and rhythmic

articulation affords him the opportunity for Wtuosic play, a type of performance that

has its own meanings and connotations. Up to his motorcycle accident and mbsequent

seclusion starhg in July 1966, Dylan plays out a development of the 'wild, mercury'

voice on record? In Chapter 4 1 examine a classic example of this voice more fully.

It sMdbe noted, though, that the harmonie and melodic idioms of the son* found on Another Side remain hdywithin the danfolk style of Dylan's hvo previous aibums. 32 It rnight be argued that the 'wild, memiry' voice has been the touchstone of Dylan's vocal style hughout his subsequent career (with the +le exception of the 1%9/70 'Nashville Skyiine' voice). Chapter 4: "Lïke A Rolling Stone"and communication

Linguistics and Speech

Throwgh much of the history of luiguistic inquiry, the written word has

uccupied a privileged place as an object of shidy. Languages are tndtionally analyzed

primady in terms of their grammars; this reflects the popuhr belief that words and

sentences constitute the essentiai part of human verbal comunication33. As such,

spoken Ianguage is routinely h.anscnbed to written form for anaiysis. Of course,

popular howledge aiso tells us that 'howyou say sornethïng is ofien as important as

whaf you say'. Every native speaker of English ptzfiotrns the Ianguage in some way that

comrnunicates things that the written word cm not. The scientinc understanding of

this 'sonic sense' of speech, though, has developed slowly and fifilly until recent

years.

As early as the 1 9307s,work began to be undertaken towards the

understanding of speech urtonafiofl,the universe of sonic detaiis that accompany

every utterance. These details Iliclude large and smdgradations in pitch, timbre,

amphde and rhythm. While this work has continued up to the presnt time as a

minor stream of hguistic research, until recently intonation was thought of only as an

affective colouring of the word-based sense of language. The domain of meaning, even

The exception to this is the iarge body of work devoted to "tond8'hguages. These languages, whim inciude Thai, Chinese and mnny Afric8n languages, have words whi& alter in meaning according to th& relative pitch Ieveis. "The setrse in whidi linguists use the term "intonation" ciifferssignhcantly hmthe rnusicoIogid usage. While "intonation" in music tefers to the degree of "in-tunenessl' of a pitch or turiing system, the same term in linguistics subsumes d the sonic details of speech, without music's asmmption of a pitch standard (such as the 12-note equal-tempered scale). in speech, has always ken assumeci to belong to the lms (the words and grammatical constructions) of language.

The systematic and functional nature of the speech parameters beyond the lexhd cïazm (the word sense of an uttenuice) is only begllullng to be understood by specialist linguists. What is already clear is that these parameters, usudy referred to as paralllrguisfè and pas&c featwres, collstitute a complex and interweaving network of signs that interact with syntactic structures. The resulting spoken combination can contain not only information about the speaker's ernotional state, but also rnany other meaningfui aspects of communication.

Intonation

The iinguist Michael Hafiday has formulated a cogent system for understanding speech intonation (speech pitch, rhythm and amplitude) in the context of a "functional" English grammar in his 1970 monograph A Cowse h Spoken

~gî'issh:htonsfion and his larger work from 1994, An h~ucfi'oonfo ftuictiond

Grammar. Since Hailiday's work on the na- of speech has constituted one of the starting points for my own thesis nsearch, I begin with a thumbnail explanation of his theory as it applies to the present work The following short exegesis is a paraphrase of some of the ideas put forth in Halliday's I970 and 1994 publications, with an ah toward setting the stage for the adysis here.

Michael Halliday's work on intonation

Pitch patterns in iartguage are leamed conventions, shared by native speakers and understood across regional didects and accents. Michael Halliday%msearch on the role of intonation in English has yieIded one of the most effective approaches in

this relatively underdeveloped field His 1970 book deaIt at Iength with the complex English intonation system, pmviding an inventory of the mast cornmon pattern and

offering interpretations of variosis word cIause/intonation combinations. The larger

1994 work placed intonation within the conte* of a fhcfiOnalEnglirh grammar. A

functional grammar attempts to understand language as a system that fdfills various

communicative functions though the various details and levels of the language, such as intonation, word choice, word order, etc.

Rhythm Rhythm35 in Halliday's grammar is understood as a succession of feet, which will contain one or more syhbles. The fist syllabie of every foot is stressed, or dïeM

These salient syllables nonnaily fall on one-syhble lexical (i.r., content) words or on the accented syllable of lexical words with more than one syllable. Grammatical words

(connechg words such as "and", 'Lor", "of", etc.) are normaIly not placed on salient sybbles. In the prosodic notation utilized below, each new foot is marked off with a

"/" (slash). Occasiondy the first syiIabie of a foot is dent (though still dent),and this is marked with a caret - """. Some examples are transcribed below: often the/overaWtempo ofhpeech wiII/fluctuate each new/foot is marked/off with a/slash

"Rhythm" in Halliday's parlance refers to syiiable accent patterns, timing and siience in 'connected speech' (speech witich is not internrpted by long pauses). It should also be pointed out that Halliday's theory of speech rhythm differs sipuficantly hmstandard prosodic theory. Note how the syhbic density of a foot is dependent on the &man& of a regular

'beat'. in the third example, the second foot contains only one syllable (Ufirst") while

the fwt immediately following contains no les than four (%yIlabIe of"). A speaker

wilI intuitively crowd those four syIlables into the same approximate period of time

that he or she took to utter the sirtgie syUabIe in the previous foot. English speech

normally continues fairly regularly as a procession of these rhythmic feet, though often

the overall tempo of speech will fluctuate.

Tonality

Intonation in English is organized in units Halliday caLts tonepups. The tone group consists of one or more feet, often comsponding to a clause. Halliday says of the tone group:

The tone group is one unit of Momafzbn, one 'block in the message that the speaker is comrnunicating; and w, it can be of any length. The paticular meaning that the speaker wishes io convey may make it necessary to split a singie clause into two or more tone groups, or to combine two or more clauses into one €onegroup (Hafiday 1WO10:3-4).

The pattern by which tone groups are distributed throughout speech, cded tonalifp6,is crucial to the sense of an utterance. The speaker divides up the stream of spoken words into groups, and this reveals to the listener how to mentally organize the information. ALmost all of the time, tonality foffows a predictable course, with tone

The word "tonality" as it is wdin Halliday's book must be contrasted with the musicologid sense of the word, where it rehto the use of a cenhtaLized key sysbin melody and harmony. groups basicdy corresponding to grammatical clauses. But when it is disnipted, as in

Bob üyian's 1965 studio pedormance of YLike A Rohg Stone", grammatical sense can

k fundamentally altercd (see Chapter 3). Tone grcups are marked off by a double

slash, '//e7-

Tonicity

Each tone group has a fonic gdllsI6 a place of prominence which the speaker

seeks to mark as most important and which cames the most pronounced pitch change.

This tonic sylIable always fa& on a salient syhble and is notated in transcription by

underiinuig. It often carries the bwrden of "new information" in the clause and as such

the unmsrkpd, or normative, place of a tonic sylIable is on the lad lexical word in a

clause38. Placement of the tonic syIiab1e in places other than this is understood to be

contrastive. The placement of tonic prominence, whether marked or unmarked, is

referred to as toniciify: Below are the three examples from the section on speech rhythm, with tonicity and tonality notations added

/ /often the/overaU/tempo of/speech will/fluctuate/ /

//each new/foot is marked/off with a/slash//

//Athe/first/syllable of/every/foot is/stressed//

As a tone pupdivision always coinades with a foot division, the double slash indicatos a new hot at the same time that it identifies the begimiing of a new tone group. 38 The notion of "markedness"is related to the de- by which a grammatical featrve is normative, that is, consistent with the meanhg of the larger segment. "Unmarked"featm~s aie normai and common within the context of the dause, wMe *markednsegments are unnsual or contrastive in some way. Tone

Halliday has identified five basic tone groups in English, in addition to two

compomd ton* which each combine two simple tones? The identity of the pitch

contour in a tone group is sirnply called tune Tone, then, interafts with tonality

(distrihtion of tone groups) and tonicity (placement of tonic prominence) to mate

meaning in English intonation. FoIIowing are the tones identified in Halliday's system:

simpIe tone groups:

tone 1 f&g tone 2 high rising, or falling-rising (pointed) tone 3 low rising tone 4 failing-rising (rounded) tone 5 rising-falling (rounded)

compound tone groups:

tone 13 fahg plus low rising tone 53 dng-fahg (rounded) plus low rising (ibid:9)

These tone groups cany what Halliday calls the "melodyof Engiish speech". He continues:

There is no limit to the number of different pitch contours that it is theoretically possible to produce, and the human ear cmdiscriminate very finely between them. But not aIl the variations..are signifîcant (ibid:6).

Tone groups are usually divided into two segments, a fonic segment and a pzefo~ic.The tonic segment includes the tonic syilable and any syhble following that continue the movement begun by the tonic @able. The pretonic indudes di syhbles

39 AS 1have found only simple tones to be used in the present anaiysis, the theory behind compound tones wdnot be delved into hutheer. leadùig up to the tonic syhble. Pretonics can also have patterrted contours which art

mesuiin@, and these contours can be independent of or dependent on the tonic

syllables that they precede. Not all tone pups contah pretonics, however, as one

tonic syllable is all that is required to constitute a tone group.

Intonation and the functions of EngIish grammar English intonation, then, hinges largely on only five tones that are considered

meaningful by speakers, and these five can be further reduced to the basic dialectic between fahgand Ning movemenr0. The actual intonation system in practice,

though, is very subtle and complex, as is the system of meaning which accompanies

these tone groups. In Halliday's larger grammatical system (see Halliday 1994,

language hnctions in three basic ways. The ideafionslrne~cfionconcerns what is being spoken about - objects, people, ideas, etc. The infezpenonalmetaf~~nctiontells us what kînd of transaction is going on between speakers and gives us clues about the

re lationship between the speaker and listener(s). Finally, the fexhral met&ncfion deals with the distribution and hierarchy of blocks of information within the verbal

message. Broadly speaking, we can connect tone (the actual pitch contour used in a

tone group) with the interpersonal metafunction, tonality (the distribution and

division of tone groups) and tonicity (the placement of tonic syhbles) with the textual

metafunction. The ideational metafunction seerns to be connected primarily with

lexical choices. Intonation, as a whole, then, tells us most pertinently about the

Bmadly speaking fahg pitch movement is related to "polar certamry" (Le. in questions that require a yes or no ansver) and rising pi& movement is related to polar unceTtainty. The way that this basic opposition is played out hughthe entire tone system is complex, but these gros denotations remain a consistent theme. interaction of people th&speech and the way that the information in that speech is ordered and prioritized.

Speech functions and tones

HaIliday offers interpretations of tones as they relate to various speech functions. Speech functions, for example "initiation-call"or "response-favourable", each have a number of tone options which may accompany them. Which option is chosen in speech tells us about the meaning of the utterance. Thus "initiation-cap with a tone 4 is "intimate", but with a tone 2 it is an "inquiry". When analyzing the meaning of tone in language, we first need to determine what the speech function is, then we can look at the tone used and deduce an interpretation. I refer to this lspeech functiodtone' mode1 occasionally in this chapter.

Exploration of the juncture between language and music is not new. In addition to mid-century inquiries into tonal Ianguages and the culturdy coded speech-song continuum (List 196 1, Seeger 19581, later advances in information theory and psychology opened up new ways of thinking about music cognition and performance vis-a-vis Ianguage (see Sloboda 1990). Historicd musicology witnessed a certain vogue in the 1970s for analyticd models derived hmlinguistic methodology, the most popular of which was Noam Chornsws generative grammode1 (see krnstein

1976, Meyer 1956). Later writers such as Richard Middeton (1990) continued this focus, applying semiological and syntax/information theory ideas to popular music, which is the concem of the present study. Micldeton was quick, however, to stress essential differences between music and Ianguage, both on systematic and strud levels. One hitch in the music/~geanaiogy arises for Middleton when he

attempts to f%~da musical cotanterpart to the "paraiinguistic* details of Ianguage.

These paralinguistic details of language, that is, "surplus to the phonological structun,

and which are therefore not strict1y necessary to communication of the basic message", including "voice-quality, pitch-level ... details of emphasis and speech-rhythmnare in fact essential to our understanding of speech meaning, as recent linguistic research has

shown. 'WOW'~,he asks, "...codd we decide where the distinction lies [between

paralinguistic and hguistic details in music]?" (Middleton 1990:1 78). 1 would

suggest that a distinction of this kind in music is unthidcable because the division in language is itself artficiai and ulhtely indefensible.

Middleton's separation of the sonic details of language from the mictly lexicograxnmatical aspects assumes that written Ianguage is an abstraction of the purely %guisticP essence of the speech act. But alI written language contains imbedded intonation pattern; in reading, we deduce the meaning of a clause partly through a reconstruction of the unmarked intonation that would accompany it in speech. For example, when we read the sentence:

it's very efficient

we assume the neutral intonation pattern for this type of clause (a statement), which is actually: // 1 ^it's/very ef/&ent// (level pitches except for the tonic syhble and the one after it, which fall in pitch)

and we understand that the speaker is stating something in a straightforward way. But

if the intonation pattern is altered, such as:

//4 %t7s/veryef/f&ient// (same as above except for an uptuni in pitch afier the initial faU)

then we understand the speaker to be uexpressing reservation, or contrast, or a persona1 opinion offered for consideration" (Halliday 19ïO:26). This is the hrarked' tone for this speech function, and as such it will not be assumed by a reader.

Where clauses digress from their neutrd cases in written language, punctuation often serves as a rough indication of intonation pattern, along wilh italics, underlining, bold type, etc. But the marked (tone 4) version of the clause above could not be easily conveyed through this type of diacritical markkg. So writing, in some ways, constitutes a flawed transcription of the speech act41. We forget that writea become quite creative when attempting to convey details of speech rhythm, timbre, pitch, and amplihide (in other words, intonation). hguage is aIways bound to the sonic world, if ody by implication.

A view of language that talces these sonic details intc account in the communication of meaning must allow for more semiological analogy bctween language and music than Middleton is ready to admit. If the deepiy mted intonation

- - And in some ways tlris is dogousto the limitations of music notation. patterns in speech signiS. in a consistent and patterned way, then it follows that the

same sonic elements in musical performance most lürtly mean, though perhaps in a

way that is somewhat more diffidt to explicate. This is an avenue worth exploring,

though resuirch has been little attempted to date. There has been some work seehg

the 'm&gsr of melodic contours through reference to intonation research, but these

commentators have unif'ody worked from a prescriptive score, rather than andyzing

actud performances (Cooke 1959, Steiner 1988)42. Standard Western notation serves the complexities of performed music particularly poorly -- this limitation is built in to

a prescriptive music writing system that conveys precise information only about the

twelve equally tempered pitches. Thus, analyses based on this type of score are of

iimited use because so much of what is apprehended by the listener, such as slides, ben& and microtonal pitch infiections, seems to take place outside notated

rationahtions. Little is revealed about what Charles Seeger cailed 'the knowledge of

'what happens between the notes"' (Seeger 1977: 170).

My intention here is to analyze a recorded performance of a single verse of one

of Bob Dylan's most popular songs, obsenring the ways that intonation details relate to

lyrics and performance. Halliday's mode1 is used as source material for a close reading of the semantic, affective and 'piayfuP rneanings of the performance, and this reading is compared with other published accounts of the song's reception. The musical object in question is the originally released studio recordhg of his song 'Zikt A Rohg Stone", a performance that has generated much discussion among Dyian's commentators and

Passing references to speech intonation in musicologid work are quite common, but 1have yet to nui across any match wkch displays more than 'common+ensel knowledge about the way intonation workç or demonstrates any cornmitment towards understanding the relations between prosody and music in any methodologicaily rigoumus way, fans. 1 begin with a short history of the song's reception arnong &tics and fans, as weli as the assessments of Dyhhimself.

A Rolling Stone" was recorded on June 16, 1965 and was released as a single on july 20, later appearing on the aIbum H@ way 61 Reviaed It was an immediate niccess, eventually climbing to #2 on the BiII'popcharts (Whitburn

1988:1 1O) and #1 on the c box ch art (Downey et al I994:ZO 1). The song was somewhat different fKmi the top ten fare of the time, though. At a length of over six minutes it was sigdicantIy Ionger than the two-and-a-half-minute confections then dominahg AM radio, with a raucous guitar-and-organ based arrangement and four verses of dense, rapid-fire verbiage. It is generally agreed by commentators that the

Iyrics recount the privileged upbrlliging and subsequent fall uito poverty and desperation of a second- person "Miss Lonely ". The narrator's accusations and unflattering observations are couched in a series of questions, culrninating afier each verse in the famous rehin: "How does it feel... to be on your own, with no direction home, a complete unknown, like a robgstone" (there are slight lyric variations in the refrain from stanza to stanza). Perhaps the most strikuigIy unique aspect of the record is Dylan's vocal performance, with its use of nasal, siiding pitches and a speechlike, highly rhythmic declamatory style. Dylan later descnkd, in somewhat stylized tems, the genesis of the song:

1 wrote it as soon as I got back from England. It was ten pages long. It wam't cded anything, just a rhythm thing on paper - all about rny steady hatred directed at some point that was honest. In the end it wasn't hatred Revenge, that's a better word It was tehgsomeone they didn't know what it was d about, and they were lucky. 1 had never thought of it as a song, und one &y 1 was at the piano, and on paper it was singing 'How does it feelî' in a slow motion pace, in the uhnost of slow motion. ït was likt swimmllig in lava Hanging by their amfrom a birch tree. Skipping, kicking the tree, hitting a nail with your fmt. Seeing someone in the pain they were bound to meet with. 1wrote it. I didn't fail. It was straight (to Jdes Siegel, quoted in Scaduto 1973:244-5).

Whether or not one chooses to take Dylan's comments at face value, they

provide us with a sense of the artist's own perception of hi9 creative pmcess and the

degree to which the endeavour succeeded They also give us a glïmpse into the visual

and gestural correlates of Dylan's sonic sense; he refers here to outward movement,

directed toward a specific point. These metaphors, 1 suggest, are not arbitrary. They are in fact strongly indexed to the metaphorid constructs of much of the reception of

'me A ~ohgStone", as weU as the gestural aspects of Dylan's use of vocal pitch in the song.

In addition to the popular acclaim accorded to DyIan's recordhg shortly after its release, a steady procession of commentators on Dylan's life and work have offered theïr own assessrnents. The larger works from which the fouowing quotations are drawn include DyIan biographies as well as short articles about Dylan and more schohr1y analytical works (in the cases of Mellers and Bowden):

Anthony Scaduto:

When you heard 'Rolling Stone' back then it was like a cataclysm, Like king taken to the edge of the abyss, drawn to some guillotine of experience... [Dylan wasl biting off a word, spitting out venom, spreading a virulent emotion, infecting the listener (Scaduto l973:245).

Patrick Humphries: ...steamrollering d that had gone before and spValing onwards through outrageas rhymes and meter, lyrics flung iike accusations, affronthg yet compehg, that age-old fascination which lures unwary travelers nght to the heart of darimess. (Humphries and Bauldie 199 1 :5 7). John Herdman: rock-bottom intensity of feeling... He tells us what he feels himself, he projeds himself with eerie immediacy into the feeiings of others, and in so dohg he shows us what we feel too (Herdman 1982: 14). Paul Nelson:

the definitive statement that both personal and artish'c fulfillment must corne, in the main, by king mily on one's own (Nelson 1966: 107).

Betsy Bowden:

...the absence of any personal pronouns [sii suclcs the Mener into the song... the esiou' gets thoroughly conquered in both sense and sound (Bowden 1982: 104).

Athough the words are dismissive, the music -- with its jaunty repeated notes and eye brow-arching rising thirds... is positive in total effect (Meuers 1985: 140).

Wu& DuruÙtn writing in me Tefegmph (a Bob Dyfan fan magazine): ... his birth cry is the prima1 demon voice that whoops out the surging refrains of this song... each is a searing, vituperative taunt, designed to needle to the bone. But the tone of the words (as sung) and music is unmistakably joyous, celebratory. [Dylan]is exultant, free, on his own, ecstatic that he is as he once was, a complete unknown -- unknown because unknowable (quoted in Williams 1991:153).

Though these assessments are rather broady variant in tone and content, some

recurring themes are discemible. 1 have gruuped some salient metaphors from the

criticai history of "Like A Rolling Stone" (including Dylan's own commentary) into five main thematic areas bebw

Thematic area 1: Thematic area 2: attractiveness "sucks the listener in" "Iures unwary traveliers" "compe~g" siren song metaphor "drawn to some guillotine of experience"

Thematic area 3: positive message "joyous... exultant. ..ceIebratory" ''personal and artistic fulnllment"

Thematic area 4: projecting thsting outward 'kpitting out venom" "lyricsflung" 'tiirected at some point" "whoops out" "spiraling onwards"

Thematic area 5: surenesd effectivenesa vimiosity intensity of feeling expressivity "1 wrote it. 1 didn't fail. It was straight"

Thematic area 1 padels the mood of the lyrics as they look 'on pape+ a strong antagonism is conveyed through the constant, invasive questionkg and

Dylan himself). 1 wodd doubt, though, that the lyrics alone create such a stmng mood of condemnation. Dylan's ovedvocal timbre hem is quite hard and nasal, the kind of vocal sound that might accompany a 'tongue-Iashing' by someone who clearly feels that they are in the right, perhaps directed at a chdd or some other person in a position of lesser power. Such a tone suits this clsssic monoIogic lyric text, where the life history and herthoughts of the Toumare w-opted by the narrator who is himself invisible, that is, not ~uncd,not describe& an inviolable, insc~tabIedisembodied voice.49 Much of Dylan's expressive output around the time that %ke A Rolling

Stone" was recorded displays a simiiar style of interpersonal comrnunication.M

Thematic area 2 groups together critical references tu the 'atiractiveness' of the performance, its power to draw the Mener toward somethuig which, when it is named at ail, is vaguely dangerous or forbidding. Humphries seems to refer to the ancient Greek myth of the Sirens, who lured travelIers towards destruction with an irresistible song. Scaduto, perhaps spedjkng the nature of the destruction, refers to a

"guillotine of experience", which might suggest that the listener experiences some irrevocable change in worldview once drawn into "the abyss". These types of metaphors are difficult to reconcile with the sense of the lyrics as written, so it seems that this theme of 'attractiveness' rnight be connected in some way with thematic area

Mikhail Bakhtin describeci, as opposed to dialogism. monologimi: "Monolo&"m, at its extreme, denies the existence outpide ikif of another corirciousness with equal rights... Monologue is finalized and deaf to the other's response, does not expect it and does not achowledge in it any decisive forcen (quoted in Brackett 19957). Although 1would characterue the lyrics as monologic, the Song in performance takes on a dialogic character by vimte of the many layers of sound and the complexities of mass commerd disemimtion. a This hdof discrvsive conho1 and venomous rhetorical skiil cm be observed in action in the film Da't Look Biiclr. a documentary about Dylan's 1%5 British tour immediately precedmg the recording of "Like A Rolling Stcme". A ~e~uencein the film captures a conversation between Dylan and "the science chadenta,a young amateur joiunslut. Qian immediately takw the science student to task, questioning his dermotives, 'trumngarouml' the responses, toying with and effectively whingthe young vicüm with rhetoric This seems to have been a favourite game at the time for Dyhand his aonies, a way of weeding out who was 'in' and who was 'out'. 5, which is cuncerned with virtucwic wnhPL The "abyss"might the potentiaiïty of

the listener him/herseIf king targeted for this type of vi~ol,whiie at the same time s/he is drawn to the source by the sheer mastery with which the antagonism is delivered. Thematic area 3, headed by "positive message", seems to be primarily

connected with Paul Nelson's 1966 essay, which suggested that aii the charaden in

'Zike A Rohg Stonenare actuaiiy in some way ûyh. This theme was taken up in

the Telgmph, whose author connects the performance with a projection of Dylan as

triurnphantly breaking the chains of his safe, successfuI 'folkcikiget career in favour of

sorne new, uncharteci musicd terrain in the rock milieu. Thus the 'story' of the verses

is just a scaffolding upon which to hang the exultant chorus. Rather than chalking up

this interpretation to creative critique, though, 1 would suggest that this, too, is an

impression based on perfonnative factors more than lyric sense. The band

perfonnance certainly helps matters dong in this regard There is nothing careh1 about the way the studio musicians barre1 through this recordhg, in spite of Al

Kooper's famous story (found in his autobiography, Backsl'age Pasres) that this song

marked his fust try ever at organ. Dylan, tw, contributes sloppily transcendent

rhythm guitar and harmonica flourishes. The harmonic structure of the song itself can also be seen as a series of affirmations, with the verse consisting primarily of stepwise climbs hmthe 1 to the V chord which is held untii a satisfying return is made to the tonic 1. The inevitable perfect cadences that begin each new heof iext are contmdicted ody once in the fonn, when a IV chord intenrenes at the prechorus. This

IV chord then reverses the movement of the previous hes, fahg stepwise down to the I until the upward movement is restored with an extended U - IV - V climb. The chonises amdense the stepwise climbs of the verses into terse 1 - IV - V statements which Dylan might have associated with the hny-free rocIE'nlroilaesthetics of Twist

and Shoutnand "Ia Bamban. I submit, then, that the cornmenbitors who associate "Like

A RoUing Stonenwith joy, ceiebration, and liberation might be 'hearitlgfthese values prUnarily as ernbodied in the music, despite the fact that their critical faculties would irnpel them to look to the lyrics first. Thematic area 4 might be miitfulIy compared to Thernatic area 2 in that they

both seem connected to gesture, space, movement and energy. Whereas area 2

contained metaphors of attraction, area 4 refers to outward projection, ostensibly hm

the same source that attracts. The references to ltspittingout" and "lyrics fIungndirects our attention towards the mouth, and indeed Dylan referred to this song on a number

of occ&ons as "vornitific". Could this thematic area, dong with area 2, bc related to

various listeners' connections with the corporeality of the performance? We hear Dylan's mouth as he shgs, but we can aIso envision his facial expression, perhaps his

body movements as weU. This we deduce from the aura1 Iandscape of the recording,

which gives us information about Dylan's vocal timbre, the speed of enunciation, and

other details, but 1 believe that it is in the area of pitch that we will find the greatest

correlation to gestural metaphors. As we will see, much of Dylan's vocal pitch use in

"Like A Rolling Stone' fin& hun taking a syilable and dekbing a kind of arc, with a

medium or short rise and a longer fd(much Wre the contour of Tone 1). This parallels somewhat the spatial path of an object thrown into the air. And since Dylan prforms this an: repeatedly, sornetimes several tirnes in a single line of text, it fouows that a Mener might hear the words as "fl~ng'~,or even ''spiralhg outwa&, as each arc is succeeded by another. Thematic area 5 contains metaphors of 'sureness' and 'effectiveness', connected

with what might be thought of as virtuosic expressive controI. Robert WaIser has

traced the 18th-century origins of the term "virhtoo", a word that is popuIarIy

thought of as refehg to technid mastery. Walser pints out that this technical

mastery was always in the semice of expressive and rhetorical control (see Walser

1993). The way that this virtuosity is manifested in "Lite A Rolling Stonenis twofold

Dylan's use of tonicity (the placement of tonic prominence) to emphasize the lyric

wnse can be interpreted as a 'rhetorical' use of performative virtuosity. But his tonaiity

(the way in which the utterance is divided into tone groups) does not always serve the

sense of the dixourse; on the contrary, his re-alignment of points of emphasis in the

lyric th&pitch use can be understood as pIayfir1. The virtuoso makes rneaningful

performances, but he also shows off what he can do. By sometimes obscruing

meaning, he displays his mastery of performance.

A close reading of Dylan's vocal performance in "Like A RolLing Stone" will

aUow for a better understanding of the metaphorical constructions that followed in its

wake. This close reading will consist in the main of an analysis, based on Haliiday's

work, of pitch use in the second verse and chorus.

1 have transcnbed the lyrics of the second verse and chorus of '2ike A Rolling Stonenbelow, using Halliday's notation for speech intonation. nie second verse is not ... dissunilar to the other theverses in style, but 1 cho= it because it seemed to me to contain the widest variety of playful inflections and pitch geshires. The tones themselves (the numerais which begh each tone group) were chosen on the basis of their resemblance to Dylan's use of sung pitch, as shown in a pitch-the transcription of the verse (Fig. 4.1) which can be fmdin Appendix D. Fach tone group is set off in a separate heof text and fnuned in double siash marks, syhbles with tonic pmmkience are underfineci and rhythrnic feet are divided by single slash marks.

a) //5 &I yod/ (rising, then faliing, tone) b) // 1 gone// (falltig tone)

C) //1 to the/ &est// d) //1 schmW e) /Il a//

D//1 ri&t// g) // 1 Amiss/lonely/but you/loiow you/only/used to/g-// h) //1 juiced in/&// i) // 1 Ano/body's/ever/taught/you/how to/live out/on/the sireet// j) //5 "andhow youfre/gonna/have to/get/used to// k) //5 ig/

1) / / 1 Ayou/say you'd/mer/ / m) // 1 cornpro/rnise// n) // 1 with the/mystery/h.amp but/now y&/

O) //1 p) // 1 he's not/selhg/any// q) /II &k// r) // 1 as yodstare idto the/vacuum/of hideyes//

S) //1 and=// t) ///1 do yodwant o/

U) // 1 make a/d-l//

v) // 1 how does it/w// w)//l how does it/w//

X) // 1 to Won ycur/own// y) // 1 AwitWnodi/rectîon/home// z) //3 a codplete un/known// (low nSing tone) aa) //3 fie a/mlling/sione//

Below 1 have h;uiscribed the sarne verse and chorus ug"mmatically", using ihe breaks to mark off likely clause divisions:

ah you gone to the finest schwl all right miss lonely but you know you only used to get juiced in it nobody's ever taught you how b live out on the Street and now you're gonna have to get used to it you say you'd never compromise with the mystery tramp but now you realize he's not sehgany aiii as you stare into the vacuum of his eyes and say 'Do you want to maLe a deal?"

How does it feei?

How does it feel to be on your own with no direction home a compfete u~own lüre a rolIing stone?

The verse begins with a tone 5 (line a). This king a tone group unto itself, it

would be plausible to refer to this speech fùnction as an initiating caQ tone 5 in this

case has a meaning of "insUtenceu. This is the second verse, after dl, which can be

thought of as constituting an expansixpansionof the ideas begun in the fïrst. Thus the highly

tonicized fïrst pitch gesture of this verse might be interpreted as a kind of fanfare;

Philip Tagg characterizes such strong upward pitch sweeps as "a cdto attention and action, a strong movement upward and outwards... energetic and heroic" (Tagg I979:14).

What follows is a rapid-fïre series of Tone Is, which have an unmarked meankg in statement mode (the use of the Tone I pitch fall here is unremarkable in itself) -- it is the tonicitycharacteristics that are unusual here. The Mener is bombarded with a senes of tonicized words (tonic prominence is used in normai speech as a pointer to the new information 1li an utterance) and Dylan gives tonic prominence to nearly every lexical word in the first part of the hst he; this knd continues on and off until the chorus. This ovedoadhg of new information pointers rendea the text much more forceful and intrusive upon the listener than it wodd be in the unmarked case. Right away a general non-ali&nment of tone groups as sung with the grammar of the written lyric is evident. This manifests itself in the distribution of tone groups in many different places within the grammatical clause, as well as the placement of tonic pminence on sflables other than the lart lexical item in the clause. in tone groups e) and f) this unusual, semingly indiscriminate use of tonality breaks up the cohesion of the phrase "all right", a phrase that has become fuse4 or indivisiile, through popular use. The phrase is rendered wntrastive to its

usual rneaning and marks the word "ail" as a piece of new information, This wodd

force the clichéd phrase to be processed in temof its actual meaning, rather than as a

purely Yextual' conjunctive phrase, which it has become in p0puIa.r usage. Thus the

listerter hears "aii rightwas an emphatic confinnation of the text immediately preceding. This technique seeks to renew the cliché, srnethhg that Dylan has done

lexicdy in other songs by substitutittg unexpected words in cornmon phrases (see

Ricks 1987).

The tonicity assau1t moderates after the first six tone groups, but what follows is

no less unusuaL It would be grammatidy plausible to segment the first heof this

verse into two clauses as follows:

ah you gone to the finest school all right miss lonely

but you know you only used to get juiced in it

The second clause would usually be distributed over one tone group. This does

not happen here, though not because of the overioadhg of tone groups that occurred

in the first clause. instead, the last part of the first clause (''mis lonely") is included in the second clausets tone group, which itself cuts off at '&et" rather than being completed with "juiced in it". Thus the normative placement of the tone group on the clause is shifted backward by one pk.This has the effect of presenting a grammaticaiiy incoherent group of wods as a single package of idorrnatiion This clouds the meaning of the clause somewhat, but perhaps more importantly it constitutes a poetic shike against grammar, at least as it appuus in &ght written mtive. Clearly DyIan, like Chuck Berry and others before him, is revehg in his

vuctuosic mastery of the medium of sung text hem.

As the verse proceeds, the obsessive reiteration of tonic pmkience is reduced

at the same timc that the text becornes less dense. A great overcrowdllig of activity in

the first part of the verse is countered with a relatively sparse and cahperformance for the remainder of the verse and the entire chorus. Thus, if one were to represent

the Ievel of activity in this verse and chorus in a hechart fom, an arc resembling a

Tone I shape would result, with a quick rise and gradua1 fd.

It is interestirtg to compare this hypothetical shape with some of the Tone 1

pitch gestures in the pitch-thne transcription that fd on tonic syhbles. As Tone 1

dominates this performance, perhaps one might see this type of contour recurring on a nwmber of forma1 IeveIs.

When the chorus begins the Tone 1 s continue to pile up. Again, this is the

unmarked tone for lexical questions. Curiously, the last two lines are sung in contours

- sunilar to Tone 3. This tone has no denoted meaning in the speech huiction of 'lexical

questionn,but does function in the deof f'accession to request" in the ''statement"

function. 1s Dylan providuig an answer to his own rhetoricai questions? 1s he acceding

to his own request for information? If so, the subtle turrts of pitch on these last two

lines can be thought of as a rhetoricai closure of the discussion, sealuig the rnonologic

nature of the text.

Several takes of "Like A Rolling Stonenwere recorded during June 15 and 16,

1965. Some of these these alternate takes were deased in 1995 on the Graphix Zone

CD-ROM Bob Dylan: KMway 61 htferacfive. Of these, only one (other than the

onginaliy released fourth take hmJune 1 6) contains a cornpiete second verse, Take 1 5 from June 16. 1 have tnutscnacd this performance in a pitch-time graph

(Appendix E) to f~ilitatecomperUon between the two versions.

As well, 1 have transcriid the alternate version in Hallidafs prosodie notation below:

// 1 ah you/gone//

// 1 to the/f&est/shool/ / /Il &// //l *t/miss//

// 1 loneiy but you/know you only/used to get/juiced in/&//

// 1 Ano/body's evedtaught you how/*toto/live out on the/*et//

// 1 %ut/now you're gonna/have to/get used to/g//

// 1 Ayou/say you'd/never/compro/mise//

// 1 with the/mystery/tramp//

// 1 ^now/don't you/rea/&// '

// 1 Ahe's/not sel/@//

/ / 1 any/ali/k&//

// 1 as yodstare idto the va/cuum//

// 1 of his/eyes//

// 1 and you/say unto/him//

//1 do/=//

//5 want to/make ddeal//

//2 how does it/-// (rising tone)

// 1 how das it/feel//

// 1 to be on/your om// // 1 no direc/tion home//

// 3 like a/complete un/known// //3 like a/roIling/stone//

The overall melodic shapes of the two performances (as depicted in the pitch- tirne graphs) are quite divergent on fkst @ce, but on closer examination it can be seen that thex is a good deal of consistency in the more minute details. Not coincidentdy, 1 wouId argue, these details correspond to Dylan's use of intonation patterns related to speech. The actual tonality and tonicity patterns of the two perf0~?11~~ncesMer somewhat, though the fyi~psofstrategies used in the released version are similar to the alternate take. Tonic prominence is stiU placed on unusual syllabies as weU as more common ones, thus creating a surfeit of %ew information" pointers. Dylan seems to generate his phrases here as movable, Uiternally cohesive units; they retain their essential profile even as their overail registers and pitches are remapped For example, the first page of each pitch-the transcription contains the word group 'ktyou howyou only used to get"; if we observe a high/low pitch polanty in the origimlly released version (Fig. 4.1 ) between the tonic and the fifth below it, we can observe the same polarity king played out in the altenuite version even though the pitches are now the major and minor third. As well, the high and low pitch Ievels in the two versions are identicdy matched to the text.

The two performances seem to differ primarily in the way that intonational activity is dishibuted over the verse and chorus. In the origiztally released version, a great ded of tonic prominence and short tonality occm in the fVst part of the verse, with the performance becoming progressively more 'caitn' theder. The alternate take has longer tone groups at the beginning of the verse, but slightly more choppy

Though 1 am certain that pitch in Sung hguage does mean in a sisnificantIy

pattemed way, 1 am also aware that singing is not speech, and other factors do enter 6 the semantic and affective Iandscape of musical expression NonetheIess, a Iook at

Dylan's use of pitch in this song, through the lens of ling~~isticspeech intonation, goes

a long way toward explaining the precise nature of DyIan's communication of meanhg in sung performance. One need only observe the many geshiral and metaphorical

correlations between the linguistic aspects of the performance and the effects of that

performance (as recounted in the reception history) on listeners. A certain thoroughgohg nature of Dylan's aesthetic is suggested hem, with musical, linguistic,

gestural and (perhaps kbstunin8 ail of these) metaphorical aspects ail articulating a cohesive, deeply embedded system of drives and directions. Postponing any further investigation into this broder inquiry for now, this analysis of vocal performance h

the second verse of 'Zike A Rolling Stonenreveals much cornmon pundbetween speech and song in the transmission and reception of meaning, though the precise nature of this shared sign-systern may only be understood through further Chapter 5: Conclusions

In this shidy, 1 have attempted to rnake some sense out of hgrnents.

Recordlligs of musical performances, even when the artist is as extensively documented as Bob Dylan, are only snapshots of a total expressive ~ocabuiary~It must be remembered that recordings - sonic fragments - are only frozen, low-resolution, more or less alective facsllniles of real moments in human expressive lives. Any illusions of authtive conclusions in an analytical context so removed fimm the temporal and geographical contexts of the actual music-&g, not to mention the performer himself, must be put aside.

That said, the work I have undertaken within the ken of this study has led to some general connections and tentative conclusions:

1. Bob Dylan's vocal style hmMay 1 960 to July 1966 may be plausibly divided for

analytic purposes into four %oicesn, each with distinct properties of timbre, pitch

use, rhythmic articulation, etc.: an (anachronistically named) UNashvilleSwhe"

voice, a %luesn voice, a "topical song" voice and a Wd, mercury" voice.

2. Dylan's vocal style seems to change in tandem with other aesthetic changes. This is

most pronounced when comparing Dylan's vocal style with hannonic and melodic

idioms and lyric style. These various dimensions of Dylan's overd musical style at

any given time are not ranclomly rnatched Each ioice" appears to be designed

(subcoftsciously or consciously) to serve the styiistic purposes at hand, and may bc mutually interdependent with the other dimensions. For example, blues hnnnanic idioms wincide with uAfrican-~erican"timbre manipulation and playful pitch us, whiIe text-intensive topicd songs are sung with a clear, stark articulation style.

3. %ilte A Robg Stone", an example of the Wd, mewvoice hm1965, has powerful meanhg to several commentators, who use a number of interlockhg

metaphors to demithe son& sonic effects An examination of the performance

itseIf shows Dyhusing the semantic and affective charges of speech intonation to

render the song more potent on a number of levels. Dylan especially utilizes the

rhetorical powers of aitered word emphasis pattern. In A Rolling Stone" he

overloads his performance with pitch rnovement that marks words as "new" or

''si~cant". This has the effect of foregrounding Dylan's lyrics for the Iistener, he demands through his performance that nearly every word be attended to with great

care. At the same the, his word emphases are often displaced from their normal

locations. This has the seemingly contradictory effect of confusing the '%ense"of

the lyric text for the Mener. 1 argue that these opposing communicative drives

can be reconciled by considering ULikeA Rolling Stone" to be an example of performative ÿVhiosityn. Dylan's virtuosity seems to serve the perception of him

as masterful and individual. This, dong with other aspects connected to lyric

content and instrumental backing, cmbe observed in the published reception of

this performance, and this suggests that Dylan's communication was a successful one. An outtake of the song shows many of the saiient 'hguistic' aspects of the

performance intact even when the more abshactly hiusical' aspects are varied.

These concIusions together comprise a fîrst step towards the understandhg of a single performer's musical life over a six-year perid But the implications of some of this work extend beyond the limited scope of the reprtory at haztd. Within the field of popiIar music study, do not know of a similarIy detailed examination of vocal style.

The use of a numerically based data collection methd li.Lomax's &zfornetzfis seems

a necessity for the constitution of a style history., perhaps a future study might

incorporate this type of approach with similarly codod gcshual data. The les weU-

known CIloramehii pmject (Lomax 1968) might provide a methologid basis for a

researcher wisfüng to explore fwrther the interconnections of vocal style and body

movement that I have ody touched on here.

Considering that speech sham so much sonic cornmon ground with music, it is

surprising that no published study, to my knowledge, has explored the

interconnections of these two contexts in any detail. I comider my analysis of %ike A

Rohg Stone" in temof speech intonation the aspect of my work most in need of

contuiuation Here is a possible key to the mysteries of how vocal music specifically

means Speech intonation, with its phylogenetic and developrnental priority over grammar, is an extremely powerful and almost subliminal means of human expression. The hksbetween speech meaning and musicai meanirxg, I suggest, may be better understood through more analytical case dudies of this hcL Appendix A: Database parameters

The purpose of this appendix is to enurnerate and explain the various parameters that I

used in my compter database of Dykn's entire official released repertory to date. These panmeters were used to encode information in a numerical format about several aspects of the recordings. These aspects included performance details as welI as information about the lyric structures, instrumentation, etc.

A: Titre B: Date Dates are derived from the discographical sources cited above and formatted year/rnonth/day.

C: Open The 'Open' fieId contains information about authorship of the songs - some of the early entries contain apocryphal information about folk song 'sources' for compositions credited solely to Dylan, iike '%b DyWs Dream" which is believed to be based on the ChiId ballad Zord Franklin". Othe&, this field gives composer information, except where the song is Dylan's alone, in which case it is left blanlc

D: Comments This is a catch-& field for commentary which lies outside of the parameters of the rest of the database. Thus 'Cornrnents' might include recording details, clarifications of data hmthe multiple-choice fields, or impressionistic assessments of

Dylan's performance in the recordhg at hand E: Vocal GmpOrganization F: Tonal Blend of Vocal Group G: Rhvthmic Coordination of Vocal Gmp

Vocal Group Organhtion:

1 solo Bob 2 accompaniment on refrains 3 homophony throughout 4 cdand response 5 bgs accornpany wPpad'

These fields are probably the ones most explicitly dtrived fkom Cantomefrrfrra

In Lomax's system, these panuneters encode patterns of social organization in the culture. I chose these fields with an aim toward characterizing the musical relationship between Dylan and his backup singers at different points in his career and in different individual performances; as 1stated above, 1 do not accept Lornax's uses for this information as a matter of course. The data in these fields, as in many of the other fields, may hirn out to be relatively meaningless, that is, not patterrted or connected to any other factor in any discernible way. Nonetheless, 1 tried to collect as much data as possible on the details that mi&t turn out to be meaningful at a later stage. 'Vocal Group Organization' breaks down into five options, listed above. Option 1 covers those performances where no other voice beJide Dylan's is present. Option 2 describes the instances where Dyian's voice is solo on verses and he is joined by one or more other singers on choruses or repeated sections. Option 3 refers most often to duet situations, where DyWs voice is shadowed thrarghout the song by another singer. Option 4 desrnibu the vocal arrangement whereby Dylan is

'answered' by other voice(s), usudy two or thne voices in hannony. Finally, Option 5 descrii the accompaniment of Dylan's solo voice by a wordless bacmdvocal 'pad'46, perhaps on the vowel snurd 'oo'or 'ah'.

There are a number of instarices where vocal arrangements mix two or more of

these textures. in such cases, 1 chose the one that seems to be the most structuraUy

significant, that is, most c)iaracteriStic of the vocal sound of the wh& Song.

Tonal Blend of Vocal Group:

1 solo 2 wnified 3 rather individualized 4 very individualized Tonal Blend of Vocal Group' covers the perceived timbra1 differentiaticn both between Dylan and the other vocalist(s) and within the accompanyîng vocal group itseif when more than one singer is present besides Dylan.

The option "1 solot'functions as a hot applicable"option; that is, the tonal blend is not in question when Dylan sings done. ~the'bisethe options should be self- explanatory.

The field deaiing with 'Rhythmic Coordination of Vocal Group' is analogous in structure to the previous field, Tonal Blend..'. The options are as follows:

1 solo 2 not applicable 3 wnified 4 moderate 5 little or no coordination

The word 'pad' in popuiar music rnaicing usudy Rkrs to a sustamed chord (ocrarnnnalfy an odave or uriison), often perfurmed by backup shgers, string sections, synthesizeft, etc. buse of its function as a background texture, a pad is udyperformed at a low volume relative to the foreground elements and has a rather soft timbie. The sense of each option is dependent on the data wntained in the YdGmp

Organizationf parameter. If the vocaf group is given as n~I~n,then it follows that both the rhythmic and tonal blends are rendered 'not applicable'. The Z not applicable"

option is used in the case of a vocal arrangement where rhythmic coodhation is not a

salient issue, such as "4 cal1 and response' or "5 bgs accompany wPpad''. The "3 unified" option covers the situations where either option n2accompaniment on refrains" or option "3 homophony thmughout" has ken chosen in the "Vocal Group Oqphtionnfield, and it is felt that Dylan's voice is well coordinated with the other vocalists as far as

attacks of notes are concerned 'Rte "4 moderate" option deais with those situations where some vocal onsets are siightly out-of-sync, and the option "5 little or no coordination" describes performances where most of the vocal onsets that could reasonably be expected to coincide do not.

H: Instrumental Forces

1: Harmonica?

J: Bob Pis* An Instrument? K: 'Loudness' of Band Instrumental Forces:

1 solo guitar acc. (accompaniment) 2 solo phno acc. 3 smdgroup 2-4 4 medium group 5-7 5 large group 8+

These garameters are intendcd to rrprrsent the instrumental aspects of DyLan's recordings. "Instrumental Foxces" is an enurneration of the number of musicians, includkig Dylan, contributirtg to the non-vocal texture of the song in question. In most cases, this information was gleaned hmthe entries in kgsgaarci's Piitive~ dlLb Dylan.

Harmonica?:

O no I yes Bob playhg an inSmunent2

O no 1 yes Wann~nica?~and "Bob Playing An Instrument" chiut the correlation of the vocal performance with performance on other instruments. in the first few years of Dylan's career, alI studio perfonwices were recorded 'off the floor', that is, without

overdubs. In these cases, it is easy to teII if he is phying a guitar or piano as he sings, by consulting studio records and listening to the instnimental texture. In some of his later recordings, though, vaiaIs were recorded or re -recorded later, clouding the issue of Dylan's simultaneous vocal and instrumental performance. Thus, the veracity of the data in this field might be questioned The "Harmonica?"field notes the occurrence of

Dy..piaying harmonica and ignores the rare instances where a session musician contrihted harmonica parts.

Loudness of Band.

1 solo Bob 2 acoustic band 3 quiet electric band 4 loud electric band 5 specd (see comments)

"Loudness of Bandn is one of the more elusive fields in this database. The first option, "1 solo Bobn is stmightforward, while the others an rather problematic and dificult to consistently decide. Most genedy, 1 acoustic band" refers to situations wherr acoustic instruments, excluding dnuns, are udElectric bacs is a peTtniSSIble hstrument for this ~Isissincation,but generally string-band accompanitnent characterizes this option. "3 quiet electric bandn descri'bes Dylan's ensembles that

contain rather subdued combinations of drums, electric guitaq organ, piano and electric bas, wMe "4 loud electric band" covers the more raucous performances of a

similar ensemble. It is the division bctween these two options that is the most difficult

to defend, but 1 tended to use the timbres of the drums and electnc guitars as my most reliable guide to the loudness of Dylan's electric bands. The last option in this field, "5 special (see comrnents)" is intended as a catch-di for the special situations where Dylan is surrounded by instrumentation not properly descriid by the other options.

L: Melodic Shape

1 arched 2 terraced 3 undulating 4 descendhg 5 spoken/freewheelin'

Another field derived from Cisnf~me~a,"Melodic Shape" is intended to group general strophe types into useful subcategories. "1 archedndescribes melodies which begin rather low in the total pitch range of the song and gradually work up to a peak, then graduaiiy return to a pitch level close to the original point of deparhue. "2 terraceci" covers the strophes which begin relatively high in the total pitch range of the

song and gradIIElUy weave downwards, though with some digrrJsions dong the descent. "3 undulating"descri'bes all melodic typs not covered by the other, more specifïc categories, and genedy refen to melodies which mwe up and down within the total pitch range rather freely. "4 descenduigl coven melodies which begin high and then descend to a Iow point in a fairly straightforward way. FSy,"5 ~pken/'freewheelin'~is used for those performances where Dylan does not hger on stable pitches, and his use of pitch seems to be more 'speecW than 'musid.

M= Re&er This field records the tessitura of the performance in question, placed in the context of Dylan's total range. The available options are as follows:

1 low 2 low to medium 3 rnixed 4 medium 5 medium to high 6high

Dylan's total vocal range seems to lie roughly between the A an octave and a

third below middle C and the G above middle C. While the tessituras of single

performances might have kenjudged dong a hear scale based on this range

potential, I chose instead to categorize register rather more irnpressionisticalIy. There

is no doubt that Dylan's capacities for timbra1 breadth, in-tune singing and breath

control have wavered over the years, so there is gmd reason to assume that his range is also subject to expansion and contraction over the. ~herefore,whde absolute pitch

Ievel was taken into account, observations about the relaxed or Strsuned quality of the voice werr aIso a factor. Thus performances might be put in the context of a possibly fiuctuating vocal range, instead of an abstract scde which rnay or may not be present at any given the.

N: Reuetition of Text 1 little or no 2 some 3 about 1/2 4 quite a lot 5 extreme

The degree of textual reiteration is noted in this field Performances were coded dong a continuum fr

Value 1 corresponds to those song texts which are either entirely without repetition or contain perhaps a single recurring line. Value 2 describes the majority of Dylanst lyrics, those where a 'chonis' of a few lines is repeated periodically. Value 3 describes

more repetitious structures, such as the AAB blues lyric scheme, while Value 4 lyrics

contain a constantly recuning refrain which is interspersed with new text. Finally,

Value 5 covers those instances where perhaps a single line of text or single phoneme is repeated throughout.

1 very slow 2 slow 3 moderate 4 fast 5 very fast The tracking of song tempo £rom recordings can be a tricky business. if the aint is to abstract the speed of the rhythmic pulse, the criteria by which one of the interlocking rhythmic textures typically present on a popular music performance is identified as that 'pulse' must be dete&ed in the case of this project, the presence of a "backbeatnwas taken as a referent for a quarter note puise. That is, when a dnunmer is present on the rewrding, his snarc hmpattern can often be phusibly interpreted as the backbeat on 2 and 4 (in 4/4 tirne), and the song tempo is interpolated from that. Often with Dyian's solo guitar accompaniments a backbeat is implied by shummllig pattern, and in these cases a similar procedure was followed In the absence of the clues provided by baclrbeats, the detemination of Song tempo has been more impressionistic. Though tempo has ken measured against an unchanging linear scale, the divisions dong that deare mughly drawn. Song tempo evalwtiorts in thip field are thus estimates ody, abject to modification at a later date.

P: Vocal Volume

This field requires sornethhg of a historical reconstruction for its data; the idea is to record the relative force of sound produced by Dylan's voice in each of his performances. While this information is imposs1ible to naiI down authoritatively at this time from recordings alone, it rnight be fruitful to think of this field as a kind of generai observation based to a certain extent on timbra1 factors as well as an impression of loudness informed by my own experience with the sound of microphones in vanous modes of vocal performance. Again, then, this information must be taken as rather provisional and impressionistic. As nich, the parameters are

Q: Vocal Rubato

I strict tempo 2 some 3 much

This field is intended as an index of Dylan's rhythmic behaviour in relation to instrumental bachg in vocal performances, though it should be noted that 1 am concerned here with rhythmic relatiottships on a more micro-level than might be easily represented in musical notation. That is, rhythmic anticipations and delays which can be rationalized into the generaI "rhythmic grid" (sep Stewart 1982) of the

performance art not as critical here as the slight articulatory deviatim which would

be classed undtr the nibric of "rubato"as that tem is popuIarIy use&? The fi& parameter descnbes those performances where Dylan's vocal articulations are very much unined with the prevailing rhythmic grid of the

instrumental backing, while Parameter 2 notes a slight, but noticeable, divergence.

Panuneter 3 refers to a more extensive rhythmic differentiation between the vocal and the instnunental backing.

Most of the following fields are quite self-explanatory, so comments have been

kept to a minimum:

The "glissando"field is intended to record the perceived amount of non-discrete

pitch movement in Dylan's vocal performance. Parameter 3 is used especially in cases where glissandi are both prevalent and wide in ambit.

47 in strict academic usage, "rubato' refers to an ideaiized rhythmic condibnwh a certain amount of time is 'kobbed"Erom one part of a phrase, and "repaid' later m *phrase. Thris the absolute puIse of the music is maintained, with the ntbato merely an exparieian and contraction of the phrase within the pulse. In p0pUi.r use, "rabato"is taken to mean atempoad BR,that is, ablute puise is saspendeci altogether in favour of a rather fme rhythniic interpretatioh This field records the prevalence of multiple pitches mapped onto singIe syllables of text.

T: Timbre variation

Another rather impressidc field, 'timbre variation' refers to the amount of

timbrai change in a vocal performance that is not tied to pitch register or vowel

This field refers to the amount of perceived 'sharpness' or 'hardness' in Dylan's overall vocal timbre in a given performance. The term ''naSaLity" is actually sornething of a misnomer, suice the charaderistic 'nasal' sound is created by the cimm of the nasal passages. Nonethekss, the use of the term has been retained here because of its wide popular use, even among musicologists.

-- a Formant regions, which determine mach of the timbre of a sound, are fixed and do rmt tradc the Eundamental pi& Therefore, Mgher fundamental pftches withia a given timbm will seem '%@tern; this is the dtof an altered relationship between the fandamental pitdi and the formant region (see Grey 1975).. This field records the amount of rasp perceived in Dylan's vocal sound in a given

performance, without reference to the quality or character of that rasp.

1 no rasp 2 light 3 mdharsh 4 harsh This field is organized dong a "light/harshncontinuum, with the option for no rasp at aII incIuded as weU.

I narrow 2 mid 3 wide

This field tracks the extent to which Dylan closes the back of his throat while singhg - a closed supraglottis creates a dark, throaty =und characteristic of the "Nashville Skyline voicen while an unusudy open supraglottis causes the voice to sound especially bright and rich in hannonic parti&. A Dylan performance with a high degree of timbre variation will often oscillate behveen a normally relaxed supraglottis and an extremely open one. in this field, though, 1 have endeavoured to record the generally prevailing supraglottal position.

Y: Enunciation

1 very precise 3 precise 3 slurred 4 very slurred

The extent to which Dylan clearly pronounces hi9 Iyrics is &d in this field A "precise/slumd"continuum is used as a reference. 1 all notes on or close to pitch 2 most notes pitched 3 mixed 4 notes occasionaUy pitched 5 spoken With this field 1 have attempted to track Dylan's general use of pitch along a continuum between 'sang' (with stable, discrete, rationalized pitc h) and 'speech' (with sliding, tscaleless'pitch). Of course, these are stereotyped models of both song and speech, but the distinction, Itm sure, wilI be familiar to most readers.

AA: Live?

O no 1 yes

hyDylan performance outside of a recordùig studio, where an listening audience is present, 1 have classified as a live performance.

AB: Harmonic Type

1 major 2 minor 3 modal 4 blues 5 other I have classed the hannonic climates of Dylan's performances under four headkgs, with a nfth heading for "other". The fiist, "major"refers to situations where the diatonic major sale iP the primary source of harmony and meIdy in a song.

Especiaiiy critical in the decision to class a song as major is the exclusive 'majo? status of the third and seventh degrees of the scaie; oscilIatiom into muior versions of these degrees usudy relegate a song to a home under the Wues* heading. Song pplaccd under the "minor"heading contain not only a unwaveringIy minor thvd, but also use the raised leading tone, either in the harmony or the melody or botk "Modal"songs

rrly on "church modes" other than the Ionian (that is, the major scale). The two most prevalent modes in Dylan's rrpertory are the Durian and Mixolydian. noted earlier,

songs of the Wues" honictype exhibit a certain vacillation between major and

rninor third degrees, and rem to invariably contain a rninur seventh degree as weii.

1 low 2 mid 3 high Dylan's performances contain varying degrees of text concentration, or "syilabic density". This field records the general syllablehne ratio in an impressionistic way.

AD: Voiced/breathv

1 strongly voiced 2 moderately voiced 3 tnixed voicedheathy 4 moderately breathy This field deais with the amount of "voicednessnin a given performance; that is, the degree to which Dylan drives his vocal cor& into vibration compared to the amount of unvoiced breath contained in a vocal gesturr.

Phrase !enah

1 very short 3 short 3 moderate 4 long 5 very long Performances were placed in this field according to the gened Iength of the

unbroken solo vocal phnises. The talcing of a breath was considered a

flow of phrases.

AF: Melodic range

1 within a major third 2 within a perfed nfth 3 mallily withan octave 4 withan octave plus a perfect fiflh 5 beyond an octave plus a perfect fifth The overall width of each son& range was detennuied and then placed within

one of the five categones of this field Option 3 is slightly more £iexiiIe that the others, allowuig the occasional pitch beyond the octave range.

I have included all of the database records in Appendk B. As weIl, Appendix C contains an album-by-album su- of the database records. This dows a quick ove~ewof the different recordlig perds and the varying percentages of each parameter in eafh pend Appendix B: Database records Titi. Baby, Let Me Follow You Down Date 6111 1/20 Open n Eric von Schmidt, though actuaily learnec Comrnents spoken intro - long harmonica tones seem : vocal gmup arrangement 1 SO~O tonal blend of vocal gmup 1 sol0 hythmic coordination of Bab and vocal group 1 SO~O

instrumental forces 1 solo guitar acc. ' a harmonica? a Bob playing an instrument? 'loudness' of band 1 SO~OB0b rnelodic shape 1 arched phrase iength 2 short melodic range 4 within an octave and P5 harmonic type 3 modal register 2 low to medium repotition of tex? 4 qute a lot Song tempo 3 rnaderate sylfabic density 2 mid vocal volume 2 mid vocal rubato 1 strict tempo glissando 1 littfe or no melisma 1 little or no timbre variation 1 linle Of nO nasality 2 same rasp 3 some quality of rasp 2 light supragîottal opannesr 2 mid voicedhiuthy 2 moderateiy voiced enunciation 2 precise Sung or spokan 1 al1 notes on or close ta pitch [7 live Title Fixin' To Die Date 6th 1/20 Open II Bukka White

vocal gmup arrangement 1 SO~O tom1 blond of vocal group 1 sol0 thythmk coordlnatfon of Bob and vocal gmup 1 SO~ instrumental forces 1 SOIOguitar ~CC. 0 harmonica? a Bob playing an instrument? 'loudness' of band 1 SO~O60b melodic shape 3 undulating phrase length 3 medium melodic range 4 within an octave and P5 hamonic type 4 blues register 5 medium to high repetition of text 3 about 112 Song tempo 4 fast syllabic density 1 bw vocal volume 3 taud vocal rubato 2 sorne glissando 1 little or no meiisma 1 little or no timbre variation 2 Som0 nasaiity 2 sorne rasp 3 some quality of rasp 3 moderately harsh supraglottai openness 2 mid voic.dmmathy 1 strongly voiced enunciation 2 precise Sung or spokan 2 most notes pitched nlive Title He Was A Friend Of Mine Date 61/11/20 Open .YI trad. arr. Bob Dylan Comments vocal group arrangement 1 SO~O tonal blond of vocal group 1 ~010 rhythmic coordinatfon ot Bob and vocal group 1 SO~O instrumentai forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~OBob melodic shape 3 unduiating phrase length 3 medium melodic range 3 mainly within an octave harrnonic typa 1 major register 2 low to medium repetition of text 3 about 1/2 Song tempo 3 moderate syllabic density 2 rn id vocal volume 7 ~~ft vocal rubato 2 some gllssando 1 littk or no rneiisma 3 Meor no timbre variation 1 [ittle Gr no nasaiity 2 some rasp 2 little quaiity of rasp 2 light

voicedhreathy 2 moderately voiced enunciation 2 precise sung or spoicen 1 al1 notes on or close to pitch live ~it10 HOUSB Of The Risin' Sun Date 61/1 f /20 Open #t trad., arrangement taken frorn Ric von Cornments much rnelodic variation from stanza to stanz vocal gmup arrangement 1 solo tonal bknd of vocal group 1 solo rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar am. (7 harmonica? Bob playing an instrument? 'loudness' of band f SO~O60b molodlc shape 3 undulating phrase length 3 medium rnelodic range 4 within an octave and P5 hamonic type 3 modal register 3 mixed repetition of text 2 some Song tempo 3 moderate syllabic density 2 rnid vocal volume 2 mid vocal rubao 2 some glissando 2 SOme melisma 2 some timbre variation 2 some nasality 2 some rasp 2 littfe qwiity of rasp 2 light supragiottal openness 2 rnid voicedhnathy 2 rnoderately voiced enunciation 2 precise Sung or spokan 1 al1 notes on or close to pitch 0 iive Tltle In My Time Of Dyin' Date 6111 1/20 open #i Blind Wiilie Johnson Comments slide guitar vocal group arrangement 1 SOIO tonal blond of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 sol0 instrumental forces 1 solo guitar acc. aharmonica? Bob playing an instrument? 'Ioudness' of band 1 SO~Bab rnelodic shape 2 terraced phrase length 3 medium meiodic range 3 mainly within an octave hamonic type 4 blues register 5 medium to high repetition of text 3 about 1/2 song tempo 3 moderate syllabic density 1 low vocal volume 3 IOU~ vocal rubato 2 some glissando 2 some melisma 2 some tfmbre variation 2 some nasality 2 some rasp 2 little quality of rasp 2 light

voicecübreathy 2 moderately voiced onunciation 2 precise Sung or spoken 1 al! notes on or close to pitch [7 iive ntle Song to Woody Date 61/f 1/20 Open Il Tune ekactfy the same as Woody Guthrie'c Comments vocal group arrangement 1 SO~O tonal blond of vocal group 1 SO~O hythmic coordination of Bob and vocal group 1 SO~O instrumentai forces 1 solo guitar acc. 0 harmonica? Bob playing an instrument? 'loudness' of band 1 SO~OBob mdodic shape 3 undulating phrase length 3 medium melodic range 3 mainfy within an octave harmonic type 1 major register 2 low to medium repetition of tex1 1 little or no Song tempo 3 moderate syllabic derisity 2 rnid vocal volume 2 mid vocal rubato 1 strict tempo glissando 1 little or no melisma 1 IittIe or no timbre variation 1 Meor no nasality 2 some rasp 2 little quality of rasp 2 light supraglottai openness 2 mid voicedlbreathy 2 moderately voiced enuneiatfon 1 very precise Sung or spokan 1 all notes on or close to pitch live Tith Talkin' New York Date 61/11 /20 Open fi Comrnents talking blues vocal group arrangement 1 SO~O tonal blond of vocal group 1 sol0 rhy?hmic coordination of Bob and vocal group 1 sol0 instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O60b melodic s hapo 6 spokenffreewheelin' phrasa length 4 long melodic range 3 mainiy within an octave hannonic type 1 major register 4 medium repetition ot text 1 liffle or no Song tempo 4 fast sylfabic density 2 mid vocal volume 2 mid vocal rubato 3 much glissando 2 some melisma 1 littte or no timbre variation 2 SOme nasality 1 little or no rasp 3 some qua~ityof rasp 2 light supraglottal openness 2 mid voicedlbraathy 3 mixed voiced and breathy enunciation 1 very precise Sung or spobn 5 spoken live Title YOU'WNO GOO~ Date 61/11/20 Open #I Jesse Fuller Comments much timbre variation, occasional 'overdrivi vocal group arrangement 1 SOIO tonal blond of vocal group 1 SO~O rhythmic coordination ot Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 s010 Bab rnelodic shape 3 undulating phrase Iength 3 medium rnelodk range 3 mainiy within an octave harmonk type 1 major register 5 medium to high tepetition of text 2 some Song tempo 4 fa& syllabic density 2 rnid vocal volume 3 IOU~ vocal rubato 2 some glissando 2 some melisma 1 little or no timbre variation 2 some nasality 2 some rasp 2 little quallty of rasp 2 light supragiotîal apenness 2 mid voicodmreathy 1 strongly voiced enuntiation 2 precise sung or spokon 1 al1 flotes on or close to pitch [7 live Title Freight Train Blues Date 6111 1/22 Opan #I John Lair comments much use of falsetto esp. at ends of phrase vocal gmup arrangement 1 SOIO tom1 bland of vocal gmup 1 SO~O rhytkmk coordination ot Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 sol0 60b melodic shape 5 iterative phrase length 4 long melodic range 4 within an octave and P5 hannonic type 1 major tegister 5 medium to high repetition of text 3 about 112 Song tempo 4 fast qllabic density 3 high vocal volume 3 loud vocal rubato 1 strict tempo glissando 1 iittle or no melisma 1 little or no timbre variation 2 some nasality 2 some rasp 2 little quality of nrp 2 light

en unciation 2 precise Sung or spokmn 1 al1 notes on or dose to pitch live f itie Gospel Plow Date 61/11/22 Open m trad. am. Bob Dylan Comments vocal gioup arrangement 1 SOIO tonal blend of vocal group 1 SO~O rhythmic coordination ot Bob and vocal group 1 solo instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O60b melodic shape 3 undulating phrase length 3 medium melodic range 4 within an octave and P5 harmonic type 4 blues registor 3 rnixed npetition of text 4 quite a lot Song tempo 5 very fast syllabic dansity 2 mid vocal volume 3 IOU~ vocal rubato 2 some glissando 2 some melisma 1 liftfe or no timbre variation 2 some nasality 2 some rasp 2 little quality of rasp 3 moderateiy harsh supraglottai openness 2 mid voiced/bnathy 1 ~tf~nglyvoiced onunciation 2 prêcisê sung or spokan 1 al1 notes on or close to pitch rive Title Man Of Constant Sorrow Date 61/11/22 Open #1 trad, arr. Bob Dylan comments some notes held unusually long vocal group arrangement 1 solo tonal blond of vocal group 1 sol0 rhythmic coordination of Bob and vocal group 1 sol0 instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O80b rnelodic shape 2 terraced phrase length 3 medium melodic range 3 rnainly within an octave harmonic type 1 major register 4 medium repetition ot text 2 some Song tempo 3 moderate syllabic density 2 mid vocal volurne 2 rnid vocal rubato 2 some glissando 2 some melisma 2 sorne timbre variation 2 some nasality 2 sorne rasp 2 little quaiity of rasp 2 light supragiottal openness 2 mid voicedlbraathy 2 rnoderately voiced enunciation 1 very precise Sung or spoimn 1 al1 notes on or close to pitch nIive Titte Man on the street Date 61/11/22 Open #1 Comments vocal gmup arrangement 1 solo tonal blond of vocal group 1 SO~O rhythmic coordination of Bob and vocal group f SO~O instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 solo Bob melodic shape 3 undulating phrase longth 4 long melodic range 3 rnainly within an octave hamonic type 1 major register 2 low to medium repetition of text 2 sorne Song tempo 3 moderate syilabic density 2 rnid vocal volume 2 rnid vocal rubato 1 strict tempo glissando 1 littie or no melisma 1 littfe or no timbre variation 1 hefe or fi0 nasality 2 some rasp 2 little quaiity of rasp 2 light supraglottal openness 2 mid voicedmroattiy 2 moderately voiced enunciation 2 precise Sung or sp0k.n t al1 notes on or close to pitch [7 iive Tit l e Pretty Peggy-O Date 6111 1/22 Open XI trad, air. Bob Dylan Cornmonts spoken intro, falsetto whoops interspersec vocal group arrangement 1 SO!O tonal blond of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 1 SO~Oguitar acc. a harmonica? Bob playing an instrument? 'foudness' of band 1 SO~OBab melodic shape 1 arched phrase lrngth 3 medium rnelodic range 3 rnainly within an octave harmonic type 1 major register 4 medium repetition of text 4 quite a lot Song tempo 3 moderate syllabic density 2 rnid vocal volume 2 rnid vocal rubato 2 some glissando 1 little or no melisma 1 Iittle or no timbre variation 3 much nasality 2 sorne rasp 2 little quaîity of nsp 2 light supragiottai openness 2 mid voicedlbrmthy 2 moderately voiced onunciation 2 precise Sung or spoken 1 al1 notes on or close to pitch live T itle See That My Grave 1s Kept Clean Date 61/11/22 Open tl Blind Lemon Jefferson Comments vocal group arrangement 1 SO~O tonal blond of vocal group 1 SO~O rhythmic coordiiutlon ot Rob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. 17 harmonica? Bab playing an instrument? 'loudness' of band f SO~O80b rnelodic shape 3 undulating phrase Iength 2 short rnelodic range 4 within an octave and P5 hamonic type 4 blues register 3 mixed repetition of text 4 quite a ht Song tempo 3 maderate syllabic density 2 rnid vocal volume 3 IOU~ vocal rubato 2 some glissando 2 sme

timbre variation 2 some nasality 2 some rasp 2 some quaiity of rasp 3 harsh supragiottai opannesa 2 mid voicecübreathy 1 ~troflglyvoiced enunciation 2 pfe~iSe surtg or spoken 2 most notes pitched [7 iive Title Highway 51 Date 61/11/22 open #I Curtk Jones Comments vocal group arrangement 1 SOIO tonal blend of vocal group 1 SO~ rhythmic caordinatlon of Bob and vocal group 1 SO~O instrumental forer 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~OBob rnelodic shape 3 undulating phrase length 3 medium rnelodie range 3 rnainfy within an octave harmonic type 4 blues register 5 medium to high repetition of text 4 quite a lot Song tempo 4 fast syllabic density 1 IOW vocal voiume 3 IOU~ vocal rubato 2 Som0 giissando 2 SOme melfsma 1 little or no timbre variation 2 SOme nasality 2 SOme rasp 3 some quaiity of rarrp 3 moderately harsh supraglottai openness 2 mid voic.dmnathy 1 strongly voiced enunciation 2 precise Sung or spokan 1 al1 notes on or close to pitch [7 iive Title Hard Tnnes In ~ewYork Town Date 61/12/22 Open #I adapted from 'Hard times in the country Cornmonts vocal gmup arrangement 1 SOICI tonal blond of vocal group 1 SO~O hythmic coordination of Bob and vocal group 1 sol0 instrumental forces 1 SO~Oguitar acc. [7 harmonica? Bob playing an instrument? 'toudness' of band 1 S~O60b melodic shape 3 undulating phrase Iength 3 medium melodic range 3 mainiy within an octave hamonic type 1 major register 2 low to medium repetitfori of text 2 some Song tempo 3 moderate syllabic density 3 high vocal voî~me2 rn id vocal rubato 2 Some glissando 1 iittie or no melisma 1 little or no timbre variation 2 Some nasality 2 Some rasp 2 little quatity of rasp 2 light supragîottal opennass 2 mid voicedmreathy 2 moderately voiced enunciation 1 very precise Sung or spoken 1 al1 notes on or close to pitch [7 [ive Titlo House Carpenter Date 62/03/19 Open #I trad. Comments spoken intro vocal gtoup arrangement 1 solo tonal blond of vocal gmup 1 sol0 rhythrnic coomllnatlon ot 80b and vocal group 1 sol0 instrumentai forces 1 solo guitar acc. [7 harmonica? a Bob playing an instrument? 'loudness' of band 1 solo Bob melodic shape 3 undulating phrase length 3 medium melodic range 3 mainly within an octave harrnonic type 4 blues register 2 low to medium repetition of text 2 some song tempo 4 fast syllabic density 2 mid vocal volume 2 rnid vocal rubato 1 strict tempo glissando 2 SOme melisma 1 little or no timbre variation 1 IiIffe Or no nasality 2 some rasp 3 some quaiity of rasp 3 moderately harsh supragiottai opennsss 2 mid voicdhreathy 2 moderately voiced onunciation 1 very precise Sung or spoken 1 al1 notes on or close to pitch 17 iive Title Ramblin' Gamblin' Willie Date 62/04/24 Open II tune taken from "Brennan on the Moor"(Clar Cornments occasional vocal 'shakes' vocal group arrangement 1 SO~O tonal blond of vocal group 1 SOIO rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudnesss of band 1 SO~80b rnelodic shape 3 undulating phrase Iength 3 medium melodic range 4 within an octave and P5 hamnic type 1 major register 3 mixed repetition of text 2 some Song tempo 3 moderate syllabic density 2 mid vocal volume 2 mid vocal rubato 1 strict tempo giissando 1 little Or no melisma 1 little or no timbre variation 2 some nasality 2 some rasp 2 little quality of rasp 2 light supragiottal openness 2 mid voicodlbmathy 2 rn oderately vo iced enunciation 2 precise Sung or spoken 1 al1 notes on or close to pitch live Titla Let Me Die In My Footsteps Date 62/04/25 Open fl Comrnents vocal group arrangement 1 SO~O tonal bland of vocal group 1 solo rhythmic coordination of Bob and vocal gmup 1 SO~O instrumental forces 1 solo guitar acc. [7 harmonica? Bob playing an instrument? 'loudness' of band 1 solo 80b melodic shape 3 undulating phrase length 3 medium melodic range 3 mainly within an octave hannonic type 1 major register 4 medium tepetition of text 2 some Song tempo 3 moderate syllabic density 2 mid vocal volume 2 rnid vocal ruhato 1 strict tempo glissando 2 some melisma 1 little or no timbre variation 1 littie or no nasality 1 little or no rasp 3 some quality ot rasp 2 light supragtottai openness 2 mid voiceâhreathy 2 moderately voiced enundation 2 precise Sung or spoken 1 al1 notesorr or close to pitch [7 live Tit le Talkh' Bear Mountain Massacre Blues Date 62/04/25 Open RI Cornments talking blues, occasional vocal shakes vocal group arrangement 1 SO~O tonal blond of vocal group 1 SO~O rhythmic cooidbatlan of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' ot band 1 SO~OB0b rnelodic shape 6 spokenfireewheelin' phrase length 2 short rnelodic range 2 within a P5 harmonie type 1 major register 4 medium repetition of text 1 litffe or no Song tempo 3 moderate syllabic density 3 high vocai volume 2 mid vocai tuhata 3 much glissando 2 some meiisrna 1 little or no timbre variation 1 hefê or nô nasality 1 little or no rasp 3 some quaiity of rasp 2 light suptaglottaî openness 2 rnid voicodlbmathy 2 rnoderately voiced enuniiation 2 precise Sung or spokm 5 spoken 0 Iive Title Talkin' Hava Negeilah Blues Date 62/04/25 Open #i Cornments spoken intro. yodeiing, not a talking blues pl vocal group arrangement 1 SO~O tonal blend of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 SO~O instrumentai forces 1 solo guitar acc. a harmonica? Bob playing an instrument? 'loudness' of band 7 SO~O60b rnelodic shape 3 undulating phrase length 1 veiy short melodic range 4 within an octave and P5 harmonie type 1 major register 5 medium to high repetition of text 2 some Song tempo 3 moderate syllabic density 1 IOW vocal volume 2 mid

melisma 2 some timbre variation 1 litth or no nasaiity 1 little or no rasp 3 some quaiïty of rasp 2 light supraglottai openness 2 mid voicedmreathy 2 moderately voiced enunciation 2 precise Sung or spoken 1 al1 notes on or close to pitch 0 iive Tith Baby, I'm In The Mood For You Date 62/07/09 Open #1 Comments vocal group arrangement 1 SO~O tonal blond of. vocal group 1 SO~O rhythmic cooidination of 8ob and vocal group 1 SO~O

instrumental forces -1 solo guitar acc. harmonica? Bob playing an instrument? 'loudriess' of band 1 SO~O60b rndodic shape 3 undulating phrase longth 3 medium meladlc range 4 within an octave and PS hamonic type 1 major register 5 medium to high repatition of text 4 quite a lot song tempo 4 fast syllabic density 2 mid vocal volume 3 loud vocal rubato 2 some glissando 3 much melisma 1 little or no timbre variation 3 much nasaiity 2 some rasp 3 some qua~ityof rasp 2 light supragiottai opennass 2 mid voic.dlbmathy 1 strongly voiced enunciation 2 precise Sung or spokrn 2 most notes pitched iive title Blowint In The Wnd Date 62/07/09 open #1 Dylan: music based foosely on "No More Comments vocal group arrangement 1 SO~O tonal blond of vocal gmup 1 SO~O rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 1 SOIOguit~ acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO/O Bab melodic shape 3 undulating phrase length 3 medium melodic range 3 rnainly within an octave hannonic type 1 major register 4 medium repetition of text 2 some song tempo 3 moderate syllabic density 2 rnid vocal volume 2 rnid vocal rubato 2 some glissando 1 little or no melisma 1 littfe or no timbre variation 1 Iittfe Of no nasality 2 some rasp 2 little quaiity of nsp 2 light supragiottai openness 2 rnid voic.dlbr.alhy 2 moderately voiced onunciation 1 very precise Sung or spoken 1 al1 notes on or close to pitch 0 live Title Down The Highway Date 62/07/09 Open #l Cornments occasional yodels vocal group arrangement 1 SO~O tonal blond of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 sol0 instrumentai forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O60b melodic shape 3 undulating phrase longth 3 medium melodic range 3 mainiy within an octave hamonic type 4 blues register 5 medium to high repetition of text 3 about 1/2 song tempo 2 slow syllabic dansity 2 mid vocal volume 2 mid vocal rubato 3 much glissando 2 some melisma 1 little or no timbre variation 2 SOffle nasality 2 some rasp 2 little quality of rasp 2 Iight supragiottaî openness 2 mid vokedibirathy 2 moderately voiced enunciatlon 2 precise Sung or spoken 2 most notes pitched [7 live Title Honey, Just Allow Me One More Chance Date 62/07/09 Open Itl Henry ThomadBob Dylan Comments vocal gmup arrangement 1 SO~O tonal blond of vocal group 1 solo rhythmlc cootdinatlon of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar am. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O80b melodit shape 3 undulating phrase length 3 medium rnelodic range 4 within an octave and P5 hannonic typo 1 major register 5 medium to high repetfiion of text 3 about 1/2 Song tempo 4 fast syllabic density 3 high vocal volume 3 loud vocal nibato 1 strict tempo glissando 1 little Of n0 melisma 1 little or no timbre variation 2 soffle nasality 2 some rasp 2 Iittle quaiity of rasp 2 light supragiottai openness 2 mid voicedmreathy 1 strongly voiced enunciation 2 precise sung or spokmn 2 most notes pitched 1iive Title Quit Your Low D6wn Ways Date 62/07/09 Open #< Cornments yodeling vocal gmup arrangement 1 SO~O tonal blond of vocal group 1 solo rhythmic coordbation of Bob and vocal group f sol0 instrumental forces 1 solo guitar acc. . harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O80b melodic shapo 5 iterative phrase length 3 medium melodic range 5 beyond an octave and P5 harrnonic type 4 blues register 3 rnixed repetition of text 3 about 1/2 song tempo 3 moderate sylfabic density 3 high vocal volume 3 loud vocal rubato 3 much glissando 2 some melisma 2 some timbre variation 3 much nasality 2 some rasp 3 some quality of rasp 4 harsh supraglottal openness 1 narrow voicsdîbreathy 1 strongly voiced enunciation 3 stuned Sung or spokon 2 most notes pitched iive Title Worried Blues Date 62/07/09 Open II Hafly Wood Comments occasional emotive interjections between vocal group arrangement 1 SO~O tonal blond of vocal group 1 SO~O rhythmic coordination of Bob and vocal gmup 1 SO~O instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O6ob melodic shape 3 undulating phrase length 2 short melodic range 3 mainly within an octave hamonic type 1 major register 4 medium tepetition of text 4 quite a lot Song tempo 2 slow syllabic density 2 rnid vocal volume 2 mid vocal rubato 2 some giissando 2 SOme melisma 1 little or no timbre variation 1 Iittfe or no nasality 1 little or no rasp 2 little quaiity of rasp 2 light supraglottai openness 2 rnid voicedhnathy 2 moderately voiced enunciation 2 precise Sung or spokon 1 all notes on or close to pitch [7 live Titie No More Auction Block Date 62/10/00 Open #ltrad. Comments vocal group arrangement 1 solo tonal blend of vocal group 1 solo rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 1 SOIOguitaf acc. [7 harmonica? Bob playing an instrument? 'loudness' of band 1 solo Bab mdodlc shape 3 undulaüng phrase length 2 short melodic range 3 rnainiy within an octave harrnonic type 1 major register 4 medium repetition of tex? 4 quite a lot sang tempo 3 moderate syllabic density 1 IOW vocai volume 2 mid vocal rubato 2 some glissando 1 littie Or no melisma 2 some timbre variation 1 littk or no nasality 2 s~ffle rasp 3 some quaîity of rasp 3 rnoderatefy harsh supragiottai openness 2 mid voicecübreathy 1 strongîy voiced enunciation 2 precise Sung or spoimn 1 al1 notes on or close to pitch iive Title Corrina, Cornna Date 62/10/26 open #I tiad. arr. Bob Dylan Cornmonts occasional yodels at ends of phrases - Bob vocal group arrangement 1 SOIO tonal blond of vocal group 1 sol0 rhythmic coordination of Bob and vocai group 1 SO~O instrumental forces 3 srnall group 2-4 harmonica? a Bob playing an instrument? 'loudness' of band 3 quiet electric band rnelodic shape 3 unduiating phrase Iength 3 medium melodic range 3 mainly withh an octave hsmonic type 1 major register 5 medium to high repetition of text 4 quite a lot Song tempo 3 moderate syllabic density 2 mid vocal volume 2 mid vocal rubato 1 strict tempo glissando 1 little Or no melisma 1 little or no timbre variation 1 little or no nasality 2 some rasp 2 little quaiity of rasp 2 light supngiottai openness 2 mid voicecübnathy 2 rn oderateiy voiced enunciation 2 precise Sung or spokm 1 al1 notes on or close to pitch [I live Title Don't Think Twice, It's Ail Right Date 62/11/14 Open YI Cornments fingerstyle gular accompaniment vocal group arrangement 1 SOIO tonal blend of vocal group 1 SO~O rhythmfc coordination of Bob and vocal group 1 Sol0 instrumental forces 1 solo guitar acc. harmonica? Bab playing an instrument? 'loudnessB of band 1 sol0 80b melodic shape 3 undulating phrase length 3 medium melodic range 3 mainly within an octave hannonic type 1 major register 2 low ta medium repetition of text 2 some Song tempo 3 rnoderate syllabic density 2 rnid vocal volume 2 rnid vocal rubato 1 strict tempo glissando 1 littie or no

timbre variation 1 liftle Or no nasality 2 some rasp 2 little quality of rasp 2 light supragtottai openness 2 rnid voicedlbnathy 2 moderately voiced onunciation 2 precise sung or spokan 2 rnost notes pitched a iive Titie Kingsport Town Date 62/11/14 Open #itrad. Comments vocal group arrangement 1 solo tonal blond of vocal group 1 SO~O thythmic coordination of Bob and vocal group 1 sol0 instrumental forces 3 srnall group 3-4 harmonica? a Bob playing an instrument? 'loudness' of band 2 acoustic band rnelodic shape 3 undulating phrase Iength 2 sh0R rnelodic range 3 mainly within an octave hannoriic type 1 major register 5 medium to high repetition of text 2 some Song tempo 3-moderate syllabic density 1 ~OW vocai voiurne 2 rnid vocai rubato 1 strict tempo glissando 1 littfe or no melisma 1 little or no timbre variation 1 /ittfe or no nasality 1 little or no rasp 3 some quality of rasp 3 moderately harsh supragiottal oponnoss 2 mid voicadmreathy 2 moderately voiced onunciation 2 precise sung or spoken 1 al1 notes on or close to pitch [I [ive Title Mixed-Up Confusion Date 62/11/14 Open #1 Comments occasional vocaI shakes vocal group arrangement 1 SO~ tond blend of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 SO~ instrumental forces 5 large group 8+ 0 harmonica? Bob playing an instrument? 'loudness' of band 3 quiet electric band metodic shape 5 iterative phrase length 2 short melodic range 3 mainly within an octave harmonic type 1 major register 4 medium repetition of text 1 little or no Song tempo 4 fast syilabic density 2 mid vocal volume 3 loud vocal rubato 1 strict tempo glissando 2 sorne melisma 1 little or no timbre variation 2 some nasarity 1 little or no rasp 3 some quality of rasp 3 rnoderateiy harsh supraglottaî openness 2 rnid voicedmnathy 1 strongly voiced enunciation 2 precise sung or spokan 2 mOSt notes pitched 0: live Titre A Hard Rain's A-Gonna Fall Date 62/12/06 Open Y1 lyric structure based on "Lord Randai"(Chiic Comments vocal group arrangement 1 SOIO tonai blond of vocal group 1 SO~O rhythmic coordlnatlon of 80b and vocal group 1 SO~O instrumental forces 1 SOIOguitar acc. aharmonica? Bab playing an instrument? 'loudness' of band 1 solo 80b melodlc shape 3 undulating phrase length 3 medium meiodic range 3 mainly within an octave harrnonic type 1 major register 5 medium to high repetition of text 2 some Song tempo 3 moderate syllabic density 2 mid vocal volume 2 rnid vocal rubao 1 strict tempo glissando 1 littk or no melisma 1 little or no timbre variation 1 little or no nasality 2 sume rasp 2 littie quality of rasp 2 light supragîottal openness 2 rnid voicedlbreathy 2 moderately voiced enunciation 1 veiy precise Sung or spokan 1 al1 notes on or close to pitch [I [ive Tltle 6ob Dylan's Blues Date 62/12/06 Open #1 Cornmen ts spoken intro - occasional 'shakes' vocal group arrangement 1 SO~O tonal blond of vocai gmup 1 SO~O rhythmit coordination of Bob and vocal group 1 sol0 instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'foudness' of band 1 sol0 60b melodic shape 2 terraced phrase length 3 medium melodic range 3 mainiy within an octave harrnonic type 1 major registei 5 medium to high repetition of text 1 little or no Song tempo 4 fast syllabic density 2 rnid vocal volume 2 rnid vocal rubato 3 much glissando 1 littk Or no melisma 1 little or no timbre variation 2 some nasality 2 same rasp 2 little quaiity of rasp 2 light supraglottai openness 2 rnid voicedhreathy 2 rnoderately voiced enunciation 1 very precise sung or spoken 3 mixed [7 live Titre I Shall Be Free Date 62/12/06 Open #i Comments some 'shakes' vocal group arrangement 1 SO~O tonal blond ot vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? Bob playhg an instrument? 'loudness' ot band 1 SO~O60b rnelodic shape 3 undulating phrase Iength 3 medium rnelodic range 2 within a P5 harmonic type 1 major register 4 medium repetition of text 1 little or no Song tempo 3 moderate syllabic density 2 rnid vocal volume 2 mid vocal rubato 2 some glissando 1 iittie Or no melisma 1 little or no timbre variation 1 bttk Or nQ nasality 2 some rasp 2 little guaiity of rasp 2 Iight supragîottal openness 2 rnid voic.dlbruthy 2 moderately voiced enunciation 1 very precise sung or spoken 2 most notes pitched live ~itleOxford Town Date 62/12/06 Open #l Cornments vocal gmup arrangement 1 SO~O tonal blond of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 sol0 instrumental forces 1 SO~Oguitar acc. harmonica? Bob playing an instrument? 'loudnesse of band 1 SO~Bob rnelodic shape 3 onduiating phrase length 4 long melodic range 4 within an octave and PS harmanic type 1 major register 3 mixed repetition of text 1 little or flo Song tempo 4 fast syllabic density 2 rnid vocal volume 2 mid vocal rubato 1 strict tempo glissando 1 little or fl0 melisma 1 liffle or no timbre variation 2 SOmê nasality 2 Same rasp 2 Iittle quality of rasp 2 light supraglottai openness 2 rnid voiceâîbreathy 2 moderateiy voiced enunciation 2 precise Sung or spokon 1 al1 notes on or close to pitch [7 live Title Paths of Victory D a t e 63/00/00 Open #1 comments vocal group arrangement 1 SO~O tonal bland of vocal group 1 sol0 rhythmic coordination of Bab and vocal graup 1 sol0 instrumental forces 2 solo piano acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~OB0b malodic shape 3 undulating phrasa length 4 long melodic range 3 mainly within an octave hamonic type 1 major register 4 medium repetitian of text 2 some song tempo 3 moderate syllabic density 2 rnid vocal vohme 2 mid vocal rubato 1 strict tempo glissanit* 1 îittle or no melisma 1 little of no timbre variation 1 little or no nasality 2 some rasp 3 some quality of rasp 2 Iight supragiottal opennass 2 rn id voiceâlbreathy 1 ~tr~flglyvoiced enunciatlon 2 precise Sung or spokm 1 al1 notes on or close to pitch 0 live Title Walkin' Down The Line Date 63/03/00 Open #1

vocal group arrangement 1 SO~O tonal blond of vocal group 1 sol0 rhythmlc coordination of Bob and vocal group 1 sol0 Instrumental forces 1 sofa guitar acc. 5harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O60b melodic shape 3 undulating phrase Iength 2 short melodic range 3 rnainly within an octave harrnonic type 1 major register 4 medium repetition of text 4 quite a lot Song tempo 3 rnoderate syllabic density 2 mid vocal volume 2 mid vocal iubato 1 strict tempo glissando 1 Iîttle of no melisma 1 little or no timbre variation 1 little or no nasality 2 some rasp 2 little quality of rasp 2 light supraglottai apsnness 2 mid voicocUbreathy 2 moderately voiced enunciation 2 precise Sung or spokm 1 al1 notes on or close to pitch a live Titie Tomorrow Is A Long Erne Date 63/04/12 Open #1 Comments vocal group arrangement 1 SO~O tond blend ot vocal group 1 sol0 rhythmic coordination of Bob and vocal group 1 ~010 instrumental forces 1 solo guitai acc. harmonica? Bob piaying an instrument? 'Ioudness' of band 1 SO~O60b melodic shape 2 terraced phrase length 3 medium melodie range 3 main& within an octave hamonic type 1 major register 2 low to medium repetition of text 3 about 1/2 Song tempo 2 slow syllabic density 2 rnid vocal volume 1 soft vocal rubato 2 some glissando 1 little or no melisma 1 little or no timbre variation 1 Iittfe Of no nasality 2 some rasp 3 some quality of rasp 2 light supragiottai openness 2 rnid voicedmraathy 3 m ixed voiced and breathy enunciation 2 precise Sung or spoken 1 al1 notes on or close to pitch a iive Title Bob Dylan's Oream Date 63/04/24 Open #ltune from uLord Franklin", learned from Ma: Comrnents occasional 'shakes' vocal gmup arrangement 1 SOIO tonal bknd of vocal group 1 solo rhythmic coordination of Bob and vocal group 1 solo instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band f SO~O806 melodic shape 3 undulating phrase lerigth 3 medium melodic range 3 rnainly within an octave hamonic type 1 major register 4 medium repetition of text 1 little or no sang tempo 3 moderate syllabic density 2 rnid vocal voiurne 2 mid vocal rubato 2 some glissando 1 littk Or no melisma 1 littte or no timbre variation 1 iittie or no nasality 2 some rasp 2 little quaiity of rasp 2 light supragiottaî openness 2 rnid voic.dlbmathy 2 rn oderately voiced enunciation 2 precise Sung or spoken 1 all notes on or dose to pitch iive Title Girl From The North Country üat e 63/04/24 Open #1 lyrics based on Martin Carthy's version cf Comments fingelstyle accompaniment vocal group arrangement 1 SU~O tonal blend of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 sol0 instrumental forces 1 SO~Oguitar acc. harmonica? Bob playing an instrument? 'foudness' of band 1 SO~O60b melodlc shape 3 undulating phrase length 3 medium melodic range 4 within an octave and P5 hamonic type 1 major register 3 mixed repetition of text 2 some song tempo 3 moderate syllabic density 2 mid vocal volume 2 mid vocal rubato 1 strict tempo glissando 2 some

melisma 1 Meor fl0 timbre variation 1 littfê of n0 nasality 2 some rasp 2 little quaiity of rasp 2 light supragiottal openness 2 mid voicecübrmthy 2 moderately voiced enunciation 2 precise Sung or spoken 1 al1 notes on or close to pitch [I iive - Tft ie Masters Of War Date 63/04/24 open ICI tune based on "Nottamun Comments vocal group arrangement 1 SOIO tonal blond of vocal group 1 solo rhythmic coordination of Bob and vocal group 1 S~O instiumental fortes 1 solo guitar acc. 0 harmonica? a Bob playing an instrument? 'loudness' of band 1 SO~OBab rnelodic shape 3 undulating phrase length 3 medium rnelodit range 3 mainiy within an octave harmonie type 3 modal rrgister 5 medium to high repetition of text 1 little or no Song tempo 3 moderate syllabic density 2 mid vocal volume 3 loud vocal rubato 1 strict tempo g~issando1 little or no melisma 1 liffle or no timbre variation 1 iittle or no nasality 2 some rasp 2 Iittle quality of rasp 2 light supraglottal oponness 2 rnid voic.dmmathy 1 strongly voiced enunciation 1 very precise Sung or spokan 1 al1 notes on or claseto pitch [7 live Titre Talkin' Worfd War III Blues D a t e 63/04/24 Open #1 Corn ments talking blues vocal group arrangement 1 SO~O tonal blend of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 sol0 instrumental forces 1 SO~Oguibr acc. harmonica? Bob playing an instrument? 'loudness' of band 1 sol0 80b melodic shape 6 spoken/'freewheelin1 phrase Iength 4 long melodic range 2 within a PS

register 4 medium repetition of text 1 little or no Song tempo 4 fast syllabic density 2 rnid vocal volume 2 rnid vocal rubato 2 some glissando 2 some melisma 1 littte or no timbre variation 1 little or no nasality 2 some rasp 2 little quaiity of nsp 2 light suptaglottal openness 2 mid voicsdmr.pthy 2 moderateiy voiced enunciation 2 precise Sung or spoken 4 notes occasionally pitched 0 live Tltle Walfs of Red Wing Da te 63/04/24 Open #t Comments vocal group arrangement 1 SOIO tonal blend of vocal group 1 SO~O rhythmit coordInatlon of Bob and vocal group 1 SO~ instrumemtal forces 1 solo guitar acc. a harmonica? a Bob playing an instrument? 'loudness' ot band f SO~O80b melodic shape 3 undulating phrase length 3 medium mdodic range 3 mainfy wthin an octave - hamonic type 1 major register 4 medium tepetition of text 2 some Song tempo 2 slow syllabic density 2 mid vocal volume 2 mid vocal rubato 2 some glissando 1 little or no

nasality 1 Iittle or no rasp 2 little qualm of rasp 2 light supragiottal opennoss 2 mid voicedhmathy 2 moderately voiced enunciation 1 very precise surtg or spokon 1 al1 notes on or close to pitch iive ritle Blowin' ln The Wind Date 63/07/26 Open #1 Comments vocal gioup arrangement 3 homophony throughout tonal blond of vocal group 4 very individualized rhythmit coordination of Bob and vocal group 4 moderate instrumental forces 1 solo guitar acc. [7 harmonica? Bob playing an instrument? 'loudness' of band 1 solo Bab melodic shapo 3 undulating phrase fength 3 medium melodic range 3 rnainly within an octave hannonic type 1 major register 5 medium to high repetition of text 2 some Song tempo 2 slow syllabic density 2 mid vocal volume 3 loud vocal rubato 1 strict tempo giissando 2 some melisma 1 Iittfe or no timbre variation 1 iittk Or no nasality 3 much rasp 3 some quaiity of rasp 2 light supragIottai openness 2 mid voicodlbrmthy 1 strongiy voiced enunciation 2 precise Sung or opken 2 most notes pitched a iive Title North Country Blues Date 63/08/06 Open #1 Comments vocal gmup arrangement 1 solo tonal blond of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. 0 harmonica? Bob playing an instrument? 'loudness' of band 1 SO~OBob melodic shape 3 undulating phrase length 4 long melodic range 4 within an octave and P5 harmonic type 3 modal tegister 3 mixed repetition of text 1 iittle or no Song tempo 2 slow sy llabic density 2 rnid vocal volume 1 s~ft vocal rubato 1 strict tempo glissando 1 linle or no melisma 2 some timbre variation 1 little of no nasality 2 some rasp 3 some quaiity of rasp 3 moderately harsh supraglottal openness 2 mid voicedlbnathy 2 moderately voiced enunciation 2 precise Sung or spoken 1 al1 notes on or close to pitch [7 iive Title Seven Curses Date 63/08/06 Open #l Comments vocal group arrangement 1 solo tonal bland of vocal group 1 sol0 rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'foudness' of band 1 SO~O60b melodic shape 3 undulating phrase length 2 short melodic range 3 mainfy within an octave harmonic type 1 major register 4 medium nptition of text 1 little or no Song tempo 2 slow syllabic density 1 IOW vocaf volume 2 rnid vocal rubato 1 strict tempo glissando 1 little or no meiisma 1 little of no timbre variation 1 littie or no nasality 1 little or no rasp 3 some quality of rasp 2 light supraglottai openness 2 rnid voicdbraathy 2 rnoderately voiced enunciation 2 precise Sung or spoken 1 al1 notes on or close to pitch [7 live Title Bailad Of Hollis Brown Date 63/08/07 Open #1 Comments vocal group arrangement 1 SO~O tonal blend of vocal group 1 SO!O rhythmlc coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. a harmonica? a Bob playing an instrument? 'loudness' of band 1 sol0 80b melodic shape 3 undulating phrase length 3 medium melodic range 3 rnainly within an octave harmonic type 3 modal register 4 medium repetition of text 4 quite a lot Song tempo 3 moderate syilabic density 2 mid vocal volume 2 mid vocal rubato 1 strict tempo glissando 2 some melisma 1 Meor no timbre variation 1 littie or no nasallty 2 some rasp 3 some quality of rasp 2 light supragiottai openness 2 mid voic.dmreathy 2 moderately voiced enunciation 2 precise Sung or spokan 1 al1 notes on or close to pitch [7 live Title BOO~SOf Spanish Leather Date 63/08/07 Open Ri Comments vacal group arrangement 1 solo tonal blsnd of vocal group 1 SO~O- rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. a harmonica? Bob playing an instrument? 'loudness' of band 1 solo 60b rnelodic shape 3 undulating phrase length 3 medium rnelodic range 4 within an octave and P5 hannonic type 1 major register 3 rnixed tepetition of text 1 Mie of no Song tempo 2 slow syllabic density 2 mid vocal volume 1 ~~ff vocal rubato 2 sorne glissando 2 Some melisma 1 little of no timbre variation 2 sOme nasality 2 some rasp 3 some quality of rasp 3 moderateîy harsh supragiottai openness 2 mid voicadmmathy 3 mixed voiced and breathy enunciation 2 precise Sung or spokon 1 ail notes on or close to pitch 17 iive Title Only A P amIn Their Game ûa t e 63/08/07 Open #1 Comments accornpaniment nibato vocal group arrangement 1 SOIO tonal blond of vocal gmup 1 SO~O rhythmit coordination of Bab and vocal group 1 SO~O instrumentai forces 1 SOIOguitar acc. a harmonica? Bob playing an instrument? 'loudness' of band 1 sol0 60b melodic shape 3 undulating phrase length 3 medium melodic range 3 mainly within an octave harmonic type 1 major register 5 medium to high repetition of text 2 some Song tempo 3 moderate syllabic dansity 2 rnid vocal volume 2 mid vocal rubato 3 rnuch glissando 1 little Or no melisma 2 some timbre variation 2 some nasality 2 some rasp 2 little quality of rasp 2 light suptaglottal openness 2 mid voicedmreathy 2 moderately voiced enunciation 2 precise Sung or spoken 1 al1 notes on or close to pitch a iive Title With God On Our'Side D ate 63/08/07 Open #1 Comments accompaniment rubato vocal group arrangement 1 solo tonaf blond of vocal gmup 1 SOIQ rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? a Bob playing an instrument? 'loudness' of band 1 SO~O80b melodic shape 3 undulating phrase length 2 short nelodic range 4 within an octave and P5 hamonic type 1 major register 5 medium to high repetitlon of text 2 some Song tempo 3 moderate syllabic density 2 m id vocal volume 2 rnid vocal rubato 2 some glissando 2 Some melisma 1 little or no timbre variation 1 little or no nasality 2 some rasp 3 some quality of rasp 2 light supragiottai openness 2 rnid

enunciation 2 precise Sung or spoken 1 all notes on or close to pitch 17 iive ritle Moonshine Blues D a t e 63/08/12 Open Y1 trad. an. Bob Dylan Comments vocal group arrangement 1 solo tonal blond of vocal group 1 SO~ rhythmlc coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar am. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O80b melodic shape 3 undulating phrase Iength 3 medium melodic range 3 mainiy within an octave harmonic type 1 major register 2 low to medium retpetition of text 1 little or no song tempo 3 moderate syllabic density 1 IOW vocal volume 2 mid vocal rubato 2 some giissando 1 little or no melisma 1 littfe or no timbre variation 1 little or no nasality 2 Som0 rasp 3 some quaiity of rasp 2 light supragîottai opennoss 2 rnid vok.dmruthy 2 moderately voiced enunciation 2 precise Sung or spoken 1 al1 notes on or close to pitch 0 live Title One Too Many Momings Date 63/08/12 Open #l Cornrnents vocal group arrangement 1 solo tonal bland of vocal group 1 solo rhythmlc coordination of Bob and vocal group 1 SO~O Instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O80b rnelodic shape 3 undulating phrase length 3 medium rnelodic range 3 mainly within an octave hannonie type 1 major register 2 low to medium repetition of text 2 some Song tempo 3 moderate syllabic density 2 mid vocal volume 1 off vocal rubato 2 some g~issando1 iittle or no melisma 1 liffle or no timbre variation 2 SOme nasaiity 1 little or no rasp 3 some quafity of rasp 3 moderately harsh supragiottaî openness 2 mid voicedlbraathy 2 moderately voiced enunciation 2 precise Sung or spoken 1 all notes on or dose ta pitch 17 live Title Onfy A Hobo Date 63/08/12 Open Il Comments vocal gmup arrangement 1 SO~O tonal blond of vocal group 1 sol0 rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? @ Bob playing an instrument? 'loudness' of band 1 SO~O60b melodic shape 3 undulating phrase Iength 3 medium mdodic range 3 mainly within an octave hannonic type 1 major register 4 medium repetition of text 2 some Song tempo 3 moderate syllabic density 2 rnid vocal volume 3 loud vocal rubato 1 strict tempo glissando 2 Some meiisma 1 little or no timbre variation 1 littk Or no nasality 2 some rasp 3 some qudity of rasp 2 light supragiottai openness 2 mid voicedmreathy 1 strongly voiceâ enunciation 3 slurred Sung or spoken 1 al1 notes on or close to pitch iive Title The Times They Are A-Changin' Date 63/09/00 Open #I Cornrnents vocal gmup arrangement 1 solo tonal bhnd ot vocal group 1 solo rhythmic coordination of Bob and vocal group 1 SO~O fnstrumental forces 2 solo piano am. aharmonica? Bob playing an instrument? 'loudness' of band 1 SO~O80b rnelodic shape 3 undulating phrase length 3 medium rnelodic range 2 within a P5 harmonic type 1 major register 5 medium to high repetition of text 2 some Song tempo 2 slow syllabic density 2 rnid vocal volume 3 loud vocal rubato 1 strict tempo glissando 1 little or no melisma 1 little or no timbre variation 1 iittie Of fi0 nasaiity 2 some rasp 3 some quaiity of rasp 3 moderateiy harsh supragiottaî openness 2 mid voicad/bmathy 1 strongl y voiced enunciatfon 1 very precise Sung or spoken 1 al1 notes on or close to pitch live litle When The Ship Cornes In Date 63/09/00 Open #l Comments vocal group arrangement 1 SO~O tonal blond of vocal group 1 ~010 rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 2 solo piano acc. a harmonica? 5 Bob playing an instrument? 'loudness' of band 1 SO~O60b melodic shape 3 undulating phrase length 4 long melodic range 2 within a P5 hamnic type 1 major register 5 medium to high repetition of text 1 little or no Song tempo 3 moderate syllabic density 2 rnid vocal volume 2 rnid vocal rubato 1 strict tempo glissando 2 some melisma 1 little or no timbre variation 1 iittle or no nasality 2 some rasp 2 little quality of rasp 2 light supragiottai openness 2 mid voicedhraathy 2 moderately voiced enunciation 1 very precise Sung or spokm 1 al1 notes on or close to pitch live Title Perq's Song D a t e 63/10/23 Open RI Cornrnents vocal group arrangement 1 solo tonal blond of vocal group 1 sol0 rhythmic coordination of Bob and vocal group 1 sol0 instrumental forces 1 solo guitar acc. harmonica? a Bob playing an instrument? 'loudness' of band 1 sol0 60b melodlc shape 3 undulating phrase Iength 3 medium rnelodlt range 3 rnainiy within an octave

register 2 low to medium repetition of text 3 about 112 Song tempo 3 moderate syllabic density 2 mid vocal volurne 1 ~~ft vocal rubato 2 some g~issando1 little or no melisma 1 little or no timbre variation 1 littk or fi0 nasality 2 some rasp 3 some quaiity of rasp 3 moderately harsh supragfottai openners 2 rnid voicdhreahy 3 mixed voiced and breathy enunciation 2 precise Sung or spoken 1 all notes on or close to pitch [7 live T itle The Lonesorne Death of Hattie Carroll Date 63/10/23 Open #1 Comments vocal group arrangement 1 solo tonal blond of vocal group 1 SO~O rhythmic coordhatkn of Bob and vocal group 1 SO~ instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 sol0 80b melodic shape 3 undulating phrase length 3 medium melodic range 3 mainly within an octave harmonie type 1 major register 4 medium repetition of text 2 sorne Song tempo 2 slow syllabic density 2 rnid vocal volume 2 rnid vocal rubato 2 some gfissando 2 Som0 melisrna 1 Iittfe or no timbre variation 1 Iittle or no nasality 1 little or no rasp 3 some quaiity ot rasp 2 light supraglottal oponness 2 rnid voicedmmathy 2 moderateiy voiced enunciation 2 precise sung or spoken 1 al1 notes on or ciose to pitch 0 live Titîe When The Ship Cornes In D at e 63/10/23 Open #i Corn ments strongiy accented in places vocal group arrangement 1 SOIO tonal blond of vocal group 1 ~010 rhythmie coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~OBob mdodic shape 3 undulating phrase length 2 short melodic range 2 within a P5 harmonic type 1 major register 5 medium to high repetition of text 1 little of no Song tempo 4 fast syllabic density 2 m id vocal volume 2 rnid vocal iubato 2 some glissando 2 some melisma 1 little or no timbre variation 1 fittk Of no nasality 2 some rasp 3 some quality of rasp 2 light supragiottal openness 2 rnid voicocübnathy 2 moderately voiced enunciatlon 2 precise Sung or spoken 1 al! flotes on or close to pitch 5 live Title Eternal Circle . O at e 63/10/24 Open RI Comments vocal group arrangement 1 ~010 tonal bland of vocal group 1 SO~O rhythmic coordlnatlon of Bob and vocal group 1 SO~O Instrumental forces 1 solo guitar acc. [7 harmonica? - Bob playing an instrument? 'loudness' of band 1 solo 80b rnelodic shape 3 undulating phrase length 3 medium rnelodic range 4 within an octave and P5 hannonic type 1 major register 3 mixed repetition of text 1 IittIe or no Song tempo 3 moderate syllabic density 2 rnid vocal volume 2 rnid vocal rubato 1 strict tempo glissando 2 some melisma 1 little or no timbre variation 1 little Or no nasality 1 Iittle or no rasp 3 same quaii@ ot rasp 3 rnoderately harsh supraglottaf openness 2 rnid voic.dmtuthy 2 moderately voiced enunciation 2 precise sung or spoken 1 al1 notes on or close to pitch a live T itîe Lay Down Your Weary Tune Date 63/10/24 Open #t Comments vocal group arrangement 1 solo tonal blond of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 SO~O instrumentai forces 1 solo guitar acc. 17 harmonica? a Bob playing an instrument? 'loudness' of band 1 sol0 80b melodic shape 3 undulathg phrase length 3 medium melodic range 3 mainly within an octave harmonic type 1 major register 4 medium repetition of text 2 some Song tempo 3 moderate syflabic density 1 IOW vocal volume 2 mid vocal rubato 1 strict tempo giissando 2 some melisma 1 little or no timbre variation 1 iittie Or no nasality 2 Som0 rasp 2 little quality of rasp 2 light supragiottai openness 2 mid voicecubieathy 1 strongly voiced enunciation 1 very precise Sung or spoken 1 al1 notes an or dose to pitch iive Tltle The Times They Are A-Changin' Date 6311 0124 Open #1 Comments vocal gmup arrangement 1 SO~O tonal blond of vocal group 1 SO~O dinatlon of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? Bob piaying an instrument? 'loudness' of band 1 sol0 Bob melodic shape 3 undulating phrase length 3 medium melodic range 2 within a P5 hamonic type 1 major register 5 medium to high repetition of text 2 some Song tempo 3 moderate syllabic density 2 rn id vocal volume 2 rnid vocal rubato 1 strict tempo g~issanko2 some melisma 1 Iittle or no timbre variation 1 jittle or no nasality 2 some rasp 3 some quaiity of nsp 2 light supraglottai opennass 2 mid voicadmreathy 2 moderately voiced enunciation 2 precise Sung or spokan 1 ail notes on or close to pitch 17 iive Title Who Killed Davey Moore Date 63/10/26 Open #1 Comrnents based on 'Who Killed Cock Robin' vocal group arrangement 1 SO~O tonal bknd of vocal group 1 SO~O rhythmlc coordination ot Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? a Bob playing an instrument? 'loudness' of band 1 SO~OBab rnelodic shapa 5 iterative phrase Iength 3 medium melodic range 3 mainly within an octave hamonh typo 1 major register 4 medium repetition of text 2 some song tempo 3 moderate syllabic density 2 rn id

vocal rubato 2 some g lissando 1 little or no melisma 1 little or no timbre variation 1 little or no nasality 2 some rasp 2 little quality of msp 2 light supraglottai openness 2 mid voicedlbreathy 1 strongly voiced enunciation 1 very precise Sung or spoken 1 al1 notes on or close to pitch live Titi9 Restless Farewell Date 63/10/31 Open #1 Cornments tune and lyrics based on The Parting vocal group arrangement 1 solo tonal blond of vocal gmup 1 solo rtiythmic coordination of Bob and vocal group 1 solo instrumental fortes 1 solo guitar acc. a harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O60b melodic shape 3 undulating phrase length 3 medium melodic range 3 rnainly within an octave hamonic type 1 major register 2 low to medium repetitfon of text 2 some Song tempo 1 very slow syllabic density 1 ~OW vocal volume 2 mid vocal tubato 3 much g~irsrndo2 some melisma 2 some timbre variation f linle or no nasality 1 little or no rasp 3 some quality of rasp 3 moderateiy harsh supragfottal openness 2 mid voicedlbiaathy 2 moderately voiced enunciation 2 precise Sung or spokm 1 al1 notes on or close to pitch 17 iive T itle All I Really Want To Do Date 64/06/09 Open #1 Comments yodels in chorus, intermittent laughing vocal group arrangement 1 solo tonal blond of vocal group 1 sol0 thythmic coordinatfon of Bob and vocal group 1 SO~O instrummtsl forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 solo 60b molodic shape 3 undulating phrase length 3 medium melodic range 5 beyond an octave and P5 hannonic type 1 major register 3 mixed repetition of text 2 some sang tempo 3 moderate syllabic density 2 mid vocal volume 2 mid vocal rubato 2 some glissando 1 little or no melisma 2 some timbre variation 1 iittie or no nasality 2 some rasp 2 little qua~ityof rasp 2 light supragbttaî oponness 2 rnid voicedmrmthy 1 strongly voiced snunciation 1 very piecise sung or spoken 1 al1 notes on or close to pitch [1 live - - A --

187

ntle Ballad In Plain D ' Date 64/06/09 Open RI Comments vocal group arrangement 1 solo tonal blond of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? a Bob playing an instrument? 'loudriess' of band 1 SOIO 8ob melodic shape 1 arched phrase length 2 short melodic range 3 mainly within an octave hamonic type 1 major tegister 4 medium repetition of text 1 little or no Song tempo 2 slow syllabic density 2 mid vocal volume 2 mid vocal rubato 2 some glissando 2 some melisma 2 some timbre variation 1 little Of no nasality 2 some rasp 2 little quality of rasp 3 moderately harsh supraglottal openness 2 mid voicedibreathy 2 moderately voiced enunciation 2 precise Sung or spoken 1 ail notes on or close to pitch [7 rive Title Black Crow Blues Date 64/06/09 Open #1 Comments vocal group arrangement 1 solo tonal blond of vocal group 1 sol0 thythmic coordination ot Bob and vocal group 1 solo instrumental forces 2 solo piano acc. harmonica? Bob playing an instrument? 'loudness' of band f SO~BO& melodic shape 3 undulating phrase length 2 short melodic range 3 mainly within an octave hamnic type 4 blues register 4 medium rspetition of text 4 quite a lot Song tempo 3 moderate syllabic density 2 rnid vocal volume 2 mid vocal rubato 2 some glissando 2 some melisma 1 Meor no timbre variation 1 littk or no nasality 2 Some rasp 2 little quaiity of rasp 2 light supragiottal oponness 2 rnid voicedîbreathy 1 strongly vaiced enunciation 2 precise Sung or spokan 1 al1 notes on or close to pitch [7 live ------

189

Title Chimes of ~reedom Date 64/06/09 Open #l Comments vocal group arrangement 1 SO~O tonal blond of vocal group 1 SO~O rhythmic coordination of Bob and vota1 group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O8ob melodic shape 1 arched phrase length 4 long melodic range 3 rnainly within an octave hamionictype 1 major register 4 medium repetition ot text 1 littfe or no Song tempo 3 moderate syllabic density 2 rnid vocal volume 2 rnid vocal rubato 2 some g tissando 1 littfe or no meiisma 1 little or no timbre variation 1 littk Of fi0 nasallty 2 some rasp 3 some quaiity of rasp 3 moderately harsh supraglottaî openness 2 rn id voicdibreathy 2 moderately voiced enunciation 3 slurreû sung or spokan 1 al1 notes on or close to pitch iive Title 1 Don? Believe You Date 64/06/09 Open Yi Comrnents vocal group arrangement 1 SO~O tond blond ot vocal group 1 SO~O rhythmic coordination of Bob and vocal graup 1 SOIO instrumental forces 1 solo guitar acc. harmonica? 5 8ob playing an instrument? 'loudness' of band f ~01060b melodic shape 3 undulating phrase length 2 S~OR melodic range 4 within an octave and P5 harmonic type 1 major register 3 rnixed repetition ot text 2 some Song tempo 3 rnoderate syllabic density 2 mid vocal volume 2 rnid vocal rubato 2 Some glissando 2 some mekma 1 little or no timbre variation 1 Iittk Or no nasality 2 some rasp 2 little

supragiottai opennass 2 mid voicdbraathy 1 strongly voiced enunciation 3 slurred Sung or spohn 1 al1 notes on or close ta pitch 0 iive - --A------

L9I

Titis I Shall Be Free ~6.10 Date 64/06/09 Open #1 Cornmats talking blues vocal group arrangement 1 SO~O tonal blend of vocal group 1 solo rhythmic coordination of Bob and vocal group 1 solo instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 sa10 60b rnelodic shape 6 spokenfireewheelin' phrase length 3 medium melodic range 2 within a P5 harmonic type 1 major registet 4 medium repetition of taxt 1 Iittte or no Song tempo 4 fast syllabic density 2 mid vocal volume 2 rnid vocal rubato 3 much glissando 2 some melisma 1 !inle or no timbre variation 1 little or no nasallty 2 some rasp 3 some quaiity of nsp 2 light supragiottal oprnness 2 mid voic.dlbroathy 1 strongly v0iced enunciation 3 sfurred Sung or spokmn 5 spoken 0 lie ~itleIt Ain't Me. Babe - Date 64/06/09 Open #1 Comments vocal gmup arrangement 1 SO~O tonal biand of vocal group 1 SO~O rtiythmic caordination ot Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. [7 harmonica? Bob playing an instrument? 'loudness' ot band 1 SO~OBob

phrase iength 3 medium meiodic range 3 mainiy within an octave harmonic type 1 major register 5 medium to high repetition of text 2 Som0 Song tempo 3 moderate syllabic density 2 m id vocal volume 2 mid vocal rubato 2 sorne glissando 2 SOme melisma 1 little or no timbre variation 1 littie Or fl0 nasality 2 some rasp 2 little quality of rasp 2 light supragiottai openness 2 mid voicoâibnathy 2 moderately voiced snunciation 2 precise Sung or spokon 1 al1 notes on or close ta pitch [7 iive 193

f itie Marna, You Been On My Mind Date 64/06/09 Open W1 Comments vocal group arrangement 1 SO~O tonal bland of vocal gmup 1 solo rhythmlc coordinaffm of Bob and vocal group 1 sol0 instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O80b rnelodic shape 3 undulating phrase Iength 4 long melodic range 3 mainly within an octave hamnic type 1 major registar 4 medium tepetition of text 2 some Song tempo 3 moderate syllabic density 2 mid vocal vaturne 2 rnid vocal rubato 2 sorne g tissando 2 some metisma 1 Mie or no timbre variation 1 IitYle or no nasality 2 some rasp 3 some quaiity of nrp 2 light supragkttal opennass 2 rnid v~icodibnlhy2 rnoderately voiced enunciation 3 slurred sung or spohn 1 al1 notes on or close to pitch 0 iive Title Motorpsycho ~iternare Date 64/06/09 Open 91 Comments voal gmup arrangement 1 SO~O tonal blond of vocal gmup 1 SO~O rhythmlc coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. [7 harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O60b rnelodic shape 3 undulating phrase Iength 3 medium rnelodic range 2 within a P5 hamonic type 1 major register 4 medium repetition of text 1 little or no Song tempo 3 moderate syllabic density 2 mid vocal voiume 2 rnid vocal rubato 2 some glissando 2 SOme rnelisma 1 iittle or no timbre variation 1 Iittk of no nasatfty 2 some tasp 2 little

supragtottal openness 2 mid voicedlbmathy 1 ~tr~flglyvoiced enunciation 3 slurreâ sung or spoicon 3 mixed a [ive Title My Back Pages Date 64/06/09 Open #i Comments vod gmup airangamont 1 SO~O tonal blond of vocal gmup 1 SO~ rhythmie coordinatkn ot Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. aharmonica? Bob playing an instrument? 'loudnoss' ot band f SO~OBab melodic shape 3 undulating phrase Iength 3 medium melodic range 3 mainiy within an octave harmonic typo 1 major register 4 medium repetition of text 2 some Song tempo 3 moderate syllabic density 2 mid vocal volume 2 mid vocal rubato 2 some glissando 2 some melisma 1 linle or no timbre variation 1 iiftk Or no nasality 2 Some rasp 3 some quaiity ot rasp 2 light supragjottal opennear 2 rnid voic.dlbreathy 1 strongly voiced enunciation 2 precise sung or spokan 1 aif notes on or close ta pitch a iive Tltle Spanish Harlem incident Date 64/06/09 Open #l Communts large intervallic leaps, sluned deliveiy . voici vocal group arrangement 1 solo tonal blond ot vocal group 1 SO~O rhythmic coordination of Bab and vocal group 1 SO~O instrumental forces 1 solo guitar acc. 0 harmonica? Bob playing an instrument? 'loudness' of band 1 SO~OBob melodic shape 3 undulating phrase Iength 3 medium melodic range 4 within an octave and P5 hannonic type 1 major register 3 mixed repetitfon of text 1 liffle of no sang tempo 3 moderate syllabic density 2 rnid vocal volume 2 mid vocal rubato 2 some glissando 2 SOme melisma 2 sorne timbre variation 1 Iittie or no nasality 2 some rasp 2 little quality of rasp 2 light supraglottai openness 2 mid voicod/'brmthy 2 moderately voiced enunciation 3 sluned Title TO Ramona Date 64/06/09 Open #i Comments vocal group atrangernent 1 SO~O tonal blond of vocal group 1 SO~O rhythrnic coordination of Bob and vocal group 1 solo insttumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SOIOBab melodic shape 3 undulating phrase Iength 4 long melodic range 4 within an octave and P5 harmonic typa 1 major register 2 low to medium repetition of text 1 lifffe or no Song tempo 2 slow syllabic density 2 mid vocal volume 2 m id vocal rubato 2 some glissando 2 sme meiisma 2 some timbre variation 1 liffle or no nasality 2 some rasp 2 little quaîity ot rasp 2 light supraglottai oponness 2 mid voic.dmnathy 2 muderately voiced enunciation 3 sfuned Sung or spokon 1 al1 notes on or close to pitch iive f itîe Farewell. Angelina Date 65/01/13 Open Pl comments held pitches slightly shaky vocal gmup arrangement 1 solo tonal blond of vocal group 1 SO~O rhythmlc coordlnatlon of Bob and vocal group 1 SO~O instrumentai forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 solo 80b mslodic shape 3 undulating phrase length 3 medium melodic range 3 maidy within an octave hamonic type 1 major register 4 medium repetition of text 2 some Song tempo 2 slow syllabic density 2 mid vocal volume 2 mid vocal rubato 1 strict tempo glissando 2 some melisma 1 liffle or no timbre variation 1 littk Of no nasality 1 Iittle or no rasp 2 little qcuiity of rasp 2 light supraglottal oprirness 2 mid voicedlbtaathy 2 moderately voiced enunciation 2 precise Sung or spakan 1 al1 notes on or close ta pitch [7 live Tltle 1'11 Keep It Wnh ~jne Date 65/01/13 Open #1 Comments vocal group arrangement 1 SOIO tonal blond of vocal gmup 1 SO~O rhythmic coordination of Bob and vocal group 1 solo instrumental forces 2 solo piano acc. harmonica? Bob playing an instrument? 'laudness' of band 1 SO~O80b rnelodit shape 3 undulating phrase length 2 short melodic range 4 within an octave and P5 harmonic type 1 major registei 3 mixed repetition of text 2 some Song tempo 3 moderate syllabic density 2 rnid vocal volume 2 mid vocal rubato 1 strict tempo glissando 2 some melisma 1 liftle or no timbre variation 2 some nasality 2 some rasp 3 some quality ot rasp 2 light supraglottal openness 2 mid vokedlbreathy 2 moderately voiced enunciation 2 precise Sung or spokon 1 all notes on or close to pitch live Titie Subterranean Homesick Blues Date 65/01/13 Open CI1 Comments vocal group arrangement 1 SO~O tonal bhnd of vocal gmup 1 SO~O rhythmic coordination of Bob and vocal group 1 sol0 instrumentai kmes 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O60b melodic shape 5 iterative phrase Iangth 5 veiy long rnolodic range 2 within a P5 hamnic type 4 blues register 4 medium repetition of text 1 IittIe or no Song tempo 3 moderate syllabic donsity 3 high vocal volurne 2 rnid vocal rubato 1 strict tempo glissando 1 little or no melisma 1 little or no timbre variation 1 iittle or no nasality 2 some rasp 3 some quality of msp 3 moderateiy harsh supraglottaî openness 2 rnid voicrdlbreathy 1 strongly voiced enunciatian 2 precise Sung or spoken 2 most notes pitched [I live Title Maggie's Farm Date 65/01/14 Open RI Comments vocai gmup arrangement 1 solo tonal blond of vocal group 1 SO~O rhythmic cooidlnatkn of Bob and vocal group 1 SO~O instrumental tomes 4 medium group 5-7 a harmonica? @ Bob playing an instrument? 'loudness' of band 4 loud electric band meladit shape 3 undulating phrase Iength 2 short rneiodic range 3 mainfy within an octave hamonic type 4 blues register 4 medium repetition of text 3 about 1/2 sang tempo 3 moderate syllabic density 2 rnid vocal volume 2 mid vocal rubato 2 some glissa"do 2 some melisma 1 little or no timbre variation 1 iittle or no nasality 3 much rasp 2 little quaiity of rasp 3 rnoderately harsh supraglottal openness 2 mid voic.dmi.athy 2 moderately voiced enunciation 2 precise Sung or spoken 3 mixed [7 iive Titi. On The Road Again Date 65/01/14 Open #I Comments vocal group arrangement 1 SO~O tonal blond of vocal group 1 SO[O rhythmic coordination of Bab and vocal group 1 SO~O instrumental forces 4 medium group 5-7 harmonica? Bob playing an instrument? 'loudnrss' of band 4 loud electric band melodic shape 5 iterative phrase length 3 medium rnelodic range 2 within a PS hamoriic type 4 blues register 5 medium to high repetition of text 1 little or no Song tempo 3 rnoderate syllabic density 2 mid vocal volume 3 loud vocal rubata 2 some glissando 2 some melisma 1 little or no timbre variation 1 little or no nasality 2 some rasp 2 little quality of rasp 2 light supraglottal operiness 2 mid voicedibreathy 2 moderately voiced enunciatian 2 precise Sung or spohn 2 most notes pitched live Tltie Bob Dylan's 1 15th Drearn Date 65/01/15 Open RI Cornments vocal group arrangemant 1 SO~O tonaî bland of vocal gmup 1 SO~ rhythmic coordlndon ot Bob and vocal gioup 1 SO~O insttumantaf forces 4 medium group 5-7 harmonica? a Bob playhg an instrument? 'loudness' of band 3 quiet electric band melodic shape 3 undulating phrase length 3 medium melodic range 1 within M3 harmonic type 4 blues register 4 medium repetition of text 1 little or no song tempo 3 moderate syllabic density 2 mid vocal volume 2 rnid vocal rubato 2 some glissando 2 some melisma 1 little or no timbre variation 1 Iittfe Or fl0 nasality 2 some rasp 2 little quality of rasp 2 light supragiottal opennass 2 rnid voicedibiuthy 2 rn oderately voiceâ enunciation 2 precise sung or spokon 3 rnixed iive Title Gates of Eden Date 65/01/15 Open Yi Comments vocal group arrangement 1 SO~O tonal blond of vocal group 1 SO~O rhythmk coorâhatkn of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? Bob playhg an instrument? 'loudness' of band 1 sol0 60b melodlc shapa 3 undulating phrase length 3 medium meiodlc range 3 mainly within an octave hamnic type 1 major register 3 mixed repetition of text 2 some Song tempo 3 moderate syllabic density 2 mid vocal volume 2 rnid vocal ~bato1 strict tempo glissarido 1 lit'fe or no melisma 1 little or no timbre variation 2 some nasality 2 some rasp 3 some quaiity of rasp 2 light supraglottal openness 2 rnid voic.d/bmathy 2 moderately voiced enunciation 2 precise Sung or spken 1 al1 notes on or close to pitch 17 iive Title If YOU Gotta Go, Go Now Date 65/01/15 Open #1 Comments vocal gmup arrangement 2 accompanirnent on refrains tonal blmd of vocal group 3 rather individualireci rhythmic coordination of Bob and vocal group 4 moderate instrumentai forces 4 medium group 5-7 harmonica? Bob playing an instrument? 'loudness' of band 3 quiet elecm'c band melodb shape 3 undulating phrase frngth 3 medium melodic range 3 mainiy within an octave harmonic type 4 blues register 4 medium repetition of text 2 some Song tempo 3 moderate syllabic density 2 mid vocal volume 2 rnid vocal rubato 2 some glissando 2 some melisma 1 little or no timbre variation 1 Iittle or no nasality 2 some rasp 2 Iittle quaiity of rasp 2 light supragiottai opanness 2 mid voic.dmieathy 2 moderateiy voiced enunciation 3 slurred sung or spokon 2 rnost notes pitched live T itie It's Ali Over Now, Baby Blue Date 65/01/15 Open #1 Cornments vocal group arrangement 1 SO~O tonal blond ot vocal group 1 SO~O rhythmic cooidination of Bob and vocal group 1 SO~O instrumental forces 3 small group 2-4 harmonica? Bob playing an instrument? 'loudness' of band 2 acoustic band

phrase length 3 medium melodic range 4 within an octave and P5 hamonic type 1 major register 3 mixed repetitton of text 2 some Song tempo 3 moderate syllabic density 2 mid vocal volume 2 mid vocal nibato 2 some glissando 2 some melisma 1 little or no timbre variation 2 some nasality 2 some rasp 3 some qwlity of rasp 3 moderately harsh supragiottal openness 2 mid voicedhreathy 2 moderately voiced enunciation 2 precise Sung or spokm 2 most notes pitdred. [7 live 207

Titte It's Ajnght Ma (ilm Only Bleeding) Date 65/01/15 Open #1 Cornmonts vocal group arrangement 1 solo tonal blond of vocal group 1 SOIO rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'loudness' of band 1 solo Bab melodlc shape 5 iterative phrase Iength 5 very long melodic range 2 within a P5 hannonic type 3 modal register 2 low ta medium tepetition of toxt 2 some Song tempo 3 moderate syllabic density 3 high vocal volume 1 soft vocal rubato 2 some glissanda 1 littje or no melisma 1 little or no timbre variation 1 Iittle or no nasality 2 some rasp 2 little quality of rasp 2 light supraglottal openness 2 mid voiced/braathy 2 moderately voiced enunciation 1 vefy precise Sung or spoken 1 al1 notes on or close to pitch 0 live Titfe Love Minus ZeroNo Limit Date 65/01/15 Open #i Comments vocal gmup arrangement 1 solo tonal bknd ot vocal gmup 1 sol0 rhythmic coordination of Bob and vocal group 1 SO~O instrumentai forces 4 medium group 5-7 harmonica? Bob playing an instrument? 'loudness' of band 3 quiet electric band melodic shape 3 undulating phrase length 2 short melodic range 3 rnainly within an octave harrnonic type 1 major register 4 medium repetition of text 1 Iittle or no Song tempo 3 moderate syllabic density 2 rnid vocal volume 2 rnid vocal rubato 1 strict tempo glissando 3 much melisma 1 little or no timbre variation 1 littie of no nasallty 2 some rasp 2 little quaiity of rasp 2 light supragiottai openness 2 rnid voic.dmraathy 2 moderately voiced enuntiation 2 precise Sung or spoken 1 ail notes on or close to pitch 17 iive ~ithMr. Tambourine Man Date 65/01/15 Open #i Comments vocal group arrangement 1 SO~O tonal blond of vocal group 1 sol0 rhythmic coordin.tkn of Bob and vocal gmup 1 sol0 instrumental forces 3 mal1 group 2-4 harmonica? a Bob playing an instrument? 'foudness' ot band 2 acoustic band melodic shape 2 terraced phrase length 4 long melodic range 3 rnainly within an octave harmonic type 1 major register 3 rnixed repetition of text 2 some song tempo 3 rnoderate syllabic density 2 rnid vocal voiume 2 rnid vocal rubato 2 some glissando 2 some melisma 1 little or no timbre variation 2 some nasality 1 little or no rasp 3 some quality ot rasp 2 light supraglottal openness 2 mid voicdibreathy 2 moderately voiced enunciation 2 precise Sung or spokm 1 al1 notes on or close to pitch 17 live Title Outlaw Blues Date 65/01/15 Open Il Comments vocal group arrangement 1 SOIO tonal bleiid of vocal group 1 SO~ rhynimic coorâlnaffon of Bob and vocal group 1 SO~O instrumentai forces 4 medium group 5-7 harmonica? a Bob playing an instrument? 'loudness' of band 4 OU^ ekctric band rnelodic shape 3 undulating phrase length 3 medium melodic range 2 within a P5 hannonic type 4 blues register 5 medium to high repetition of text 4 quite a lot Song tempo 4 fast syllabic density 2 mid vocal volume 3 loud vocal rubato 2 some glissando 2 Some melfsma 1 Iittfe or no timbre variation 1 little or no nasality 2 some rasp 2 little quality of rasp 2 Iight supraglottai openness 2 mid voicsdhmathy 1 ~tronglyvoiced enunciation 2 precise Sung or spoken 1 al1 notes on or close to pitch a iive Title She 8elongs To Me Date 65/01/15 Open #t Comments vocal gmup arrangement 1 solo tonal blond of vocal group 1 sol0 rhythmie coordination of Bob and vocal group 1 SO~O instrumentai forces 4 medium group 5-7 harmonica? Bob playing an instrument? 'loudness' of band 3 quiet electric band melodic shape 3 undulating phrase length 3 medium melodic range 3 mainly within an octave harmonic type 1 major register 2 low to medium repetition of text 4 quite a lot Song tempo 3 moderate syllabic density 2 mid vocal volume 1 s~ft vocal rubato 2 some glissando 2 some meiisma 1 little or no timbre variation 2 some nasality 1 little of no rasp 3 some quality of rasp 3 moderately harsh suptagbttal openness 2 mid voicedmnathy 2 rnoderately voiced enunciation 2 precise Sung or spokmn 2 most notes pitched [7 iive T itle Subterranean ~omesickBlues Date 65/01/15 Open Ri Cornments vocal group arrangement 1 SO~O tonal blond of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 SO~O instrumentai forces 4 medium group 5-7 a harmonica? Bab playing an instrument? 'loudness' of band 4 loud electric band

phrase iength 5 Vely long melodic range 2 within a P5 hannonic type 4 blues register 4 medium repetition of text 1 little or no Song tempo 4 fast syllabic density 3 high vocal volume 2 mid vocal rubato 2 some glissando 2 Some melisma 1 little or no timbre variation 1 linle or no nasality 3 much rasp 2 little quaiity of rasp 2 light supraglottai openness 2 mid voicedn>nathy 1 strongly vaiced enunciation 2 precise sung or spokrn 2 most notes pitcheâ iive f it~eIt Takes A Lot TO Laugh. It Takes a Train Tc Date 65/06/15 Open #1 Comments vocal gmup arrangement 1 SO~O tonal blond of vocal gmup 1 SO~O thythmic coordination of Bab and vocal group 1 SO~O instrumentai forces 4 medium group 5-7 harmonica? Bob playing an instrument? 'loudness' ot band 4 Ioud electric band melodic shape 3 undulating phrase length 3 medium meiodic range 2 within a P5 harmonic type 4 blues register 4 medium rapetition of text 1 little or no Song tempo 4 fast syllabic density 2 rnid vocal volume 3 loud vocal rubato 2 some glissaido 2 some melisma 1 little or no timbre variation 1 iittfe Or n0 nasality 2 some rasp 3 some quaiity of rasp 3 moderatety harsh supraglottai openness 2 mid voicedmnathy 2 moderately voiced enunciation 3 slutred Sung or spokon 2 most notes pitched [7 [ive Titre Like A Rolling Stone Date 65/06/15 Open #1 Comments outtake - 3/4 time vocal group arrangement 1 SO~O tonal blond of vocal group 1 solo rhythmic coordination of Bob and vocal gtoup 1 solo instrumental forces 2 solo piano acc. harmonica? a Bob playing an instrument? 'loudness' of band 1 SO~OB0b melodic shape 3 undulating phrase Iength 4 long melodlc range 3 mainiy within an octave hamonic type 1 major register 5 medium to high repetition of text 2 some sang tempo 3 moderate syltabic density 2 mid vocal volume 2 rnid vocal rubato 2 some glissando 1 littie or no melisma 2 some timbre variation 1 little or no nasality 2 some rasp 3 some quaiity of rasp 4 harsh supragiottai opanness 2 rnid

Sung or spokon 1 al1 notes on or close to pitch 0 live Title Like A Rolling Stone Date 65/06/15 Open #1 Comrnents vocal group arrangement 1 SOIO tonal blond of vocal group 1 SOIO rhythmic coordination of Bob and vocal group 1 sol0 instrumentai forces 4 medium group 5-7 harmonica? Bob playing an instrument? 'toudness' of band 4 ioud electric band melodic shape 3 undulating phrase length 4 long melodic range 3 rnainiy within an octave hamonic type 1 major register 4 medium repetitiori of text 2 some Song tempo 3 moderate sy Habic density 2 rnid vocal volume 3 loud vocal rubato 1 strict tempo glissando 1 littk or no melisma 1 little or no timbre variation 2 some nasaiity 3 much rasp 2 little quaiity of rasp 2 light supraglottaî openness 2 rnid voitodhreathy 1 ~tf~nglyv0iced enunciation 1 very precise Sung or spokm 1 al1 notes onor close to pitch iive 2 16

Title Sitting On A Barbed Wife Fence Date 65/06/15 Open #t Comments vocal gmup arrangement 1 solo tonal blond of vocal group 1 SO~O ihythmit cooidinatlon of Bob and vocal group 1 SO~O instrumental forces 4 medium group 5-7 a harmonica? Bob playing an instrument? 'loudness' of band 4 loud electric band meiodic shape 3 undulating phrase length 3 medium molodic range 3 rnainly within an octave . harrnonic type 4 blues register 2 low to medium tepetition af text 3 about 1/2 song tempo 3 moderate syllabic density 3 high vocal volume 2 mid vocal rubato 2 some glissando 1 little or no melisma 1 little or no timbre variation 7 little or no nasality 1 little or no rasp 3 some quaiity ot rasp 3 moderateiy harsh supraglottal openrross 2 mid voicrdmnattiy 2 moderately voiced enundation 3 slurred sung or spoicen 3 mixa [7 live T it le Queen Jane Approximateiy b a t e 65/07/02 Open #f Cornments vocal group arrangement 1 SOIO tonal blond of vocal group 1 solo rhythmic coordination of Bob and vocal group 1 SOIO instrumentai forces 4 medium group 5-7 a harmonica? Bob playing an instrument? 'loudness' of band 4 loud electric band rnelodic shape 3 undulating phrase length 3 medium rnelodic range 3 mainiy within an octave harmonk type 1 major register 2 tow to medium tepetition ot text 2 sorne Song tempo 3 moderate syllabic density 2 mid vocal volume 2 rnid vocal rubato 2 some glissando 3 much molisma 3 little or no timbre variation 2 some nasality 2 Som0 rasp 3 some quality of rasp 3 moderateiy harsh supragiottai opennoss 2 rnid voic.dmtrathy 2 moderately voiced enunciation 2 precise Sung or spoken 1 all notes on orclose to pitch 0 iive Tit le Desolation Row O at e 65/07/04 Open #1 Cornmonts vocal gmup arrangement 1 solo tonal bland ot vocal group 1 SO~O rhythmic coorâinritfon of Bob and vocal group 1 SO~O instrumental forces 3 small group 2-4 harmonica? Bob playing an instrument? 'loudness' of band 2 ~COUS~~Cband mdodic shapa 3 undulating phrase length 3 medium melodic range 3 mainiy within an octave harmonie type 1 major registsr 2 low to medium repetition of text 2 some Song tempo 3 moderate syllabic density 2 mid vocal volume 2 rnid vocal rubato 1 strict tempo g~issando2 some melisma 1 Iittle or no timbre variation 1 littfe or no nasality 1 little or no rasp 3 some quaiity of rasp 3 moderately harsh supraglottai opanna- 3 wide voicdibmathy 4 moderately breathy enunciation 2 precise sung or spokan 2 most notes pitched iive Tit le It Tak~A Lot To Laugh. It Takes A Train Tc Date 65/07/29 Open tl Comments vocal group arrangement 1 SO~O tonai bhnd of vocal group 1 sol0 rhythmic coordination ot Bob and vocal group 1 SO~O instrumental forces 4 medium group 5-7 harmonica? Bob playing an instrument? 'loudness' of band 4 IOU~ektric band rneiodic shape 3 undulating phrase Iength 2 short mebdic range 2 within a P5 harmonic type 4 blues register 4 medium repetition of text 1 little or no Song tempo 2 slow syllabic density 2 rnid vocal volume 2 rnid vocal rubato 2 some glissando 3 much melisma 1 Iittfe or no timbre variation 2 some nasality 1 litt(B or no rasp 3 some quaiity of rasp 3 moderately harsh supragiottal opanness 2 mid voic.dmreathy 2 moderately voiced enunciation 2 precise Sung or spokon 1 al1 notes on or close to pitch 17 live Title PositiVely 4th Street Date 65/07/29 Open 01 Comments vocal gmup arrangement 1 SO~O tortal blond of vocal group 1 SO~ rhythmlc coordination of Bob and vocal group 1 SO~O instrumentai forces 4 medium group 5-7 harmonica? Bob playing an instrument? 'loudness' of band 3 quiet electric band rnelodic shape 3 undulating phrase length 3 medium rnelodic range 4 within an octave and P5 hamnic type 1 major register 2 low to medium repetition of text 1 little or no Song tempo 3 moderate syllabic density 2 mid vocal volume 2 mid vocal rubato 1 strict tempo glissando 2 some melisma 1 liffte or no timbre variation 1 littfe Or no nasality 1 Meor no rasp 3 some quaiity of msp 2 light supraglottal openness 2 m id voi~sdmreathy2 rnoderately voiced enunciation 1 very precise Sung or spokon 1 al1 notes on or close to pitch O live ritle Tombstone Blues Date 65/07/29 Open #î Comments vocal gmup arrangement 1 solo tonal blond of vocal group 1 SO~O rhythmk ~~ordirtaüonof Bob and vocal group 1 SQ~O instrumentai forces 4 medium group 5-7 [I harmonica? a Bob playing an instrument? 'loudness' of band 4 loud electric band melodic shape 3 undulating phrase length 3 medium metodit range 2 within a P5 harmonie type 4 blues register 4 medium repetition of text 2 some song tempo 4 fast syllabic density 2 mid vocal volume 2 mid vocal rubato 2 some glissando 3 much melisma 1 little or no timbre variation 1 little or no nasality 3 much rasp 3 some quaiity of rasp 3 moderateîy harsh suptagtottal openness 2 mid voicedmmathy 1 strongly voiced enunciation 2 precise Sung or spoken 3 mixed 17 iive Title Fmm A Buick 6 Date 65/07/30 Open #i Comments vocal group arrangement 1 solo tonal blond ot vocal group 1 SO~O rhyfhrnic coordlnaion ot Bob and vocal group 1 SO~ inatrummtaf forces 4 medium group 5-7 harmonica? a Bob playing an instrument? 'loudness' of band 4 loud electric band melodic shape 5 iterative phrase Iength 3 medium rnelodic range 2 within a P5 hannonic type 4 blues register 5 medium to high repetition of text 2 some Song tempo 3 moderate syllabic density 2 rn id vocal volume 3 taud vocal mbato 1 strict tempo glissando 3 much melisma 1 IittJe or no timbre variation 1 little or no nasality 2 some rasp 3 some qwlity of rasp 3 moderately harsh supragiottai openness 2 mid voicedibraathy 2 moderately voiced enunciation 2 precise sung or spokon 2 fflost notes pitched [ive Title Balfad of a Thin Man Dâte 65/08/02 Open #I Comments vocal group arrangement 1 solo tonal blond of vocal group 1 SO~O rhythmic coordination of 80b and vocal group 1 SO~O instrumentai forces 4 medium group 5-7 0 harmonica? a Bob playing an instrument? 'Ioudnesst of band 4 loud electric band melodic shape 3 undulating phrase length 2 short melodic range 4 within an octave and ?5 harmonie type 2 mh0r register 2 Iow ta medium repetition of text 2 sorne sang tempo 2 slow syllabic density 2 mid vocal volume 2 rnid vocal rubato 2 SOme glissando 2 Some melisma 1 little or no timbre variation 2 some nasality 2 some rasp 3 some qua~ityof rasp 3 rnoderateiy harsh suptagiottai ogenness 2 rnid voicedlbtoathy 2 moderately voiced enunciation 1 very precise Sung or sgoken 1 dl notes on or close to pitch live Title Highway 61 Revisaed Date 65/08/02 Open #1 Comments vocal group arrangement 1 SOIO tonal blond of vocal gmup 1 SO~O rhythmic coordhaior, of Bob and vocal group 1 SO~O instrumentai forces 4 medium group 5-7 a harmonica? Bob playhg an instrument? 'loudness' of band 4 loud electric band melodic shape 5 iterative phrase length 3 medium melodic range 2 within a P5 harmonic type 4 blues register 4 medium repetition of text 2 some Song tempo 4 fast syllabic density 2 rnid vocal volume 3 loud vocal rubata 2 some glissando 2 some melisma 1 little or no timbre variation 2 some nasality 2 some rasp 3 some quality of rasp 3 moderately harsh supraglottal openness 2 rnid voicedfbreathy 2 moderately voiced enunciation 2 precise Sung or spoken 3 mixecf live Titie Just Like Tom Jlumb's Blues D a t e 65/08/04 Open f1 Comments vocal gmup arrangement 1 solo tonal bland of vocal group 1 SO~ rhythmit coordination of 80b and vocal group 1 SO~O instrumentai tomes 4 medium group 5-7 * harmonica? Bob playing an instrument? 'loudnass' ot band 3 quiet electric band melodic shape 3 undulating phrasa Iength 3 medium melodic range 3 mainly within an octave hanonic type 1 major register 4 medium repetition of text 1 Meor no Song tempo 3 moderate syllabic density 2 rn id vocal volume 2 mid vocal rubato 2 some glissando 2 some melisma 1 little or no timbre variation 1 tittîe or no nasaiity 1 little or no rasp 3 some quaiity of rasp 3 moderatety harsh supraglottai openness 2 mid voicedibmathy 2 moderately voiced enunciation 2 precise Sung or spokan 2 most notes pitched a live Title I Wanna Be Your Lover Date 65/10/05 Open #1 Comments vocal group arrangement 1 solo a-. .u tonal btend of vocal group 1 SO~O ir- rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 4 medium group 5-7 [jharmonica? Bob playing an instrument? 'loudnoss' of band 4 foud electric band melodic shape 3 undulating phrase length 2 short melodlc range 3 mainiy within an octave harmonic type 4 blues register 4 medium repetition of text 3 about 1/2 Song tempo 4 fast sylfabic density 2 mid vocal volume 2 mid vocal rubato 2 some glissando 3 much melisma 1 little or no timbre variation 1 or no nasality 3 much rasp 3 some quaiity of rasp 3 moderatety harsh suptagîottal openness 2 rnid voicediûraathy 2 moderately voiced

Sung or spokon 4 notes occasionally pitched [7 [ive Title Jet Pilot Date 65/10/05 Open Y1 corn monts partial recurding vocal group arrangement 1 SOIO tonal blond of vocal gmup 1 SO~O ihythmlc coordination of Bob and vocal group 1 SO~O instrumentai forces 4 medium group 5-7 0 harmonica? a Bob playing an instrument? 'loudness' of band 4 loud electric band melodic shape 5 iterative phrase length 3 medium rnelodic range 2 within a P5 hamonic type 4 blues register 4 medium repetition of text 1 littfe or no sang tempo 4 fast syllabic density 2 rnid vocal volume 2 mid vocal rubato 2 SOme glissando 2 Some melisma 1 little or no timbre variation 1 Jittle or no nasality 2 some rasp 3 some quaiity of nsp 3 moderately hanh supragiottai opennaas 2 mid voicedîbnathy 2 moderately voiced en unciation 2 precise Sung or spokan 2 m0~tflotes pÎtChed nlive Title She's Your Lover NOW Date 66/01/21 Open #l Comments vocal gmup arrangement 1 solo tonal blond of vocal group 1 solo rhytbmic coordination of Bob and vocal group 1 sol0 instrumental forces 4 medium group 5-7 [I harmonica? Bab playing an instrument? 'loudness' of band 3 quiet electric band melodic shape 3 undulating phrase length 3 medium meiodic range 4 within an octave and P5

a 4 hamionic type 1 major . in- - * 5 register 3 mixed repetition of text 1 Little or no Song tempo 4 fast syllabic density 2 mid vocal volume 2 rnid vocal rubato 2 sonle glissando 3 much melisma 1 Iittle or no timbre variation 2 some nasality 1 little or no rasp 3 some quaiity ot rasp 3 moderateiy harsh suptagbttal openness 2 mid voiceâîbreathy 2 moderately voiced enunciation 2 precise Sung or spokm 3 mixed live Title l'II Keep It Wah Mine Date 66/01/25 Open #1 Comments vocal group arrangement 1 SOIO tonal blond of vocal group 1 sol0 rhythmic coordination ot Bob and vocal gioup f SO~O instrumentai forces 4 medium group 5-7 a harmonica? Bob playing an instrument? 'loudness' of band 3 quiet electric band melodic shape 3 undulating phrase Iength 3 medium rnelodic range 4 within an octave and P5 hannonic type 1 major register 3 rnixed repetition of text 2 some song tempo 2 slow syllabic density 2 mid vocal volume 2 mid vocal rubato 2 some glissando 2 some melisma 1 littfe or no timbre variation 1 little or no nasaiity 1 Iittle or no rasp 3 some quality of rasp 3 moderately harsh supragiottai openness 2 mid voiceâlbroathy 2 rn oderately voiced enunciation 3 slurred Sung or spokon 3 mixed [7 live 230

Title One Of Us Must Know (Sooner Or Later) Oate 66/01/25 Open Y1 Comments vocal group arrangement 1 SO~O tonal bland of vocal group 1 solo thythmic toordinatfon of Bob and vocal group 1 solo instrumentai forces 4 medium group 5-7 a hamon ka?' a Bob playing an instrument? 'loudnessa of band 4 loud etectric band melodic shapa 3 undulating phrase length 3 medium rnelodic range 3 mainiy within an octave hamionic type 1 major register 2 low to medium repetition ot text 2 some Song tempo 2 slow syllabic density 2 rnid vocal volume 2 mid vocal rubato 2 some glissando 2 Some melisma 1 liffle or no timbre variation 1 httk Or no nasaiity 1 little or no rasp 3 some quaiity of rasp 3 moderateiy harsh supngiottril opennesr 2 rnid voicrdmrmthy 2 moderately voiced enunciation 2 precise Sung or spokan 2 most notes pitched 0 live Title 4th Tirne Around Date 66/02/14 Open #1 Cornments vocal gmup arrangement 1 solo tonal blond of vocal group 1 solo rhythmic coordination ot Bab and vocal group 1 solo instrumental forces 4 medium group 5-7 harmonica? Bob playing an instrument? 'loudness' of band 2 acoustic band mdodit shape 3 undulating phrase length 3 medium melodic range 3 mainiy within an octave hamonic type 1 major register 4 medium repetition of text 1 little or no Song tempo 3 moderate syllabic density 2 mid vocal volume 2 mid vocal rubato 1 strict tempo grissando 2 some melisma 1 little or no timbre variation 1 iittie or no nasaiity 1 little or no rasp 3 some quality of rasp 3 rnoderately harsh supraglottai openness 2 mid voicedmrmathy 2 moderately voiced enunciation 2 precise Sung or spokon 2 most notes pitched live 23 2

rit le Leopard-Skin PilCBox Hat Date 66/02/14 Open #1 Comments Bob on lead guitar vocal group arrangement 1 solo tonai blond of vocal group 1 SOIO thythmic coordination of Bob and vocal group 1 SOIO instrumental forces 4 medium group 5-7 [7 harmonica? a Bob playing an instrument? 'loudness' of band 4 loud electric band melodic shape 6 spoken/Yreewheelina phrase length 2 short melodic range 2 within a P5 harmonie type 4 blues register 5 medium to high repetition of text 2 some Song tempo 3 moderate syllabic density 2 mid vocal volume 2 mid vocal rubato 1 strict tempo glissando 2 some melisma 1 liffle or no timbre variation 1 little Or fl0 nasality 1 Iittle or no rasp 3 same quality of rasp 3 rnoderateiy harsh supragiattai openness 2 rnid vokodlbio.thy 2 moderately voiced enunciation 2 precise Sung or spokmn 4 notes occasionally pitched [7 iive Title Sad-Eyed Lady Of The Lowlands Date 66/OZ/t 4 Open RI Comments vocal gmup arrangement 1 solo tonal blond of vocal gmup 1 solo rhythmic coordination of Bob and vocal group 1 SO~O instrummtal forces 5 large group 8+ harmonica? Bob playing an instrument? 'loudness' ot band 3 quiet eiectric band melodic shape 3 undulating phrase length 3 medium rnelodic range 4 within an octave and P5

ragister 2 low to medium repetition of text 2 some Song tempo 3 moderate syllabic density 2 mid vocal volume 2 mid vocal rubato 2 Som0 glissando 2 some melisma 1 iittle or no timbre variation 2 some nasality 2 some rasp 3 some quaiity ot rasp 3 rnoderateiy harsh supraglottal opennoss 2 mid vois.dmreathy 2 moderately voiced enunciation 1 very precise Sung or spokon 2 most notes pitched iive Title Stuck lnside Of Mobile With The Memphis Date 66/02/14 Open #t Comments vocal group arrangement 1 SOIU tom1 blond of vocal gmup 1 solo rttythmic coordination of Bob and vocal group 1 solo instrumental forces 5 large group 8+ harmonica? Bo& playing an instrument? 'Ioudness' of band 3 quiet ele~tricband melodic shape 3 undulating phrase Iength 3 medium melodic range 3 mainiy within an octave hannonk type 1 major register 4 medium repetition ot text 2 some Song tempo 3 moderate syllabic density 2 rnid vocai volume 2 mid vocai rubato 1 strict tempo glissando 2 some melisma 1 Iiffle or no timbre variation 2 some nasaiity 1 little or no rasp 3 some quality of rasp 3 rnoderately harsh supragiottai openness 2 mid voicedibrmathy 2 rnoderately voiced enunciation 2 precise Sung or spokon 3 mixed 17 Iive Title Visions of Johanna Date 66/02/14 Open fi Comments vocal gmup amngement 1 SO~O tonal blond of vocal group 1 SO~O thythmic wordinatlon of Bob and vocal group 1 SO~O instrumentai forces 5 large group 8+ harmonica? Bob playing an instrument? 'loudness' of band 3 quiet electrk band melodic shape 3 undulating phrase Iength 3 medium rnelodic range 4 within an octave and P5 hannonic type 1 major register 3 mixed repetition of text 1 little or flo Song tempo 2 slow syllabic density 2 mid vocal voîume 2 mid vocal rubato 1 strict tempo glissando 2 some melisma 1 little or no timbre variation 2 sorne nasality 1 little or no rasp 3 some quality ot rasp 3 rnoderateiy harsh supraglottal openness 2 mid voic.d/bteathy 2 moderately voiced enunciation 2 precise sung or spoken 2 most notes pitched [7 live Title Absolutely Sweet- Marie Date 66/03/08 Open #î Comments vocal group arrangement 1 solo tonal blond of vocal group 1 sol0 rhythmk coordlnaüon of Bob and vocal gmup 1 SO~O instrumentai forces 5 large group 8+ [7 harmonica? Bob playing an instrument? 'loudness' of band 4 Ioud electnc band melodic shapa 3 undulating phrase Iength 3 medium melodlc range 3 mainly within an octave hannonic typo 1 major register 2 10w to medium repetition of text 2 some Song tempo 3 moderate syllabit density 2 m id vocai volume 2 rnid vocai rubato 1 strict tempo giissando 2 sorne melisma 1 little or no timbre variation 1 little or no nasality 2 some rasp 3 some quaiity of rasp 3 rnoderateîy harsh supraglottai oponness 2 rnid voicedîbraathy 2 moderately voiced enunciation 2 precise Sung or spokon 3 rnixed a iive Title Just Like A Woman Date 66/03/08 Open #1 Comments vocal group artangement 1 solo tonal blond of vocal group 1 SO~O rhythmic cootdinatfon of Bob and vocal group 1 sofa instrumental forces 5 large gmup 8+ .-. harmonica? Li. c- H Bob playing an instrument? L 'ioudness' of band 3 quiet electnc band meiodlc shape 3 undulating phrase length 3 medium melodic range 3 mainiy within an octave harmonic type 1 major register 4 medium repetition of text 2 some Song tempo 2 slow syllabic density 2 rnid vocal volume 2 rnid vocal rubato 2 some glissando 3 much melisma 1 Iittle or no timbre variation 1 httk or no nasality 2 some rasp 3 some quality ot nsp 3 rnoderateiy harsh supraglottal openness 2 rnid voic.dlbrmthy 2 moderately voiced enundation 1 ver- precise Sung or spokan 3 mixed live Titio Pledging My Tinte Date 66/03/08 Open #1

vocal gmup arrangement 1 solo tonal bland d vocal group 1 solo rhythmie coordination of Bob and vocal group 1 SO~O instrumental Arces 5 large grôup 8+ harmonica? Bob playing an instrument? 'loudness' of band 4 l~udelectric band melodic shape 3 undulating phrase length 2 short melodic range 2 within a P5 hannonic type 4 blues tegister 2 IOWto medium repetition of text 2 some Song tempo 2 slow syflsbic density 2 rnid vocal volume 2 mid vocal rubato 1 strict tempo glissando 3 much mefisma 1 little or no timbre variation 2 Som0 nasaiity 1 little or no rasp 3 some quality of rasp 3 moderateiy harsh supngiottal openness 2 mid voicoâibiwithy 2 moderately voiced onunciation 2 precise sung or spoken 3 rnixed live Tit f e I Want You Date 66/03/09 Open #t Comments vocal group arrangement 1 SO~O tonal blond of vocal group 1 solo rhythmic coordination of Bob and vocal group 1 SO~O instrumental forcos 5 large group 8+ harmonica? Bob playing an instrument? 'loudnear' of band 3 quiet electnc band melodic shape 5 iteratjve phrase Iength 4 long melodic range 3 mainly within an octave hamonic type 1 major register 4 medium repetition of text 2 some Song tempo 3 moderate syllabic density 2 rnid vocal volume 2 mid vocal rubato 1 strict tempo glissancio 2 some melisma 1 little or no timbre variation 1 iittle or no nasality 1 little or no rasp 3 some quality of rasp 3 moderately hanh supragiottai openness 2 rnid voicedlbreathy 2 moderately voiced enunciation 3 slurred sung or spokan 4 notes occasionally pitched live Title Most Likeiy You Go Your Way And l'II Go h Date 66/03/09 Open #1 Comments vocal gmup arrangement 1 solo tonal blond of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 SO~O instrumentai forces 5 large group 8+ harmonica? Bob playing an instrument? 'loudness' of band 4 loud electric band melodic shape 3 undulating phrase length 3 medium melodic range 2 within a P5 hannonic type 1 major register 4 medium repetition of text 2 some Song tempo 3 rnoderate syllabic density 2 rnid vocal volume 2 rnid vocal rubato 1 strict tempo glissarido 2 some melisma 1 Iittle or no timbre variation 1 iittk or no nasality 2 some rasp 3 some quaiity of rasp 3 moderateiy harsh supraglottal openness 2 mid voicedlbrmathy 2 moderateiy voiced enunciation 2 precise Sung or spokan 4 notes occasionally pitched 17 live Title Obviously FNe Believers Date 66/03/09 Open #1 Comments vocal group arrangement 1 solo tonal blond of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 5 large group 8+ a harmonica? a Bob playing an instrument? 'loudness' of band 4 Ioud electric band rnelodic shape 6 spokenffreewheelin' phrase length 2 short rnelodic range 4 within an octave and P5 hannonic type 4 blues register 2 low to medium repetition of text 2 some Song tempo 4 fast sytlabic density 2 m id vocal volume 2 mid vocal rubato 2 some glissando 2 some melisma 1 little or no timbre variation 2 some nasality 2 some rasp 3 some quaiity of rasp 3 rnoderately harsh supraglottaî openness 2 rnid voic.dlbrmathy 2 moderately voiced enunciation 3 slurred sung or spoken 4 notes occasionaliy pitched 0 live Title Rainy Day Wornen Nos. 12 and 35 Date 66/03/09 Open #f Comments vocal group arrangement 1 solo tonal blond of vocal group 1 ~010 rhythmic coordination of Bob and vocal group 1 SO~O instrumental forces 5 large group 8+

.-.C-. harmonica? Li. @ Bob playing an instrument? 'toudness' of band 3 quiet electric band melodic shapa 6 spokenffreewheelin' phrase Iength 2 short melodic range 3 rnainiy within an octave harmonie type 4 blues register 4 medium repetition of text 2 some Song tempo 3 moderate syllabic density 2 rnid vocal volume 2 mid vocal rubato 1 strict tempo glissado 2 some melisma 1 little or no timbre variation 2 some nasality 2 some rasp 3 some quaiity of rasp 3 moderateiy harsh supraglottai opannrss 2 rnid voic.dmi~athy1 strongly voiced enunciation 3 slurred Sung or spoken 4 notes occasionaliy pitched 17 iive Tltle Temporary Like Achilles Date 66/03/09 Open #t Comments vocal gmup arrangement 1 SO~O tonal blond of vocal group 1 sol0 rhythmic coordlnrtfon of Bob and vocal group 1 SO~O instrumantal forces 5 large group 8+ 5 harmonica? Bob playing an instrument? 'loudness' of band 3 quiet electrïc band melodic shape 3 undulating phrase length 2 short rndodic range 2 within a P5 harmonic type 1 major register 4 medium lrpetition of text 2 some Song tempo 2 slow sylfabic density 2 mid vocal volume 2 mid vocal rubato 2 some glissarrdo 2 SOme melisma 1 iittle or no timbre variation 2 some nasality 2 some rasp 3 some quaiity of rasp 3 rnoderateiy harsh

voicedîbrmthy 2 moderately voiced en unciation 2 precise Sung or spobn 3 mixed live Title I Don't Believe You (She Acts Like We Nevc O a t e 66/05/06 Open f1 Comments live in Belfast vocal gmup arrangement 1 solo tond blond of vocal group 1 SOIO rhythrnit coordination of Bob and vocal group 1 SO~O instrumental forces 4 medium group 5-7 harmonica? Bob playing an instrument? 'loudness' of band 4 ioud electric band molodic shapa 3 undulating phrase Iength 3 medium melodic range 3 mainly within an octave hamonic type 1 major register 4 medium repetition of text 1 littfê O? fl~ song tempo 3 moderate syllabic density 2 rnid vocal volume 3 loud vocal rubato 1 strict tempo glissado 3 much melisma 1 little or no timbre variation 2 SOme nasality 2 some rasp 3 some quaiity of asp 3 moderately harsh supragtottai opennass 2 rnid voicedlbreathy 1 strongly voiced enunciation 2 precise Sung or spoken 4 notes occasionally pitcheâ a live Titre Just Like Tom Thurnb's Blues Date 66/05/14 Open #t Comments live in Liverpool - voice cracking vocal group arrangement 1 solo tonal bland of vocal group 1 solo rhythmic cooidbation of Bob and vocal group 1 sol0 instrumental forces 4 medium group 5-7 harmonica? Bob playing an instrument? 'loudness' of band 4 foud electfic band melodic shape 3 undulating phrase length 3 medium melodic range 3 mainiy within an octave hannonic type 1 major register 4 medium repetition of text 1 little or no Song tempo 3 moderate syllabic density 2 rnid vocal volume 2 mid vocal rubato 3 much glissando 2 some melisma 2 some timbre variation 2 some nasality 2 some rasp 4 much quaiity ot rasp 3 rnoderately harsh suprag~ottai openness 2 mid

onundation 2 precise Sung or spaken 3 rnixed live Tit le It's AI1 Over NOW,Baby Blue Date 66/05/17 Open #1 Cornments live in Manchester vocal group arrangement 1 SOIO tonal bland of vocal group 1 SO~O rhythmic coordination of Bob and vocal group 1 sofa instrumental forces 1 solo guitar acc. 5 harmonica? Bob playing an instrument? 'loudness' of band 1 SO~O60b rnelodic sitape 3 undulating phrase length 3 medium mdodic range 4 within an octave and P5 harmonic type 1 major register 3 rnixed repetition of text 1 Me of no song tempo 3 moderate syllabit density 2 rn id votai volume 2 rnid vocal rubato 2 some glissando 2 same melisma 1 little or no timbre variation 1 little or no nasality 1 little or no rasp 4 much quality of rasp 3 rnoderately harsh supraglottai openness 2 mid voitwbroathy 2 rnoderately voiced enunciation 2 precise Sung or spokmn 1 all notes on or close to pitch @ live Title Visions of Johanna Date 66/05/26 Open #1 Comrnents live in London vocal gmup arrangement 1 SO!O tonal blond of vocal gmup 1 solo rhythmfc cooidlnatfon of Bab and vocal group 1 SO~O instrumental forces 1 solo guitar acc. harmonica? Bob playing an instrument? 'toudness' of band 1 solo 8ob rnelodic shape 3 undulating phrase Iength 4 long molodic range 4 within an octave and P5 hamionic type 1 major register 3 mixed tepetition of text 1 little or no Song tempo 3 moderate syllabic drnsity 2 mid vocal volume 2 mid vocal rubato 2 some gfissando 2 some melisma 1 little or no timbre variation 2 some nasality 2 some rasp 3 sorne quaiity of rasp 3 rnoderately harsh supraglottal openness 2 rnid voic.dlbreathy 2 rnoderately voiced enunciatfon 2 precise Sung or spoken 2 most notes pitched live Appendix C: Database percentages by album

The foUowing is a tabuLw representation of the database entries gennane to this thesis, organized into style prriods rougldy delineated by album dondates. For each style period, a series of pmentages lie below each parameter. These percentages refiect the pvalance of each numerical value, O thgh7, within each pusmeter.

Just above these percentages are numerical counts which reflect the sune information

The chart is divided into two halves due to space restrictions Thus the second page of Appendix C comprises the rrst of the parameters and values for Bo.Dylan and part of nie F.reewheelin'so6 DyYhn.

--c--.-,---~ - -.----.,..-.-,-..- a,,---L --.-+.-.. W. N: mm:cri m; cu: cc: 0:0: w; 0: a: a: 3: -; m .... --.-. . $: @; *r f: &i$1 f* i 3: .. . . : .::...... -. 3.Sr 0;JI J;O' O! a; " . . -...... ji 0. ai J: 3: 0: Ot i 2; ..:...... -:a: [ - *-

. - ...... - -.-..*--..___.- - ---.-----.---*------n: n: ni 0~". 0; , . mi n. ni n-y mi mi twi n: 1-o. m. -ri 0:O: O:Q: di $: &ii Pi fi- n: m. ! . . , -: . *: *Ij *: i ...... i>l a . . . . . , 3:-: f 'j:0.; 01 O:O: ; i . . :.: 3:Or *:m. 3-O 3: 1: . . rz: m. , ..:..:...... : . . . . ; g

1 j c": F(: PI: mi 0:O. iX!! . i :. : . :

,...... !i: Appendix D: Pitch-time transcription of the onginaiiy released version of %ke A RoJluin Stone"

Appndix D W a pitch-time transcription of the second vemof the mighdy releascd version of 5keA

Kohg Stone*, whife Appaidix E is a of the same vuse in art alternate takc fm the same session.

...... A......

Appendix E: pitch-time transcription of the alternate version of %ke A Rollmg Stonen IO Figure 4.2: pitch-time graph of the second verse of "Like A Rolling Stone" (alternate take)

..S...-. ..S...-...... -....a... 1 Il

...... +s...... i...... q.o...... i i

.S...... S...... II..

""""" """".....<.",..,,,.,,*, ....a......

......

...... rr4i...... ,......

...... " ,.,.'."'..'.<,'.',.,..,,.,, ...... m.....

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"...... "." "...... q...... "".."..'

.+ .+ ...... to the finest school right miss ton- ely but you you ly to al1 know on- used get

References: monographs and articles

M,Otto and Erich M. von Honibastel. 1994 (1309). USuggesedMethods for the Trammipiion of Exotic Music". trans. George and Eve List. Ethnomusicohgy 38/3 (1 994): 425456.

Anhalt, Istvah 1984. Alternative Voices: EMWs on Contemmw Vocal and Choral Comwsition. Tomnto: univeG* of ~oronto-Re&

Barthes, RoIand 1988. The Grain of the Voicen.me, Music, Text. New York: Naniday Press: 179-89.

Bernstein, Leonard 1976. The Unanswered Ouestion: Six Talks at Harvard Cambridge, Mass.: Harvard University Press.

Bohger, Dwight, ed 1972. Intonation: Selected Readings. Middlesex' Penguin.

BosweU, George W. 1977. "Pitch: Musical and Verbal in FolksongNYearbook of the International Fok Music Councd 9~80-88,

Bowden, Betsy. 1982. Perfonned Literature: Words and Music bv Bob DYh. Bloomiqton: Indiana University Press.

Bowman, Rob. 1995. "Mannerisrn and the African-Arnerican Infiuence on Bob Dylan". Paper given at 1995 IASPM-USA Confennce, Nashville, Tenn.

Brac kett, David 1 995. hterrrretk PomIar Music. Cambridge: Cambridge University Press.

Cugan, Robert and Pozzi Escot. 1976. Sonic Desim. Cambridge, Mass.: Harvard University Press.

Cogan, Robert. 1984. New images of Musical Sound Cambridge, Mass: Harvard University Press.

Cooke, Deryck 1959. The Lannuane of Music. London: Oxford University Press.

Daley, Michsel. 1995. 'Tatti Smith's 'Gloria': Intertextual Play in a Rock Vocal Performance1'.Paper given at 1995 IASPM-USA Conference, Nashville, Tenn.

Downey, Pat et al. 1993. Cashbox POP Sindes Charts 1950-1993. Englewoud, Colorado: Libraries Unlimited, hc.

Dylan, Bob. 1978. Bob Dvlan In His Own Words. compiled by Miles. New York Quick Fox. Echarcî, William. 1995. Amroachins~Stomt6d Tom: An Overview of the Earlv Work of Tom C. Connors. Master's thesis, York University.

1990.Sound and Sentiment: Birds. Weetrllip. Poetics and Sonn in Wwli Exmession. Philadelphia: University of Philadelphia Press.

Feld, Steven. 1994. "Aesthetics as Iconicity of Style (uptown title), or, (downtown title) Zift-upsver-sounding"' in Kea, Charles and Steven Feld Music Grooves. Chicago: University of Chicago h.

Foucault, Michel. 1980. The Historv of Sexualitv vol. 1. New York Vintage Books.

Gray, MichaeL 1972. Sonn & Dance Man: The Art of Bob Dvlan. London: Hart-Davis.

Grey, John. 1975. An Exploration of Musicd Timbre. Ca1ifom.k Center for Compter Research in Music and Acoustics.

Hall, Robert A. 1972. "Elgar and the Intonation of British English" in Bohger 1972282-5.

Hailiday, Michael. 1970. A Course in Siloken Enfish: Intonation. London: Oxford University Press.

Halliday, Michael. 1994. An Introduction to Fundional Gnunmar. London: Edward Arnold,

Hentoff, Nat. 1964. "The Crackin7,Shah', Breakin' Sounds" in McGregor, Craig, ed Bob Dvian: A Retrospective. New York William Morrow, 1972:44-6 1.

Herdman, John. 1981. Voice Without Restraht: A Shrdv of Bob Dylanls L*cs and their Bachound. New York Delilah Books.

Heyh, Chton. 1995. Bob DvIan: The Recordin2 Sessions 1960- 1994. New York St. Martin's Press. Keil, Charles 1966. "Motion and Feeling in Musicn reprinted in Keil, Charles and Steven Feld Music Grooves. Chicago: University of Chicago Press, 1994.

. 1395. 'Taticipatory Discrepancies: A Progress Report" Ethnomusicolony 39/ 1: 1-20.

Krogsgaard, LMichael. I 99 1. Positivelv bbDvlan: A Thirtv-Year Discmphv. Concert and Recordin2 Session Guide. 1960- 1991. Ann Arbr, MI: Popdm Cdture, Ink.

Leppert, Richd 1995. The Si&- of Sound: Music. Remsentation and the Histoxy of the Body. Berkeley University of rrififornia Press.

List, George. 1961. "Speech Melody and Song Melody in Central Thahdn. Lomax, Alan. 1968. Folk Song Stvle and Culture. New Bnurswick, New Jemy: Tdon Ekxks.

Mellers, Wilfrid, 1985. A Darker Shade of Pale: A Backdrop to Bob Dylan. New York Oxford University Press.

Metfessel, Milton 1928. Phonophobzraphv in FOEMusic: American Ne- Sonns in New Notation. Chapei Hill: University of North CarohPress.

Meyer, Leonard 1956. Emotion and Meanhg- in Music. Chicago: University of Chicago Press.

Middleton, Richard 1990. Shidying Pomlar Music. Milton Keynes: Open University Press.

Moses, P.J. 1954.The Voice of Neurosis. New York Gmeand Stratton.

Nelson, Paul. 1966. "Bob Dylan: hother View" reprirtted in Bob Dvlan: A Retmsmctive. edited by Craig McGregor. New York William Morrow and Co.

Nogowski, John. 1995. Bob Dvlan: A Descriptive, Critical Dise-phv and Filmo~phv,1 96 1 - 1993. Jefferson, North Carolina: McFarland and Co. Pike, Kenneth L. 1945.ItGeneral Characteristics of Intonation" in Bohger, Dwight, ed 1 972. Intonation: Selected Readinzs. Middlesex: Pen-

Powers, Harold S. 1980. "Language ModeIs and Musical ~naiysis".Efhnomusi~~Iogy 24/1: 1-61.

Ricks, Christopher. 198 7. UClichesThat Corne To Pass" in Gray, Michael and John Bauldie, eds. AU Acrou the Telemph: A Bob Dylan Handbook London, Sidgwick and Jackson: 22-29.

Scaduto, Anthony. 1973. Bob Dvlan. New York Signet.

Seeger, Charles. 1958. "SingingStylen. Western Folklore 17:3- 11. . 1977. Studies in Musicology. 19354975. Berkeley: University of Califoh Press.

Shelton, Roberâ. 1961. "8ob Dylan: A Distinctive Folk-Song Stylict"in McCrep, Craig. Bob Dylan: A Retrosuective. New York WfimMomw, 1972: 17- 1S.

Sloboda,John. 1985. The Musical Minci: The MtivePsvchol~ of Music. Oxford: Chrendon Press.

Steinbauer, Mary Youatt, ed 1990. The IO0 Most Important Americans of the 20h Steiner, Erich. 1988. The Interaction of ïanguage and Music as Semiotic System The Example of a Folk Ballad" in Benson, James D., Michael J. Cummings and Wüliam S. Greaves, eds. Linmistics in a Svsternic Perspective. Amsterdam: John Benjamins Publishing Company, 1988.

Tagg, Philip. 1979. Koik 50 Seconds of Television Music. Gbteborg: Sluiffer fr&t Musikvetenshpfiga Institutionen.

. 198 1. Fernando the mute: Anahsis of Affect in an Abba Number. Gothenburg: StencilIed Papers hmthe Cothenburg University Musicology Deparhnent. van der Menve, Peter. 1989. On&s of the PopuIar StvIe: The Antecedents of Twentieth-Centurv Popular Music. Oxford: Clarendon Press.

Wah, Nils. 199 1. Biomusicolonv: Neurophvsiological. Neuropsvcholwical. and Evolutionarv Perspectives on the Ongins and Rirposes of Music. Stuyvesant, NY: Pendragon Press.

Walser, Robert. 1993. Running With The Devif: Fower, Gender. and Madneu in Heavy Metal Music. Hanover, NH.: Wesleyan University Ress.

Whithm, Joel. 1988. Billboard's Top Ten Charts. Menomenee Falls, Wise.: Record Research inc.

Williams, Paul. 1 991. Bob Dvlan: Performkz Artist: The Earlv Years: 1960- 1 973. Lancaster, PA: Underwood-Miller.

. 1992. Bob Dvlan: Performin~Artist: The Middle Years: 1 974- 1 986. Lancaster, PA: Undewood-Miller. Discography

In this discography, the commercial soums hmwhich my materid is drawn are listed M.Each of these has a numerai identification preceding the title, and these mmerals are keyed to each song in the chronoIogical listin$ which foilows.

Release date CD Order #

March 19,1962 May 27,1963 Janwary 13,1964 August 8,1964 March 22,1965 August 30,1965 May 16,1966 October 1985 Marcfi 1991 6VlI/ZO Baby, Let Me FoIlow You Dom Fixin' To Die 1 He Was A Friend Of Mine 9 House Of The Risin' Sun 1 in My Time Of Dyin' 1 Song to Woody 1 Talkin' New York 1 You're No Good 1

61/11/22 Freight Train Blues 1 Gospel Piow 1 House Carpenter 9 Man Of Constant Sorrow 1 Man on the Street 9 Pretty Peggy-O 1 See That My Grave 1s Kept Clean 1 Highway 5 1 1

61/72/22 Hard Times in New York Town 9

Let Me Die In My FooMeps 9 TahJBear Mountrrin Massacre Blues 9 Talkin' Hava Negeilah Blues 9 62/07/09 Baby, I'm in The MdFor You 8 Blowin' In The Wind 2 DomThe Highway 2 Honey,Just AUow Me One More Chance 2 Quit Your Low Down Ways 9 Worried Blues 9

62/ 1 O/OO No More Audion Block 9

62/I 1/14 Don't Think Twice, It's AU Right 2 Kingsport Town 9 Mixed-Up Confusion 8

6Z/12/06 A Hard Rai& A-Gonna Fd 2 Ebb Dylan's Blues 2 1Shall Be Free 2 Oxford Town 2 63/03/00 Walkin' Down The Line 9 63/04/12 Tomorrow 1s A Long Time released on Bob Dylan's Greatest Hits VOL 2. (Nov. 1 7, 197 1) C2K 3 1 120

63/04/24 Bob Dylan's Dream 2 Gu1 FmThe North Cowntry 2 Masters Of War 2 Talh' Worid War IIi Blues 2 63/07/26 Blowin' In The Whd released on Evening Concerts at Newport VOL 1 (1964) Van+ VRS9148 63/08/06 North Country Blues 3 Seven Curses 9 Ballad Of Hoh Brown 3 Boots Of Spanish Leather 3 Only A Pawn in Their Came 3 WaUs of Red Wing With GdOn Owr Side 3

6S/O8/ 12 Moonshine Blues 9 Only A Hobo 9 Paths of Victory 9

63/09/00 The Times They Are A-Changin' 9 When The Ship Cornes In 9

6S/ 1O/Z3 The Lonesome Death of Hattie Carroll 3 When The Ship Cornes h 3

63/ lO/Bt Etemal Circle 9 Lay Down Your Weary Tune 8 One Tm Many Mornhgs 3 Percy's Song 8 The Times They Are &Changin' 3

63/1 O/26 Talkin'John Birch Paranoid Blues 9 Who Wed Davey Moore? 9 63/10/31 Restless Farewell 3

64/06/09 AU I Really Want To Do 4 Ballad In Plain D 4 Black Crow Blues 4 Chimes of Freedom 4 I Don? Believe You 4 i ShaU Be Free No. 10 4 It Ain't Me, Babe 4 Marna, You &en On My Mind 9 Motorpsycho Nitemare 4 My Back Pages 4 Spanish Harlem Incident 4 To Ramona 4 Farewell, Angeha 9 111 Keep It With Mine 8 Subterranean Homesick Blues 9 65/01/14 Maggie's Fann 5 On The Road Again 5 65/01/15 Bob Dylan's 1 15th ïham 5 Gates of Eden 5 If You Gotta Go, Go Now 9 It7sAU Over Now, Baby Blue 5 It's Alright Ma (17rn Ody Bleedùig) 5 Love Minus Zero/No Limit 5 Mr, Tambourine Man 5 Outlaw Blues 5 She Belongs To Me 5 Subterranean Homesick Blues 5

65/O6/ 15 It Takes A Lot To laugh, It Takes a Train To Cry 9 Like A Rohg Stone 9 Sitting On A Barbed Wire Fence 9 65/O6/16 Like A Rolling Stone 6 65/07/02 Queen Jane Approximately 6 65/07/04 Desolation Row 6 65/07/29 It Takes A M To Laugh, It Takes A Train To Cry 6 Positively 4th Street 8 Tombstone Blues 6 65/07/30 Fmm A Buick 6 6 65/08/02 Baiiad of a Thin Man 6 Highway 6 1 Revisited 6 65/08/04 Just Like Tom Thumb's Blues 6 65/ 10/05 Can You Please Crawl Out Your Window? 8 1 Wanna Be Your bver 8 Jet Pilot 8

66/O 1 /2 1 She's Yatr Lover Now 9 66/O 1 /25 111 Keep It With Mine 9 One Of Us Must Know (Sooner Or Later) 7

66/OZ/ I4 4th The Arownd 7 Leopard-Skin Pill-Box Hat 7 Sad-Eyed Lady Of The Luwlands 7 Stuck uiside Of Mobile With The Memphis Blues Again 7 Visions of johanna 7 66/03/08 Absolutely Sweet Marie 7 Just Like A Woman 7 Pledging My Time 7 66/03/09 1 Want Yow 7 Most Likely You Go Your Way And 111 Go Mine 7 Obviously Five Believers 7 Rainy Day Women No. 12 and 35 7 Ternporary Like Achiues 7

66/05/06 1 Don't Believe You (She Acts Like We Never Have Met) 8

66/O5/ 14 Just Likc Tom Thumb7sBlues released on Columbia hgie4-43685 (June 1966)

66/O5/ 17 It7sAU Over Now, Baby Blue 8 66/05/26 Visions of Johanna 8