Form and Style in the Music of U2 Christopher James Scott Endrinal
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Form and Style in the Music of U2 Christopher James Scott Endrinal Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FORM AND STYLE IN THE MUSIC OF U2 By CHRISTOPHER JAMES SCOTT ENDRINAL A Dissertation submitted to the College of Music In partial fulfillment of the requirements for the degree of Doctor of Philosophy in Music Spring Semester, 2008 Copyright © 2008 Christopher J. S. Endrinal All Rights Reserved The members of the Committee approve the dissertation of Christopher J. S. Endrinal, defended on 25 February 2008. Jane Piper Clendinning Professor Directing Dissertation James R. Mathes Committee Member Matthew R. Shaftel Committee Member Charles E. Brewer Outside Committee Member The Office of Graduate Studies has verified and approved the above listed committee members. ii To Azucena and Dominic. iii ACKNOWLEDGMENTS I wish to extend my gratitude and appreciation to my advisor, Professor Jane Piper Clendinning. Her guidance and support during my entire tenure at Florida State have proven to be invaluable resources, for which I cannot thank her enough. I also extend my appreciation to Professor James Mathes (whose doctoral seminar provided the initial inspi- ration for this research) and to Professors Matthew Shaftel and Charles Brewer, for lending me their unique perspectives and insightful critiques. I would also like to thank the rest of the Music Theory faculty at Florida State. Their vast knowledge and constant encourage- ment helped keep me focused and motivated. I have been blessed with wonderful parents, without whom none of this would have been possible. Your wisdom, determination, faith, and unconditional love have in- stilled in me a foundation of values upon which I hope to continue to build a happy life and a successful career. I am eternally grateful for all you have provided me. You are my heroes and my inspiration. Finally, many thanks to my friends at Florida State. You have helped make Talla- hassee my home. Thank you for sharing your time and talents with me, for picking me up when I was down, for distracting me when I need to be distracted, and for pushing me forward when I wanted to step back. Special thanks go to Amy Acevedo and Marty Bless- inger. Whether near or far, you have enriched my life and have helped me in countless ways, both great and small. In you two, truly, I have found what I am looking for. iv TABLE OF CONTENTS LIST OF FIGURES............................................................................................................vii ABSTRACT ........................................................................................................................x CHAPTER 1 U WHO?: An Introduction to the Band.........................................................1 “DESIRE”: 1976-1980......................................................................................................3 “THE FIRST TIME”: The First Period, 1980-1983................................................................5 “ANOTHER TIME, ANOTHER PLACE”: The Second Period, 1984-1988..................................7 “ELECTRICAL STORM”: The Third Period, 1991-1997.........................................................9 “A SORT OF HOMECOMING”: The Fourth Period, 2000-present .......................................11 CHAPTER 2 HOW TO DISMANTLE U2: Review of Literature and Analytical Methodology...................................................................................................................15 Theories of Form..........................................................................................................15 Analytical Methods......................................................................................................21 CHAPTER 3 INTO THE HEART: General Style Characteristics........................................28 Active Bass ..................................................................................................................29 Syncopated Percussion ................................................................................................34 Echo/Delay Effect.........................................................................................................37 Dynamic Stereo ...........................................................................................................42 Guitar Harmonics ........................................................................................................49 Muted Strum................................................................................................................51 Arpeggiated Chords .....................................................................................................54 Layered Vocals ............................................................................................................56 CHAPTER 4 CRUMBS FROM YOUR TABLE: Song Sections and Formal Types ...............61 Introduction, Coda, and Conclusion ............................................................................63 Verse, Transition, and Link ..........................................................................................67 Refrain and Chorus ......................................................................................................69 Interlude and Interverse ...............................................................................................74 Extended Introductions ................................................................................................83 Irregular Section Lengths..............................................................................................85 Overall Forms..............................................................................................................89 CHAPTER 5 LIKE A SONG: Complete Analytical Examples.............................................92 “Sunday Bloody Sunday”.............................................................................................93 “Where The Streets Have No Name” .........................................................................101 v “With Or Without You” .............................................................................................110 “Discothèque” ...........................................................................................................121 “Vertigo” ...................................................................................................................130 CHAPTER 6 ORIGINAL OF THE SPECIES: Conclusions ................................................140 APPENDIX A: Data Tables ............................................................................................145 APPENDIX B: Definitions and Abbreviations ................................................................150 BIBLIOGRAPHY............................................................................................................153 BIOGRAPHICAL SKETCH .............................................................................................163 vi LIST OF FIGURES Figure 2.1 a. Blank listening form; b. Completed form for “One.”...................................24 Figure 2.2 Screenshot of compiled style and form chart..................................................25 Figure 3.1 “Gloria,” introduction, 0:14-0:27...................................................................30 Figure 3.2 “Beautiful Day,” chorus, 0:56-1:10................................................................30 Figure 3.3 “Blitzkrieg Bop,” 0:32-0:43............................................................................31 Figure 3.4 “Streets of London,” 0:56-1:06.......................................................................31 Figure 3.5 “Please,” verse, 0:36-0:45..............................................................................32 Figure 3.6 “Bad,” verse, 1:50-2:19..................................................................................33 Figure 3.7 A typical rock drum kit pattern.......................................................................34 Figure 3.8 Drum kit pattern, “I Will Follow.”..................................................................35 Figure 3.9 Drum kit patterns, “Babyface”: a. verse, b. chorus. ........................................36 Figure 3.10 Drum kit pattern, “Stuck In A Moment You Can’t Get Out Of,” verse. .........36 Figure 3.11 Waveform, “Bad,” measure 1.......................................................................39 Figure 3.12 Waveform, “Bad,” measure 4.......................................................................39 Figure 3.13 “Bad”: a. Guitar motive, b. Guitar motive with echo....................................40 Figure 3.14 “Where The Streets Have No Name”: a. Guitar motive 1, b. Guitar motive 1 with echo...................................................................................................................40 Figure 3.15 Waveform, “Where The Streets Have No Name,” one beat..........................41 Figure 3.16 “Where The Streets Have No Name,” guitar motive 2..................................42 Figure 3.17 Waveform, “Zoo Station,” introduction........................................................44 Figure 3.18 Waveform, “Walk On,” introduction. ..........................................................46 Figure 3.19 Waveform, “Stories for Boys,” transition,