Form, Content, Craft and the Individual Lyric
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Form, content, craft and the individual lyric by Charles Jenkins School of Creative Arts – Conservatorium of Music Submitted in partial fulfilment of the requirements of the degree of Master of Music University of Tasmania July, 2018 i Declaration This exegesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the exegesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgment is made in the text of the exegesis. This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968 Signed Charles Jenkins Date July 27, 2018 ii Table of Contents ABSTRACT .......................................................................................................................................................... IV ACKNOWLEDGMENTS ......................................................................................................................................... V PREFACE: AN INTRODUCTION TO CHARLES JENKINS ....................................................................................... VI INTRODUCTION ............................................................................................................................................. 1 METHODOLOGY .................................................................................................................................................. 2 AUTO-ETHNOGRAPHIC APPROACH .................................................................................................................... 4 LITERATURE REVIEW ......................................................................................................................................... 5 CHAPTER 1 – FORM ................................................................................................................................... 11 1.1 LINE ........................................................................................................................................................... 11 1.2 RHYME ....................................................................................................................................................... 13 1.3 RHYTHM .................................................................................................................................................... 15 1.4 SECTIONING, VARIATION AND REPETITION ............................................................................................. 16 1.5 TITLE VERSE CHORUS – PART ONE ........................................................................................................... 19 1.6 TITLE VERSE CHORUS – PART TWO .......................................................................................................... 22 CHAPTER 2 – CONTENT ............................................................................................................................ 24 2.1 SOUND ....................................................................................................................................................... 24 2.2 IMAGE ........................................................................................................................................................ 25 2.3 SOUND, IMAGE AND SENSE ........................................................................................................................ 28 2.4 PATTERNS ................................................................................................................................................. 30 2.5 PERSONAL UNIVERSAL .............................................................................................................................. 32 2.6 CHARMS ..................................................................................................................................................... 35 CHAPTER 3 – CRAFT .................................................................................................................................. 40 3.1 CONTENT IS FORM ..................................................................................................................................... 40 3.2 PARAMETERS ............................................................................................................................................ 42 3.3 DETAIL ...................................................................................................................................................... 44 3.4 UNITY ........................................................................................................................................................ 47 3.5 THE CONCEALMENT OF CRAFT ................................................................................................................. 49 CHAPTER 4 – OWN SONGS ....................................................................................................................... 53 4.1 SONG 1: INNOCENCE LOST IS NEVER REGAINED ....................................................................................... 53 4.2 SONG 2: WHEN I WAS ON THE MOON ..................................................................................................... 56 4.3 SONG 3: KATHLEEN ................................................................................................................................... 58 4.4 SONG 4: THE LAST POLAROID .................................................................................................................. 61 4.5 ALBUM 1: THE LAST POLAROID, 2017 ................................................................................................... 63 4.6 ALBUM 2: NYLON STRING SONGS, 2018 ................................................................................................. 66 CHAPTER 5 – CONCLUSION ..................................................................................................................... 70 APPENDIX 1: FOLIO ......................................................................................................................................... 72 APPENDIX 2: SONG LYRICS ............................................................................................................................. 73 ALBUM 1: THE LAST POLAROID, 2017 .......................................................................................................... 73 ALBUM 2: NYLON STRING SONGS, APRIL 16, 2018 ...................................................................................... 84 APPENDIX 3: COMMERCIALLY RELEASED ALBUMS ........................................................................................ 94 BIBLIOGRAPHY ................................................................................................................................................ 95 iii Abstract This research, conducted through reflective compositional practice, examined and experimented with the lyrical elements of form, content and craft. The project investigated how the songwriter may utilise these elements to fulfil the potential of a song, and examined ways in which the individuality of the lyricist could be enhanced. A key output of this research was a folio of original songs including two albums, The Last Polaroid (2017) and Nylon String Songs (2018). The twenty songs in the folio demonstrate the effective deployment of a range of lyrical elements, including the use of the cognitive length of line, the influential authority of rhyme and rhythm, how sections of variation and repetition organise detail, depth and sonority, how patterns of sound and image intensify sense, and how shapes can inform consequence to allow finer textures to present more immediately. Analysis and critical reflection on poetic and lyrical models from Sappho to Shakespeare to Sondheim that guide the lyrical process are presented in the exegesis, along with a discussion of the key lyrical elements of the songs contained in the folio. The research revealed the deep-seated charm and power of the song form itself, and the potential to harness its adaptability for individual content. The research recognised the appropriate organisation of lyrical elements that then leads to their concealment and enables the engagement and seduction of which songs are capable. This research represents a significant contribution to the literature on techniques of successful songwriting and identifies strategies of relevance to aspiring songwriters. iv Acknowledgments I would like to thank the University of Tasmania for hosting this research project. I would especially like to thank my supervisors – in particular, Associate Professor Anne-Marie Forbes for providing comprehensive direction, clarification and support at all stages of the research. Thanks to Dr Glen Hodges for his sound advice at all the right times, and to adjunct supervisor Dr Greg Arnold for his help in getting the project off the ground, his confidence and belief in the validity of the work, and his on-song feedback throughout. Dr Megan Keating also provided further encouragement in the recorded and written work. I’d also like to thank my fellow teachers at UTAS, in particular, Stew Long, Michael Spiby and Mia Palencia. Many thanks to Chis Pickering at JMC Academy for asking me to design and teach the ‘Lyric and Literature’ unit that provided a further focus for this research.