"A Kind of Construction in Light and Shade": an Analytical Dialogue with Recording Studio Aesthetics in Two Songs by Led Zeppelin
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City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 "A Kind of Construction in Light and Shade": An Analytical Dialogue with Recording Studio Aesthetics in Two Songs by Led Zeppelin Aaron Liu-Rosenbaum The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3688 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] “A Kind of Construction in Light and Shade”: An Analytical Dialogue with Recording Studio Aesthetics in Two Songs by Led Zeppelin” by Aaron Liu-Rosenbaum A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, the City University of New York 2009 ii © 2009 AARON LIU-ROSENBAUM All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirements for the degree of Doctor of Philosophy. _David Olan_________________ _______________________ ___________________________ Date Chair of Examining Committee _David Olan_________________ _______________________ ___________________________ Date Executive Officer Professor Shaugn O’Donnell__________________________ Professor Mark Spicer_______________________________ Professor Jonathan Pieslak___________________________ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract “A Kind of Construction in Light and Shade”: An Analytical Dialogue with Recording Studio Aesthetics in Two Songs by Led Zeppelin” by Aaron Liu-Rosenbaum Advisor: Shaugn O’Donnell This dissertation examines how the sound of a recording contributes meaning to the song, working in conjunction with the song’s lyrics, harmonic and rhythmic structures, album artwork, and within its cultural context. Two songs by the rock group Led Zeppelin, “When the Levee Breaks” and “Stairway to Heaven,” are taken as analytical examples in which special attention is paid to the acoustic properties of the recordings, that is, where the instruments are situated within the stereo sound field; how they are timbrally manipulated with effects such as reverb, echo, distortion, and chorus; their relative levels of prominence; and how these factors interact to create meaning in the song. The intent is to bring into relief the complex and myriad ways that recording studio aesthetics shape both our perception of, and appreciation for, two of the most prominent songs in this group’s rich repertoire. By considering the recorded sound among the other factors that comprise these analyses, I also seek to demonstrate the value of parameters other than pitch and rhythm in analyses of this repertoire in particular. This project requires extremely close listening to the recordings in order to discern how various studio effects are employed in the context of each song’s particular aesthetics. I take as my methodological departure point Albin Zak’s v book, The Poetics of Rock, in which are found analyses of studio production techniques in various rock songs, and Susan Fast’s book, In the Houses of the Holy, in which many facets of Led Zeppelin’s music are examined, including semiotics and the relationship between timbre and text. vi Acknowledgments Many people helped me in a variety of ways, not all of which may be obvious to them, as I worked on this project. First, I’d like to thank my dissertation advisor, Professor Shaugn O’Donnell, for providing me an example, through his own expertise, of what professional rock scholarship is like. Similarly, Professor Mark Spicer shared with me not only his thoroughly impressive knowledge of pop and rock music, but also a remarkably generous portion of his time. The promptness with which he annotated and returned my lengthy drafts will serve as a model for me in my career. I am especially indebted to Professor David Olan, my dissertation composition advisor and our department’s Executive Officer, for his valuable feedback in helping me temper some of my “high falutin” language, his kind and wise mentoring during the course of my studies, and, most importantly, for accepting me into the Ph.D. program with a tuition fellowship, which enabled me to recommence my studies after a hiatus. I would also like to thank Professor Jonathan Pieslak, who, in the short span of a month as the final member of my defense committee, engaged himself so thoughtfully and thoroughly with my essay. His insights will serve me long after the degree. Were it not for Professor Joseph Straus’s “Current Trends in Music Theory” course at the CUNY Graduate Center, I would not have been introduced to popular music analysis. Though he was not on my committee, his profound commitment to being both a damned good teacher as well as a mensch was a constant source of support during my studies and during my research. vii I simply cannot depart this institution without thanking Peg Rivers, our Assistant Program Officer. Peg, we students know what you have done for us. From the bottoms of our hearts, thank you. Ultimately, no one is more responsible for my completing this project than my wife, Yvonne Liu, who encouraged me to return to school and endured with me all the substantial emotional and economic hardships inherent in that decision. During those painful moments of self-doubt along the way, she inspired me to see the beauty in the call to teach. Finally, I’d like to thank Soji for the countless hours she sat with me as I typed away into the night. She is a rescued cat, and she rescued me, in turn, from many lonely evenings. viii TABLE OF CONTENTS INTRODUCTION ..................................................................................................1 Methodology .........................................................................................................5 Song Versions...................................................................................................7 Audio Equipment...............................................................................................8 Audio Formats...................................................................................................9 Led Zeppelin .......................................................................................................10 Classical Influences.........................................................................................12 Use of Technology ..........................................................................................16 Chapter Contents................................................................................................19 CHAPTER 1 Narrative Uses of Timbre And Space In “When The Levee Breaks” ...........22 Background and Approach .................................................................................22 The Written Text: Narrative Aspects ...................................................................26 The Sonic Text....................................................................................................30 The Drum Introduction.....................................................................................30 Stereo Placement and Prominence.................................................................35 Issues of Form ....................................................................................................37 Unpredictability in the Rhythm Guitar’s Turnarounds ......................................38 Suppressed Hypermeter in the Harmonica Solo .............................................41 Piecing Together the Sonic Narrative .................................................................43 Issues of Agency.............................................................................................43 The Chorus as a Sonic, Harmonic, and Motivic Arrival ...................................52 The Beginning of “The End”: A “False Recapitulation” Mid-song.....................54 Timbral Changes in the Rhythm Section (“The River”)....................................58 As the River Approaches, the Singer Sinks.....................................................60 The Second Chorus: The Levee Breaks ........................................................63 Post-Breaking of the Levee: The Outro..........................................................65 CHAPTER 2 The Sonic And The Mythic: “Stairway To Heaven”.......................................76 Background and Approach .................................................................................76 The Visual Text...................................................................................................85 The Original LP Artwork ..................................................................................85 ix The Written Text: Myth and Mist ........................................................................89 The Sonic Text....................................................................................................91 Form and Instrumentation ...............................................................................91 Issues of Form: Irregularity and the Unknown ....................................................96 Piecing Together the Sonic Narrative .................................................................98 Creating and Using Space ..............................................................................98