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A Musical Analysis of the People's Microphone: Voices and Echoes in Protest and Sound Art and Occupation 1 for String Quartet

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A Musical Analysis of the People's Microphone: Voices and Echoes in Protest and Sound Art and Occupation 1 for String Quartet A MUSICAL ANALYSIS OF THE PEOPLE'S MICROPHONE: VOICES AND ECHOES IN PROTEST AND SOUND ART AND OCCUPATION 1 FOR STRING QUARTET by Jeremy Woodruff B.M. Boston University, 1997 M.F.A. Brandeis University, 1999 M.Mus. Royal Academy of Music, London, 2002 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH DEPARTMENT OF MUSIC This dissertation was presented by Jeremy Jonathan Woodruff It was defended on March 25th, 2014 and approved by Eric Moe, Andrew W. Mellon Professor of Music Deane Root, Professor of Music Amy Williams, Assistant Professor of Music William Scott, Associate Professor of English Literature Dissertation Advisor, Mathew Rosenblum, Professor of Music ii Copyright © by Jeremy Woodruff 2014 iii A MUSICAL ANALYSIS OF THE PEOPLE'S MICROPHONE: VOICES AND ECHOS IN PROTEST AND SOUND ART AND OCCUPATION 1 FOR STRING QUARTET Jeremy Woodruff, Ph.D. University of Pittsburgh, 2014 The People's Microphone technique, first employed by Occupy Wall Street in the 2011 occupation of Zuccotti Park, is a mode of political speech drawing on the fundamental linguistic/musical principle of imitation. By analyzing musical parameters of the tones of voice in instances of the People's Microphone in protest, and secondly by adapting the method to analyze how the People's Microphone is used in an artwork by Brandon LaBelle, I lay the speculative groundwork for a transversal theory dealing with the political influence of musical sound. This theory is extended to Angela Davis, a piece in Peter Ablinger's Voices and Piano series of compositions for piano and audio recording in which the piano exactly imitates the intonations of the voice in different ways. The arousal of cognitive dissonance through vocal inflection in interaction with contexts of perception is the common thread through several examples that allows a holistic theoretical approach across the domains of sound, art and politics. The argument demonstrates how the intrinsic parameters of all vocal sound are both an ever-present aesthetic and political force. The second part of the dissertation is an experimental composition for string quartet wherein unison transformation with smooth as opposed to striated movement through the continuum of pitch and rhythmic space (characteristics abstracted from unison speech) provide further detailed research into effects of consonance and dissonance, both tonal and cognitive. iv TABLE OF CONTENTS TABLE OF CONTENTS .................................................................................................. V LIST OF TABLES ......................................................................................................... VII LIST OF FIGURES....................................................................................................... VIII PREFACE ....................................................................................................................... X 1.0 INTRODUCTION .............................................................................................. 1 2.0 CHAPTER ONE: THE IMITATION OF SPEECH ............................................. 5 2.1 THE MUSICAL PARAMETERS OF THE PEOPLE’S MICROPHONE ..... 7 2.2 POTENTIALITES OF POLITICAL LISTENING: COGNITIVE CONSONANCE AND DISSONANCE ................................................................... 12 2.3 SOCIAL TONALITY ............................................................................... 17 3.0 CHAPTER TWO: MASSIVE FEEDBACK: A MESSAGE TO THE NYPD ON DAY 14 OF OCCUPY ................................................................................................... 21 3.1 POLICE PLAZA 1 .................................................................................. 30 3.2 POLICE PLAZA 2 .................................................................................. 41 3.3 THE FREEDOM/NOISE RATIO AND THE HORIZON OF REMANENCE… .................................................................................................... 49 4.0 CHAPTER THREE: THE POSSIBLE CITY: BRANDON LABELLE'S REHEARSAL FOR A PEOPLE'S MICROPHONE ....................................................... 54 v 4.1 COMPOSITION WITH SOCIAL TONALITIES: VOCAL/ENVIRONMENTAL COMPOUNDS ......................................................... 64 4.2 POETRY IN THE PARK: WILLIAM SCOTT'S YOUCARESS ................ 73 4.3 CONSECRATED BY YOUR WITNESS: CORNEL WEST AT THE NYC GENERAL ASSEMBLY ........................................................................................ 80 4.4 DOUBLE VOICE: BRANDON LABELLE'S VOCAL INTONATIONS .... 84 4.5 TO ECHO THE VOID IN A COUNTERPOINT OF DAYS ....................... 96 5.0 CHAPTER FOUR: DISSONANT COGNITIONS CONCERTED: PETER ABLINGER'S VOICES AND PIANO ........................................................................... 102 6.0 CONCLUSION ............................................................................................. 142 APPENDIX: PEOPLE'S MICROPHONE FEEDBACK ............................................... 152 BIBLIOGRAPHY ......................................................................................................... 156 vi LIST OF TABLES Table 1: PP1, Distinctive Features ................................................................................ 27 Table 2: PP2, Distinctive Features ................................................................................ 28 vii LIST OF FIGURES Figure 1: Police Plaza fenced off on September 30th, 2011 ......................................... 21 Figure 2: PP1, Loudness ............................................................................................... 34 Figure 3: PP1, Vocal intensity ....................................................................................... 34 Figure 4: PP1, "We are here in this country" ................................................................. 36 Figure 5: PP1, "For the same reason" ........................................................................... 37 Figure 6: PP1, "We are Occupy Wall Street" ................................................................. 38 Figure 7: PP1, "[We lost] our country" ........................................................................... 39 Figure 8: PP1, "We want progress and jobs" ................................................................ 40 Figure 9: PP2, Vocal intensity ....................................................................................... 45 Figure 10: PP2, "You have opened a space...Outrageous inequality"........................... 47 Figure 11: PP2, "Through your actions...freedom of assembly" .................................... 48 Figure 12: Brandon LaBelle's Rehearsal for a People's Microphone ............................ 54 Figure 13: William Scott's reading of his poem youcaress ............................................ 78 Figure 14: Cornel West's Speech at the New York City General Assembly .................. 82 Figure 15: Brandon LaBelle reading Rehearsal for a People's Microphone .................. 90 Figure 16: Spectrogram of youcaress: "Dubious, Unfounded, Desire" .......................... 97 Figure 17: Spectrogram of Rehearsal for a People's Microphone: "You are a ship..." .. 98 viii Figure 18: Spectrogram of Rehearsal for a People's Microphone: "You are a ship..." (recorded in situ in Parc Camirand) ............................................................................... 98 Figure 19: Ablinger's preliminary document with compiled computer transcriptions for Angela Davis ............................................................................................................... 105 Figure 20: mm. 10-11: "capitalism".............................................................................. 109 Figure 21: Beginning: "before anything else, I'm a black woman" ............................... 111 Figure 22: "Has to do with the nature of capitalism," original recording ....................... 113 Figure 23: "Has to do with the nature of capitalism," Voices and Piano ...................... 113 Figure 24: m. 83: "on and on and on" .......................................................................... 116 Figure 25: mm. 65-67: "make an example of me" ....................................................... 125 Figure 26: mm. 6, 24, 32, 76: "communist" ................................................................. 126 Figure 27: mm. 3, 62, 75: "struggle" ............................................................................ 127 Figure 28: Peter Ablinger, Angela Davis, with voice transcription ............................... 132 ix PREFACE Without the combined help of many people I wouldn't have been fortunate enough to write this dissertation. Unfortunately many will have to go with only a tacit acknowledgement of thanks, but there are a number of people whose essential support and input deserve singular recognition. I am first of all grateful in general for the very collegial and open exchange at the University of Pittsburgh in the Music Department between the Composition and Theory, Musicology, Ethnomusicology and Jazz Studies faculties that foster a unique interdisciplinary atmosphere. The mutual respect and cooperation between the faculty members that exists at Pitt is a manifestation of the exemplary dedication and vision of the music faculty in general and composition faculty in particular, which explains the vital influence
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