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An Analytical Model for the Study of Multimedia Compositions: a Case Study in Minimalist Music Sean Atkinson

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An Analytical Model for the Study of Multimedia Compositions: a Case Study in Minimalist Music Sean Atkinson Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 An Analytical Model for the Study of Multimedia Compositions: A Case Study in Minimalist Music Sean Atkinson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN ANALYTICAL MODEL FOR THE STUDY OF MULTIMEDIA COMPOSITIONS: A CASE STUDY IN MINIMALIST MUSIC By Sean Atkinson A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 Copyright © 2009 Sean Atkinson All Rights Reserved The members of the Committee approve the Dissertation of Sean Atkinson defended on December 9, 2008. _____________________________ Matthew Shaftel Professor Directing Dissertation _____________________________ Denise Von Glahn Outside Committee Member _____________________________ Michael Buchler Committee Member _____________________________ Evan Jones Committee Member The Graduate School has verified and approved the above listed committee members. ii ACKNOWLEDGEMENTS First and foremost, I would like to thank my advisor, Matthew Shaftel, for his truly tireless efforts and guidance throughout this project. His unending support all during my time at Florida State has helped to shape who I have become as a scholar and educator. I would also like to thank my committee, Denise Von Glahn, Evan Jones, and Michael Buchler, for their support and insightful comments during the writing process. My family (Mom, Dad, and Robyn) also deserves special thanks for the seemingly endless supply of support they have provided my entire life. Last, but most certainly not least, I thank my wife Lindsey for putting up with me while I finished this document and for always believing in me. iii TABLE OF CONTENTS List of Figures........................................................................................................................vi List of Musical Examples ......................................................................................................ix Abstract..................................................................................................................................xii 1. DEVELOPING A MODEL FOR MULTIMEDIA ANALYSIS...............................1 1.1 Introduction....................................................................................................1 1.2 Semiotics........................................................................................................2 1.3 Metaphor........................................................................................................5 1.4 Other Interpretive Modes...............................................................................10 1.5 Outline of Model............................................................................................11 1.5.1 Surface Level Analysis and Denotational Meaning...........................12 1.5.2 Cross-Domain Mapping and Blending ..............................................14 1.6 Conclusion .....................................................................................................15 2. TOOLS FOR ANALYSIS .........................................................................................16 2.1 Minimalist Music...........................................................................................16 2.1.1 Issues of Rhythm and Meter ..............................................................17 2.1.2 Issues of Melody and Harmony .........................................................20 2.1.3 Minimalism in a Broader Context......................................................24 2.2 Minimalist Art................................................................................................26 2.3 Film Form and Technique..............................................................................28 2.4 Conclusion.....................................................................................................29 3. THREE TALES .........................................................................................................30 3.1 Background....................................................................................................30 3.2 “Hindenburg”.................................................................................................31 3.2.1 “It Could Not Have Been a Technical Matter”..................................31 3.2.2 “Nibelung Zeppelin”..........................................................................35 3.2.3 “A Very Impressive Thing to See” ....................................................40 3.2.4 “I Couldn’t Understand It”.................................................................45 3.3 “Bikini”..........................................................................................................49 3.3.1 Music..................................................................................................50 3.3.2 Visuals ...............................................................................................54 3.3.3 Text ....................................................................................................60 3.3.4 Interpretation......................................................................................61 3.3.5 Coda ...................................................................................................62 3.4 Conclusion.....................................................................................................63 4. NIXON IN CHINA....................................................................................................65 iv 4.1 Background....................................................................................................65 4.2 Act I, Scene 3.................................................................................................66 4.2.1 The Arrival and Initial Toasts............................................................66 4.2.2 Chou’s Aria........................................................................................70 4.2.3 Nixon’s Aria.......................................................................................74 4.2.4 “Cheers!”............................................................................................77 4.2.5 Interpretation......................................................................................79 4.3 Act II, Scene 2................................................................................................83 4.3.1 Entire Scene .......................................................................................83 4.3.2 The Red Detachment of Women........................................................91 4.4 Conclusion.....................................................................................................94 5. LOST OBJECTS........................................................................................................95 5.1 Background....................................................................................................95 5.2 (3,4) Double Interval Cycle ...........................................................................97 5.3 “Acoustic Aphasia”........................................................................................99 5.3.1 Music..................................................................................................100 5.3.2 Text ....................................................................................................102 5.3.3 Visuals ...............................................................................................103 5.3.4 Interpretation......................................................................................104 5.4 “FW:FW: Please Look” .................................................................................107 5.4.1 Music..................................................................................................107 5.4.2 Text ....................................................................................................109 5.4.3 Visuals ...............................................................................................110 5.4.4 Interpretation......................................................................................111 5.5 Conclusion.....................................................................................................113 6. NAQOYQATSI .........................................................................................................114 6.1 Background....................................................................................................114 6.2 “Primacy of Number” ....................................................................................115 6.3 Conclusion.....................................................................................................125 7. CONCLUSION..........................................................................................................127 BIBLIOGRAPHY ............................................................................................................132 BIOGRAPHICAL SKETCH .................................................................................................138 v LIST OF FIGURES 1.1. A conceptual integration network for Eeyore from Winnie the Pooh .......................7 1.2. Semiotic Square, as described by Greimas................................................................9
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