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Download PDF 16.89 MB Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 Phrase Structure, Hypermeter, and Closure in Popular Music Jeremy M. (Jeremy Michael) Robins Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PHRASE STRUCTURE, HYPERMETER, AND CLOSURE IN POPULAR MUSIC By JEREMY M. ROBINS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2017 Jeremy M. Robins defended this dissertation on April 4, 2017. The members of the supervisory committee were: Jane Piper Clendinning Professor Directing Dissertation Bruce Holzman University Representative Michael Buchler Committee Member Mark Richards Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I wish to thank the faculty of Florida State’s music theory program who have supported my academic work the past five years. Jane Clendinning has been a wonderful dissertation advisor who has provided both critical insight into my research and encouragement through the laborious process of writing the dissertation. My conversations with Michael Buchler are always enlightening, whether they are about set-class similarity or phrase structure in musicals. He is delightful person, and it has been a pleasure to have him as my supervisor for classes and the Music Living-Learning Community. Mark Richards’s insights into phrase structure and rock harmony have been a great asset in my research, and his considerations guide my approach to both topics. I am always envious of Nancy Rogers’s attention to detail, keen analytical mind, and methodical approach to teaching. Her clear and direct feedback on classwork, writing, and teaching have been incredibly beneficial to me. Evan Jones always makes learning engaging, and was always a good sport with my many “clever” presentations. Although I did not have the pleasure of taking a class with Rachel Lumsden due to her recent arrival and my imminent departure, she has still been a great encouragement to me, even if only talking about the best writing implements for Schenker sketches. Joe Kraus’s classes were always highly rewarding due to the rigorous content, high expectations, and detailed feedback, and I am incredibly thankful for his willingness to help me individually on a variety of research projects. My peers at Florida State have been amazing, and my growth would have been hindered if not for amazing forerunners who have set the bar incredibly high, as well as my current colleagues and friends. I appreciate my many fruitful conversations with Jose Garza about popular music, especially when I ask him ridiculous questions about phrases, cadences, and harmony. I am particularly thankful for my friend Danielle Wulf, my superior in every way, who is always willing to listen to my absurd ideas and help me clarify what I’m trying to say. I am grateful for her analytical insights, proofreading, patience, and most importantly, her friendship over the past two years. Thank you to my mother and father who have supported me my whole life in everything I have done. I am also grateful for the love and encouragement of my brother and sister over the past five years while I’ve been the unemployed sibling. I would not have completed this dissertation without the support of all of you. iii TABLE OF CONTENTS List of Tables ................................................................................................................................. vi List of Figures ............................................................................................................................... vii Abstract ..........................................................................................................................................xv 1. INTRODUCTION ......................................................................................................................1 Goals ...........................................................................................................................................1 Methodology ...............................................................................................................................2 Corpus .........................................................................................................................................5 Structure of the Dissertation .......................................................................................................5 Terminology ................................................................................................................................7 Conclusion ................................................................................................................................11 2. PHRASE STRUCTURE, HYPERMETER, AND PHRASE RHYTHM .................................12 Introduction ...............................................................................................................................12 Disentangling Meter, Hypermeter, Melodic Activity, Harmonic Motion, and Cadences. ......12 Methodology .............................................................................................................................26 Formal Levels ...........................................................................................................................28 Conclusion ................................................................................................................................40 3. APPLYING THE SAME/DIFFERENT METHODOLOGY: EXAMPLES OF PHRASES AND PHRASE GROUPINGS .......................................................................................................42 Introduction ...............................................................................................................................42 Phrase Structure Examples ........................................................................................................42 Conclusion ................................................................................................................................99 4. METHODOLOGICAL COMPLICATIONS: ROTATED PHRASES AND COMPETING PARAMETERS ...........................................................................................................................100 Introduction ...........................................................................................................................100 Phrase Boundary Ambiguity .................................................................................................100 Rotated Phrases and Subphrases ...........................................................................................105 Contradictory Considerations ...............................................................................................116 Conclusion ............................................................................................................................122 5. CLASSIFYING CLOSURE IN POPULAR MUSIC ..............................................................124 Introduction ...........................................................................................................................124 Previous Approaches to Cadential Identification .................................................................125 Theoretical Considerations ...................................................................................................132 Cadential Classification ........................................................................................................138 iv Submediant Double-Tonic Complex ....................................................................................150 Conclusion ............................................................................................................................167 6. CONCLUSION ........................................................................................................................168 Revisiting “A Day in the Life” .............................................................................................168 Future Research ....................................................................................................................173 Conclusion ............................................................................................................................177 References ....................................................................................................................................178 Discography .................................................................................................................................185 Biographical Sketch .....................................................................................................................187 v LIST OF TABLES Table 2.1: Common division of large formal units. ......................................................................32 Table 5.1: List of perfect full cadences in this dissertation. .......................................................140 Table 5.2: List of imperfect full cadences in this dissertation. ...................................................142 Table 5.3: List of dominant half cadences in this dissertation. ...................................................143
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