Coding OK Computer: Categorization and Characterization of Disruptive Harmonic and Rhythmic Events in Rock Music
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Coding OK Computer: Categorization and Characterization of Disruptive Harmonic and Rhythmic Events in Rock Music by Nathaniel Emerson Adam A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Theory) in the University of Michigan 2011 Doctoral Committee: Professor Walter T. Everett, Chair Associate Professor Ramon Satyendra Assistant Professor Karen J. Fournier Assistant Professor Sheila C. Murphy © Nathaniel Emerson Adam 2011 To Laura Hope ii Acknowledgements First and foremost, I want to acknowledge and thank my advisor and friend, Walt Everett. His work inspired me to pursue research in rock analysis, and he personally guided that pursuit, generously providing constant support and assistance. This work is a tribute to him. Many thanks also to the members of my committee, for the experiences in their classrooms and for their encouragement and suggestions in the development of this project. I must acknowledge Thom, Johnny, Ed, Colin, Phil, and Nigel for creating such beautiful and provocative music in the first place. I can’t wait to see what they do next. My love and thanks go out to Zach and to Brent for providing years of stimulating conversation and musical collaboration, and constantly challenging me to think about music better and more deeply. When I started graduate school, Blair, Phil, Danny, and David went out of their way to make me feel welcome and embrace me as a colleague. I’m extremely grateful for their example, their mentoring, and their friendship. Thanks to them and to all of my other colleagues at the University of Michigan, especially Bryan, Michael, Alison, and Abby; spending time with them made it easier to stay sane. I wish them all the best, and hope to work with them again soon. iii Finally, my eternal thanks, love, and appreciation go to the three people who have made everything in my life possible and have taught me the most important things along the way: my beloved Laura, and my parents, Margaret and AKMA. I know how proud you are, and I am proud of you too. iv Table of Contents Dedication ............................................................................................................. ii Acknowledgements ............................................................................................... iii List of Figures ....................................................................................................... vii List of Tables ....................................................................................................... ix Abstract ................................................................................................................. x Chapter 1. Introduction .......................................................................................... 1 1.1 Background of project ........................................................................... 1 1.2 About the band and the album ............................................................. 7 1.3 Methodology ....................................................................................... 13 1.4 Note on the musical text ..................................................................... 23 Chapter 2. OK: Coding, Categorizing, and Characterization ............................... 25 2.1 “Airbag” ............................................................................................... 26 2.2 “Paranoid Android” ............................................................................. 35 2.3 “Subterranean Homesick Alien” .......................................................... 54 2.4 “Exit Music (For A Film)” ..................................................................... 58 2.5 “Let Down” .......................................................................................... 67 2.6 “Karma Police” .................................................................................... 73 2.7 “Fitter Happier” .................................................................................... 79 2.8 “Electioneering” .................................................................................. 80 2.9 “Climbing Up The Walls” ..................................................................... 85 2.10 “No Surprises” ................................................................................... 89 2.11 “Lucky” .............................................................................................. 92 2.12 “The Tourist” ..................................................................................... 96 2.13 Summary of disruptive events on OK Computer ............................ 106 Chapter 3. “Fitter Happier More Productive,” or Fred the Sphinx ...................... 109 3.1 Problems analyzing “Fitter Happier” ................................................. 111 3.2 Themes, topics, and the role “Fitter Happier” ................................... 119 3.3 Similar themes and topics in songs already discussed .................... 126 3.4 Other aspects of Radiohead’s artistic holism ................................... 133 Chapter 4. Tracing Chords and Characters ...................................................... 146 4.1 Kid A, Amnesiac, and Hail To The Thief ........................................... 146 4.2 Harmonic events!in Radiohead’s early 21st-century music .............. 153 4.3 Rhythmic events!in Radiohead’s early 21st-century music ............... 175 4.4 Conclusion: Changes in the later albums ......................................... 182 v Chapter 5. Concluding remarks ......................................................................... 184 5.1 Next steps ......................................................................................... 184 5.2 Postscript: “If You Think It’s Over Then You’re Wrong” .................... 186 Appendix ........................................................................................................... 190 Radiohead Discography ......................................................................... 190 Radiohead Videography ......................................................................... 197 Bibliography ....................................................................................................... 198 vi List of Figures Figure 1.i: “Radiohead songs by genre” .............................................................. 12 Figure 2.i: OK Computer track list ....................................................................... 25 Figure 2.ii: “Airbag” riff ......................................................................................... 27 Figure 2.iii: “Airbag” heterophonic guitar strata ................................................... 28 Figure 2.iv: “Paranoid Android” passacaglia (Part III) ......................................... 38 Figure 2.v: “Paranoid Android” intro (Part I) ........................................................ 42 Figure 2.vi: “Paranoid Android” verse (Part I) ...................................................... 44 Figure 2.vii: “Paranoid Android” refrain (Part I) ................................................... 45 Figure 2.viii: “Paranoid Android” riff (Part II) ........................................................ 46 Figure 2.ix: “Paranoid Android” riff (Part II), enharmonic spelling ....................... 47 Figure 2.x: “Paranoid Android” aeolian cadence (Part II) .................................... 48 Figure 2.xi: “Paranoid Android” passacaglia (Part III), voice-leading graph ........ 50 Figure 2.xii: “Subterranean Homesick Alien” progressions ................................. 57 Figure 2.xiii: “Subterranean Homesick Alien” guitar gestures ............................. 57 Figure 2.xiv: “Exit Music (For A Film)” verse ....................................................... 59 Figure 2.xv: “Exit Music (For A Film)” verse (reduction) ...................................... 60 Figure 2.xvi: “Exit Music (For A Film)” bridge ...................................................... 62 Figure 2.xvii: “Exit Music (For A Film)” bridge (alternative transcription) ............. 63 Figure 2.xviii: “Let Down” intro ............................................................................. 69 Figure 2.xix: “Let Down” intro (with pattern divisions) ......................................... 69 Figure 2.xx: “Let Down” verse ............................................................................. 71 Figure 2.xxi: “Let Down” chorus .......................................................................... 72 Figure 2.xxii: “Let Down” final chorus .................................................................. 73 Figure 2.xxiii: “Karma Police” refrain (Part II) ...................................................... 75 Figure 2.xxiv: “Karma Police” verse (Part I) ........................................................ 76 Figure 2.xxv: “Karma Police” bridge (Part I) ........................................................ 77 Figure 2.xxvi: “Karma Police” turnaround figure .................................................. 78 Figure 2.xxvii: “Electioneering” verse .................................................................. 81 Figure 2.xxviii: “Electioneering” chorus ............................................................... 82 Figure 2.xxix: “Electioneering” guitar solo A ........................................................ 83 Figure 2.xxx: “Electioneering” guitar solo B ......................................................... 84 Figure 2.xxxi: “Electioneering”