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Transtextuality .,,In Pnn~, ,,,,,, Tlar Ant,.,,,,, Tcir ,,,Nn Commercial Radio National Library Bibliotheque nationale of Canada du Canada Acquisitions and Direction des accuisitions et Bibliographic Services Branch des services bibli~graphiques 395 Wellington Siret 395, rue Wellington Ottawa, Ontario Ottawa (Ontario) KIA ON4 KIA ON4 The quality of this microform is La qualite de cette microforme heavily dependent upon the depend grandernent de la qualit@ quality of the original thesis de la thQse soumise au submitted for microfilming. microfilmage. Hous awns tout Every effort has been made to fait pour assurer une qualit6 ensure the highest quality of suphrieure de reproduction. reproduction psssible. If pages are missing, contact the S'il manque des pages, veuillez university which granted the communiquer avec I'universite degree. qui a confere le grade. Some pages may have indistinct La qualite d'irnpression de print especially if the original certaines pages peut laisser a pages were typed with a poor dbsirer, surtout si les pages typewriter ribbon or if the originales ont et6 university sent us an inferior dactylographiees a I'aide d'un photocopy. ruban us6 ou si I'universite nous a fait parvenir une photocopie de qualite inferieure. Reproduction in full or in part of La reproduction, m&ma partielle, this microform is governed by de cette microforme est soumise the Canadian Copyright Act, a la Loi canadienne sur Ce droit RSC 1970, c. C-30, and d'auteur, SRC 1970, c. C-30,et subsequent amendments. ses amendements su bsequents. Eric James Spalding E.A., Concordia University, 1985 M.A., gniversit6 du Quhbec ~ontrgal,1988 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the Department of COMMUNICATION (C) Eric James SpaLdlng 1992 SIMON FRASER UNIVERSITY August 1992 All rights reserved. his work mav not be reproduced in whole or in part, by &otocopy or other means, without permission of the author. National Library Biblioth&que nationale awi of Canada du Canaaa Acquisitions and Eirection des acquisitions et Bibliographic Sewices Branch ues services bibliographiques 595 Wellington Street 395,rue Weltington Ottawa. Ontario Ottawa (Ontario) Kl k tjN4 K1A ON4 The author has granted an h'auteur a accorde me licence irrevocable non-exclusive licence irrevocable et nun exclusive allowing the National Library of permettant a la BibliothBque Canada to reproduce, loan, nationale du Canada de distribute or sell copies of reproduire, pri$ter, distribuer ou his/her thesis by any means and vcndre des copies de sa these in any form or format, making de quelque rnanihre et sous this thesis available to interested quelque forme que ce soit pour persons. mettre des exemplaires de cette these a la dispositiari des personnes interessees. retains ownership L'auteur conserve la propribt6 du the copyright in his/her thesis. droit d'auteur qui prothge sa hither the thesis nor substantial thhse, Ni la th6se ni des extraits extracts from it may be printed or substantiels de celle-ci ne . otherwise reproduced without doivent 6tre imprimes ou hislher permission. autrement reproduits sans son autorisation. ISBN 0-315-83764-8 APPROVAL NAME: Eric James Spalding DEGREE: Doctor of Phitosophy TITLE OF THEStS: Transtextuality .,,in Pnn~, ,,,,,, tlar Ant,.,,,,, tcir ,,,nn Commercial Radio EXAMINING COMMI'T-TEE: CHAIR: Dr. Robert HackeF - 3r. ~arthLa ' V ~ssociateProgor Senior Supervisor Dr. Richard Gruneau Professor * Dr. Jerald Zaslove Associate Professor Department of English Dr. ch&=iKan Associate Professor School of Journalism and Communicati~n Carleton University, Ottawa DATE APPROVED: ' '"" PARTIAL COPYRIGHT LfCENCE I hereby grant to Simon Fraser University the right to lend my thesis or dissertation (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this thesis for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of . .this thesis for financial gain shall not be allowed without my written permission. Title of Thesis/Dissertation: ~ranstextualityin Popular Music on Commercial Radio - Author : - I signature ' Eric J. Spalding name August 5, 1992 date iii Abstract. For entertainment and ~nformation,North Americans ay can choose from a very wide range of options, from pay ,evision to computer networks. One of the oldest mass ia, radio, still holds a prominent place among the es that they make. Commercial stations in particular ct a large number of listeners every day. In this is, 51: addicess the question of what. it is about ial radio, particularly the.music on it, that appeals listeners. My hypothesis is that one of the main listening to the radio has to do with the ity and familiarity that the broadcast ~ ~ dience: people tune in to commercial they know that they will hear music with which ady familiar. I am interested in how radio amiliarity in their broadcasts to maintain y. I use semiotics to address this question, dentifiability of the music on corrmercial - The most relevant semiotic theories for my purposes textuality, the relations that any given text , previous texts. I complement this approach theories that deal specifically with the music industry , , sure the degree of transtextuality on focus on a six-hour excerpt drawn from a Vanco~ver-basedcornmerclal station, CFOX-FM, during the summer of 1989- 1 analyze the scngs in this smnple, and t-lie music in the advertisements, drawing cut and explaining the transtextual relations that the music contains, and showing how these relations make the broadcast more accessible for listeners. I conclude from my observations that the music n the excerpt contains transtextual references that are th numerous and varied. Altho~ghmy examples come mainly , ~ om CZOX-FM, I believe that my observations are applicable other commercial radio stations in major urban centres. Acknowledgements. Many thanks to Marcin Laba and Rick Gruneau for their Eul comments on the thesis. Thanks also to Alison le, Ian Chunn, Rowland Lcrimer, Roman Onufri jchuk, Barry em, my family and friends, and everyone else who offered ice and support, Table of Contents . astract ............................................ill .... Acknowledgements .......................................v Table of Contents ................. ,,, ...............vi. ~ntroduction.......................................... '.L Part One . Transtextuality in Popular Music on Commercial ~adfo : heo ore tical perspectives .....................8 hagtef One . Towards a New Openness: Popular Music within the High CuPture/Low Culture Debate .................9 1 . ~ntroduction...........................,............ .I 2.1. Remarks on Modernism ..............................10 eview of "Masscult and Midcult" .................1.2 .3 . Comments on "Masscult and Midcult" ... ., .............19 .4 . Rock and Commerce .................#. .............. 22 .1. Remarks on Postmodernism.......................... 28 :2 . Collapse oL High/Low Culture Distinctions ...........31 . Conclusion ........................................-37 ter Two . ~zanstextualityand Popular Music ..........40 duction .......................................40 ing intertextuality .............................($2 ome Approaches .................................-42 dapting the Approach to the T~xt.................. 46 steva and ~ntertextuality........................ 49 e Double Character of Language ...................49 a1 and Written Communications ....................52 enette and Transtextuality .........................56 Metatext .................................... ........59 Extratext ........................................60 . Architext ........................................6 3. tertext ........................................65 ertext ........................................67 4 .7 . Scare and Performance .............................73 5 . Conclusion .........................................74 Chapter Tk.r&e. heo ore tical ~ersgectiveson Popular Music ...........................................76 1 . Introduction .......................................76 2 . Historical Perspectives on Popular Music ..............78 2.1. Music as Sacrifice and ~epresentation.............. 78 2.2. Repetition .......................................79 2.3. C~mposit.ion..................................... '83 . 4. SOQ~Implicbtions of ~ttaliI s View .................84 .5. ' ~.oor$t?n"s~omplemental?~ View of Repetition ........ -87 " .. ...... 7 vii Rock and Pop in Contemporary Society .................91 ; A ~efinitionof Rock. .............................91 . A Definition of Pop .............................. -96 opular Music .......................99 . 1. .P. Review of ~arkheirnerand Adorno on Popular Culture ......................................... 99 . Remarks an ~orkheimerand Adorno's views ........104 . Mass Culture Decentrzllized ......................109 nclusion ........................ .. ..............111 Four . Familiar and ~llusive:Pcpular Music on mmercial Radio ................................ 112 oductiori ....................... ...... .........112 adio ............................ 112 ience Responses to Radio ........................119 emarks on the subjectivity of ~udiencekeadings ....119 ow audiences Respond to Radio ................... -125 eal of predictability
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