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Abstract of Thesis Gryphon: Origins, Influences, And ABSTRACT OF THESIS GRYPHON: ORIGINS, INFLUENCES, AND STYLISTIC DEVELOPMENT Progressive rock during the late 1960’s and throughout the 1970’s contained an eclectic mix of musical genres whose inspirations range from Western classical music to Indian ragas. This thesis focuses on the predominantly folk-inspired band Gryphon and its stylistic development from 1973-1975. One song from each of Gryphon’s first four albums is analyzed to show the band’s progression from its folk roots to an ensemble that combined rock, classical, folk, and jazz styles. The compositions analyzed are “Juniper Suite” from Gryphon, “Midnight Mushrumps” from Midnight Mushrumps, “Checkmate” from Red Queen to Gryphon Three, and “(Ein Klein) Heldenleben” from Raindance. KEYWORDS: Progressive Rock, Gryphon, English Folk-Rock, Juniper Suite, Midnight Mushrumps ______________________________ ______________________________ GRYPHON: ORIGINS, INFLUENCES, AND STYLISTIC DEVELOPMENT By Russell A. Kahmann _______________________________ Director of Thesis _______________________________ Director of Graduate Studies _______________________________ Date RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors. Bibliographical references may be noted, but quotations or summaries of parts may be published only with the permission of the author, and with the usual scholarly acknowledgments. Extensive copying or publication of the thesis in whole or in part also requires the consent of the Dean of the Graduate School of the University of Kentucky. A library that borrows this thesis for use by its patrons is expected to secure the signature of each user. Name Date THESIS Russell A. Kahmann College of Fine Arts University of Kentucky 2007 GRYPHON: ORIGINS, INFLUENCES, AND STYLISTIC DEVELOPMENT __________________________________________ THESIS __________________________________________ A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the College of Fine Arts at the University of Kentucky. By Russell A. Kahmann Lexington, Kentucky Director: Dr. Kevin Holm-Hudson, Associate Professor of Theory Lexington, Kentucky 2007 Copyright © Russell Andrew Kahmann 2007 ACKNOWLEDGEMENTS I would like to thank several people who were involved in the completion of this thesis. First, my wife who supported me during the many long days spent researching and writing. Next, I would like to thank my thesis advisor, Dr. Holm-Hudson, for instilling in me a love of progressive rock music. I would also like to thank all the members of my thesis committee: Dr. Kevin Holm-Hudson, Dr. Kate Covington, and Dr. Diana Hallman. I owe much to their constant encouragement and valuable insight. In addition, thanks must be given to Graeme Taylor for his multiple e-mail and telephone conversations and especially for allowing me to visit him at his home in England. He provided me with information that might never have been published otherwise. Finally I must thank my parents for their unending support, be it emotional, spiritual, or financial. Without them I would not be who I am today. iii TABLE OF CONTENTS Acknowledgments.............................................................................................................. iii List of Figures .................................................................................................................... vi Chapter 1: Origins and a Methodology Progressive Rock – The Emergence ........................................................................1 Gryphon – The Albums ...........................................................................................4 Gryphon – The Members .........................................................................................5 Influence of the Folk Revival ..................................................................................8 The Recording Studio and Compositional Style ....................................................13 Connections with Yes ............................................................................................14 Summary of Gryphon’s Development and Influences...........................................16 Review of the Literature ........................................................................................16 Toward a Methodology ..........................................................................................18 Chapter 2: An Analysis of “Juniper Suite” Gryphon – Album Overview .................................................................................21 Instrumentation, Timbre, and Texture ...................................................................22 Modal Inflections and Borrowing ..........................................................................31 Questions of Sixteenth-Century Contrapuntal Procedures ....................................41 Conclusion .............................................................................................................45 Chapter 3: An Analysis of “Midnight Mushrumps” Midnight Mushrumps – Album Overview .............................................................48 Timbre and Textural Density as Pertaining to Form and Cadence ........................51 The Development of Tonal Planning .....................................................................67 Conclusion .............................................................................................................73 Chapter 4: An Analysis of “Checkmate” Red Queen to Gryphon Three – Album Overview ................................................77 Timbre, Instrumentation, and the Elided Transition ..............................................79 Long-Term Tonal Planning....................................................................................90 Blues and Rock Influence ......................................................................................96 Conclusion .............................................................................................................99 Chapter 5: An Analysis of “(Ein Klein) Heldenleben” Raindance – Album Overview .............................................................................101 Climax and Release – Managing Extended Track Lengths .................................103 Continued Influence of Blues and Rock ..............................................................113 Contrapuntal Influences .......................................................................................115 Dance Section ......................................................................................................118 The Influence of Jazz ...........................................................................................120 Conclusion ...........................................................................................................122 iv Chapter 6: Conclusion Looking Back .......................................................................................................125 Timbre and Instrumentation (and their Relation to Form)...................................126 Musical Styles and Genres ...................................................................................128 Pitch Content ........................................................................................................128 Cadence in Large-Scale Form ..............................................................................130 Departure of a Style .............................................................................................130 Looking Forward .................................................................................................131 Bibliography ....................................................................................................................133 Vita ...................................................................................................................................136 v LIST OF FIGURES Figure 2.1, Juniper Suite – Section a, 0:00 ........................................................................32 Figure 2.2, Hybrid Scale ....................................................................................................33 Figure 2.3, Juniper Suite – Section b, 0:52 ........................................................................36 Figure 2.4, Juniper Suite – Section b1, 1:06 ......................................................................36 Figure 2.5, Juniper Suite – Section c and c development, 1:39 and 1:51 .........................38 Figure 2.6, Juniper Suite – Section f – Crumhorn Trio, 3:22 ............................................45 Figure 2.7, Juniper Suite Formal Diagram.........................................................................47 Figure 3.1, Midnight Mushrumps – Formal Diagram, 0:00-2:06 ......................................52 Figure 3.2, Midnight Mushrumps – Formal Diagram, 2:06-3:11 ......................................53 Figure 3.3, Midnight Mushrumps – Formal Diagram, 3:11-5:05 ......................................53 Figure 3.4, Midnight Mushrumps – Formal Diagram, 5:05-6:40 ......................................55 Figure 3.5, Midnight Mushrumps – Formal Diagram, 6:40-8:33 ......................................56 Figure 3.6, Midnight Mushrumps – Formal Diagram, 8:33-10:27 ....................................57 Figure 3.7, Midnight Mushrumps – Formal
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