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Billy Joel's Turn and Return to Classical Music Jie Fang Goh, MM

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Billy Joel's Turn and Return to Classical Music Jie Fang Goh, MM ABSTRACT Fantasies and Delusions: Billy Joel’s Turn and Return to Classical Music Jie Fang Goh, M.M. Mentor: Jean A. Boyd, Ph.D. In 2001, the release of Fantasies and Delusions officially announced Billy Joel’s remarkable career transition from popular songwriting to classical instrumental music composition. Representing Joel’s eclectic aesthetic that transcends genre, this album features a series of ten solo piano pieces that evoke a variety of musical styles, especially those coming from the Romantic tradition. A collaborative effort with classical pianist Hyung-ki Joo, Joel has mentioned that Fantasies and Delusions is the album closest to his heart and spirit. However, compared to Joel’s popular works, it has barely received any scholarly attention. Given this gap in musicological work on the album, this thesis focuses on the album’s content, creative process, and connection with Billy Joel’s life, career, and artistic identity. Through this thesis, I argue that Fantasies and Delusions is reflective of Joel’s artistic identity as an eclectic composer, a melodist, a Romantic, and a Piano Man. Fantasies and Delusions: Billy Joel's Turn and Return to Classical Music by Jie Fang Goh, B.M. A Thesis Approved by the School of Music Gary C. Mortenson, D.M.A., Dean Laurel E. Zeiss, Ph.D., Graduate Program Director Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by the Thesis Committee Jean A. Boyd, Ph.D., Chairperson Alfredo Colman, Ph.D. Horace J. Maxile, Jr., Ph.D. Robin Wallace, Ph.D. Eric C. Rust, Ph.D. Accepted by the Graduate School May 2018 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2018 by Jie Fang Goh All rights reserved TABLE OF CONTENTS TABLE OF CONTENTS ............................................................................................... iv LIST OF FIGURES ........................................................................................................ vi LIST OF TABLES .......................................................................................................viii ACKNOWLEDGMENTS .............................................................................................. ix DEDICATION ............................................................................................................... xi CHAPTER ONE ............................................................................................................. 1 Introduction ................................................................................................................. 1 A Billy Joel Literature Review .................................................................................... 3 The Biography Quartet ............................................................................................ 5 The Rise of Billy Joel Scholarship .......................................................................... 10 CHAPTER TWO .......................................................................................................... 18 Billy Joel’s Music Career and Achievements ............................................................. 18 Music Career ......................................................................................................... 18 Musical Achievements and Accolades .................................................................... 42 Giving Back to Society ........................................................................................... 43 CHAPTER THREE ....................................................................................................... 46 Billy Joel’s Musical Style, Songwriting Process, and Classical Music Experience ..... 46 Musical Style ......................................................................................................... 46 Songwriting Process .............................................................................................. 53 Joel’s Classical Experience ................................................................................... 58 The Next Step: Fantasies and Delusions ................................................................ 72 CHAPTER FOUR ......................................................................................................... 73 Fantasies and Delusions: Motivation and Creative Process ....................................... 73 A New Beginning ................................................................................................... 73 Motivation ............................................................................................................. 76 Creative Process .................................................................................................... 98 CHAPTER FIVE ......................................................................................................... 112 Fantasies and Delusions: Formal and Stylistic Considerations ................................ 112 Overview of Musical Content ............................................................................... 112 iv CHAPTER SIX ........................................................................................................... 148 Conclusion .............................................................................................................. 148 APPENDICES ............................................................................................................ 153 APPENDIX A ............................................................................................................. 154 Table A.1. Discography of Billy Joel’s Thirteen Studio Albums .............................. 154 APPENDIX B ............................................................................................................. 158 Interview with Hyung-ki Joo: Recollections and Insights on Fantasies and Delusions ................................................................................................................................ 158 BIBLIOGRAPHY ....................................................................................................... 169 v LIST OF FIGURES Figure 4.1. Joel, “Soliloquy (On a Separation),” ms. 19-22, three-hand technique.......... 90 Figure 4.2. Joel, “Fantasy (Film Noir),” ms. 252-265, cadenza-like coda ....................... 92 Figure 4.3. Joel, “Reverie (Villa D’Este),” ms. 85-96, virtuosic tango section................ 92 Figure 4.4. Joel, “Aria (Grand Canal),” ms. 37-50, aria-like melody and its various presentations ............................................................................................................ 93 Figure 5.1. Joel, “I. Innamorato, Suite For Piano (Star-Crossed), Op. 8,” ms. 1-12, Romantic bel canto melodic style .......................................................................... 121 Figure 5.2. Joel, “I. Innamorato, Suite For Piano (Star-Crossed), Op. 8,” ms. 26-34, Culmination of the first section and lead-in to second section in D major ............... 123 Figure 5.3. Joel, “Waltz No. 1 (Nunley’s Carousel), Op. 2,” ms. 27-30, waltz melodic style ....................................................................................................................... 124 Figure 5.4. Joel, “Reverie (Villa D’Este), Op. 3,” ms. 86-87, tango melodic style ........ 124 Figure 5.5. Joel, “Air (Dublinesque), Op. 10,” ms. 19-20, dance-like melody .............. 124 Figure 5.6. Joel, “Reverie (Villa D’Este), Op. 3,” ms. 1-9, section A excerpt ............... 128 Figure 5.7. Joel, “Reverie (Villa D’Este), Op. 3,” ms. 19-24, subsection B1 excerpt ..... 129 Figure 5.8. Joel, “Reverie (Villa D’Este), Op. 3,” ms. 43-46, subsection B2 excerpt ..... 129 Figure 5.9. Joel, “Reverie (Villa D’Este), Op. 3,” ms. 70-74, section C excerpt ........... 130 Figure 5.10. Joel, “Reverie (Villa D’Este), Op. 3,” ms. 85-96, section D excerpt ......... 132 Figure 5.11. Joel, “Reverie (Villa D’Este), Op. 3,” ms. 102-110, TR excerpt ............... 133 Figure 5.12. Joel, “Invention in C minor,” ms. 1-2, first thematic area (A) ................... 136 Figure 5.13. Joel, “Invention in C minor,” ms. 6-8, strong arrival in D minor that leads to the B section .......................................................................................................... 137 Figure 5.14. Joel, “Air (Dublinesque), Op. 10,” ms. 1-4, folk/pop melodic style .......... 141 vi Figure 5.15. Joel, “And So it Goes,” ms. 1-7, opening section ..................................... 141 Figure 5.16. Grainger, “Londonderry Air,” ms. 10-17, melodic transcription of chorus 142 Figure 5.17. “Air (Dublinesque), Op. 10,” ms. 17-18, ending of A section with plagal decoration .............................................................................................................. 143 Figure 5.18. Joel, “Air (Dublinesque),” ms. 19-20, B1 melody suggestive of Irish reel . 144 Figure 5.19. Joel, “Air (Dublinesque),” ms. 49-56, B2 section with angular melody and fast-moving harmonic progression ......................................................................... 145 Figure 5.20 Joel, “Air (Dublinesque),” ms. 66-73, soloistic B3 melody ........................ 145 Figure 5.21. Joel, “Air (Dublinesque),” ms. 82-85, jig-like melody above sustained, bagpipe-like bass ................................................................................................... 146 vii LIST OF TABLES Table 5.1. Solo piano pieces in Fantasies
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