Hounds of Love

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POINTS OF INTEREST: Use of 80s technology The 'Concept album'. HOUNDS OF LOVE Personal singer- Songwriter tendencies Eclectic music roots Kate Bush (1985) The 'home studio' The pop song: conventional and unconventional elements ‘CLOUDBUSTING’, ‘AND DREAM OF SHEEP’ AND ‘UNDER ICE’ STRUCTURE: CONTEXT: SONORITY: Main features of basic pop song Was the first British female artist to top the UK album charts, with Distinctive vocals structure: Verses, choruses/refrains, 'Never for Ever.' Fairlight CMI (cutting edge instrumentals/bridges, codas. Songs are often inspired by literary or historical sources eg. Wuthering technology in 80s) triggering Cloudbusting and And Dream of Heights; Emily Bronte novel. samples Sheep lack an intro. Received training in dance and mime. Incorporates into her art. Mostly conventional pop/rock band Under Ice is through-composed. Eclectic music roots: progressive rock, folk, ethnic styles, electronica set up with some additions: Songs are part of a concept album, : and classical forms. Unconventional combinations: Cloudbusting is 7 min long- longer Hounds of Love: Composed, performed and Self produced in her string sextet (cloudbusting), than traditional pop song. home studio Bouzouki and whistles (And Dream And Dream of Sheep and Under Ice of Sheep) are short, follow one another and Cloudbusting does not use bass or TEXTURE: HARMONY AND contain similar material. TONALITY: electric guitar and non-virtuosic drum beat. Tonal language, thought not Melody-dominated straightforwardly diatonic or MELODY: homophony RHYTHM, METRE functional. Cloudbusting: homorhythmic AND TEMPO: Modal minor keys strings, countermelodies in V2, Distinctive unpredictable melodic Ambiguous endings Strong sense of pulse polyphony in chorus, construction. Unconventional chord progressions, Regular and planned changes of Pedal textures in And Dream Short phrases, improvisatory, and few perfect cadences metre of Sheep and Under Ice. repetitive and short in length Repeated chord sequences Frequent syncopation in vocal Under Ice: Homorhythm and Hook (Cloudbusting) Added notes, extension chords, lines dialoguing. Riffs used as unifying feature suspensions and slash chords Unprepared anticipations and Word painting Modal chord sequences. suspensions ♫♩ rhythm commonly used. .

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TE NE WOMAN by Leah Kardos Dr Leah Kardos is an experienced musicologist She was lucky in many ways: privileged with aspect of her music product. Across her first three style, since it was seen to represent cultural elitism and senior lecturer in music at Kingston early access to musical tuition, familial support and albums, The Kick Inside, Lionheart (both 1978) in an era of widespread economic hardship and University. plenty of encouragement. Crucially, she had well- and Never for Ever (1980), and including her first social unrest. American pop in the late Seventies respected men in the music business advocating for major touring production (the Tour of Life, 1979), was on a different planet altogether, concerning ‘Wuthering Heights’ – a profoundly unlikely hit, her during the early stages of her development. Her we can track Kate’s evolution from a label-groomed itself with notions of authenticity and cultivating sitting as it did in the 1978 landscape of post-punk family helped her to produce a demo tape of original pop-star project towards her emergence as a fully a disciplined, precise production aesthetic. (Think and dance-floor fodder such as Boney M – signalled compositions, which was brought to the attention formed self-producing artist. The stylistic journey of the polished sonic surfaces of Fleetwood Mac, the arrival of an unlikely pop star. Kate Bush had an of Pink Floyd guitarist David Gilmour thanks to ran from relatively unadorned piano-led art-rock the Eagles, the Doobie Brothers, Chic.) Kate didn’t unusually high and wide-ranging voice, a curious family friends with connections to the band.
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