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In Partial Nilfillment of the Requirements York University

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In Partial Nilfillment of the Requirements York University 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 Graduate Programme in Musicology and Ethnomusicology York University North York, Ontario National Li brary Bibliothèque nationale 191 of,,,, du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, nie Wellington OttawaON KtAON4 OttawaON K1A ON4 Canada Canada Yarr ale voba rbfhnœ Our ml9 Nohe dIBnma The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distriiute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic fomats. la forme de microficheffïlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author' s ou autrement reproduits sans son permission. autorisation. "ONE WHO SINGS WITH HIS TONGUE ON FIRE": CKANGE, CONTINUITY AND MEANING IN BOB DYLAN'S VOCAL STYLE, 1960-66 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 Permission has been granted to the LIBRARY OF YORK LJNIVERSITY to lend or seIl copies of this thesis. to the NATIONAL LIBRARY OF CANADA to microfilm this thesis and to lend or seIl copies of the film. 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 <Zitc A Rolling Stanc .... ..... .. ........................................................................................... 261 Appndix E: Pitch-timc tftlwcripiian of the aitemate version of YLiLc A Rolling S-* ...................................................w................................................................272 References:
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