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Meanings and Measures Taken in Concert Observation of Bruce Springsteen, September 28, 1992, Los Angeles

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Meanings and Measures Taken in Concert Observation of Bruce Springsteen, September 28, 1992, Los Angeles UNLV Retrospective Theses & Dissertations 1-1-1996 Meanings and measures taken in concert observation of Bruce Springsteen, September 28, 1992, Los Angeles Thomas J Rodak University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Rodak, Thomas J, "Meanings and measures taken in concert observation of Bruce Springsteen, September 28, 1992, Los Angeles" (1996). UNLV Retrospective Theses & Dissertations. 3215. http://dx.doi.org/10.25669/bgs9-fpv1 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. 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Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. MEANINGS AND MEASURES TAKEN IN CONCERT OBSERVATIONS OF BRUCE SPRINGSTEEN SEPTEMBER 28, 1992, LOS ANGELES by Thomas J. Rodak A thesis submitted in partial fulfillment of the requirments for the degree of Master of Arts in Communication Studies Greenspun School of Communications University of Nevada, Las Vegas August, 1996 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1381038 UMI Microform 1381038 Copyright 1996, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, Ml 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Thesis of Thomas J. Rodak for the Master of Arts in Communication is approved. - ______________________________________ Chairperson, Barbara L. ClouoV Ph.D. ng Committed MSnber, Stephen F. 'Nielsen, Ph.D. 0 Examini4i^CoiM^t^e Member, Anthony J. Ferri, Ph.D. \ U Graduaté Faculty Representative, Isabelle Emerson, Ph.D. Dean of the Graduate College, Ronald W. Smith, Ph.D. University of Nevada, Las Vegas August 1996 11 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Since the mid-1970s, Bruce Springsteen's concerts and his rapport with audience members have attracted the attention of leading rock music critics. Witnessing the communication between Springsteen and audience members was the purpose of this study. On-site observation was used to explore the techniques that Springsteen uses to communicate with the audience during the concert. A model, previously employed by Deanna And Timothy Sellnow to determine the effects of musical score upon the lyrics of songs recorded in the studio, was utilized with the on-site observation. The model had not been applied to a concert performance before this study. The findings of this study identify the major measures and means Springsteen employs to diminish the distance between performer and members of the audience. The means he implemented are divided into performance aspects and musical aspects of the concert. Some of his strategies have since been emulated by other rock music performers, making this study of Springsteen an important addition to the field of communication by means of music. Ill Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT ............................................................................................................................ iii ACKNOWLEDGMENTS ........................................................................................................ vi CHAPTER ONE PREVIEW ................................................................................................... 1 Structure of the T hesis................................................................................................... 2 a Performing Legend.......................................................................................................3 Critics as Reputation Builders .......................................................................................7 CHAPTER TWO COMMUNICATION, SOCIOLOGY AND MUSIC ............. 15 Adapting Langer’s Theory...................................................................................... 16 Michael M cGuire ...................................................................................................... 20 Addtional Studies...................................................................................................... 21 CHAPTER THREE BRUCE SPRINGSTEEN’S BACKGROUND AND MUSICAL HISTORY ................................................................................................................................... 33 Isolation, Doug and Bruce Springsteen ................................................... 33 Avoiding the Isolation of Presley...................................................................... 36 Music as Labor ......................................................................................................... 38 Rock Music M atures................................................................................................ 39 Rock Music in the 1970s ...................................................................................... 44 Death, Fragmentation, Heavy Metal, and Country R ock............................. 45 Singer-Songwriters, a Search for the New D y la.......................................... y 49 A M R a d io................................................................................................................... 51 Greetings from Asbury Park ................................................................................ 53 Springsteen’s Early Album s................................................................................... 56 CHAPTER FOUR PERFORMANCE ASPECTS OF THE CONCERT 62 Rising to Fame, from Bars to A r e n a................................................................ s 64 Arena - Concert Observations: Non-Musical M essages................................ 68 the Vari-Lite System: Morpheus Lighting ...................................................... 69 Symbolic Clothing and Signals............................................................................. 71 Exdigenous Sound, Choir and S ig n a................................................................ ls 72 Vocals and Tall-Tale Stories ................................................................................ 74 IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Diminishing the Distance Between...................................................................... 77 "(Just Around the Corner to the) Light of D a y............................................ " 79 Addtional Audience Participation......................................................................... 81 Springsteen’s Connetions ...................................................................................... 83 CHAPTER FIVE MUSICAL ASPECTS OF THE CONCERT EXPERIENCE 85 Constructing the Concert ..................................................................................... 85 Using the Sellnows’ Model to Summarize the S o n g................................... s 88 the Opening Tune - Sets the T o n e...................................................................... 91 "Atlantic City" Revised ......................................................................................... 94 Other Key Songs ....................................................................................................
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