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A Structural Approach to the Analysis of Rock Music City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 A Structural Approach to the Analysis of Rock Music Drew F. Nobile Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/83 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] A STRUCTURAL APPROACH TO THE ANALYSIS OF ROCK MUSIC by DREW F. NOBILE A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 © 2014 DREW F. NOBILE All rights reserved iii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Date L. Poundie Burstein Date Chair of Examining Committee Date Norman Carey Date Executive Officer Mark Spicer, advisor William Rothstein, first reader L. Poundie Burstein Christopher Doll Supervisory Committee THE CITY UNIVERSITY OF NEW YORK Abstract A STRUCTURAL APPROACH TO THE ANALYSIS OF ROCK MUSIC by DREW F. NOBILE Advisor: Professor Mark Spicer This dissertation situates itself in the middle of an ongoing debate about the applicability of Schenkerian analytical techniques to the analysis of pop and rock music. In particular, it investigates ways in which the standard conceptions of voice leading, harmonic function, and counterpoint may be updated to better apply to this new repertoire. A central claim is that voice-leading structure is intimately related to formal structure such that the two domains are mutually informing. Part I of the dissertation focuses on harmonic and melodic theory. Chapter 2, \Harmonic Syntax," advocates for a conception of harmonic function based on syntax and form rather than the identity of specific chords. In this conception, chords other than V, such as IV, II, [VII, or even some versions of I, can often be said to function syntactically as the dominant. Chapter 3, \The Melodic-Harmonic Divorce," explores contrapuntal paradigms in which the domains of melody and harmony seem to be operating independently. This chapter outlines three types of melodic-harmonic divorce: \hierarchy divorce," \rotation divorce," and \syntax divorce." Part II of the dissertation aims to devise voice-leading models for full song forms. Chapter 4 focuses on AABA form, Chapter 5 on verse{prechorus{chorus, and iv v Chapter 6 on verse{chorus forms. These chapters demonstrate that these common forms are associated with general voice-leading structures that act in dialog with the specific voice-leading structures of songs that exhibit these forms. This part of the dissertation is largely analytical, and has the secondary goal of demonstrating a Schenkerian analytical methodology applied to rock music. Acknowledgements The roots of this dissertation go back to a seminar paper written for Mark Spicer's Beatles class in my first year as a doctoral student at CUNY. At the time, I was expecting to write my dissertation on mathematical models for post-tonal music, but the subject of form and voice leading in rock music captivated me and, with Mark's encouragement, I embarked on the project that culminated in this dissertation. Foremost thanks go to Mark, whose constant encouragement from that early seminar through the last stages of dissertation work was vitally important to my ability to finish in a timely fashion without losing my mind. My first reader William Rothstein's meticulous and insightful comments helped me refine my theories, and his keen analytical ear constantly opened my eyes to new aspects of the songs analyzed in these pages. With the addition of Poundie Burstein and Christopher Doll to round out the committee, I cannot imagine a better team of scholars to oversee a dissertation on Schenkerian approaches to pop and rock music, and I am immensely grateful to all four of them for their guidance and inspiration. A supportive scholarly community is vital to anyone completing a dissertation, and the community of faculty and students at the CUNY Graduate Center is unrivaled in this regard. In particular, I would like to thank Joseph Straus for his mentorship in all aspects of my professional life, as well as my classmates Drew Wilson, Zack Bernstein, and Loretta Terrigno, vi vii who provided hours of stimulating discussion and supportive friendships as we navigated the grueling Ph.D. process together. Finally, I express my love and thanks to my parents, Matthew Nobile and Nancy Ide, for their unyielding encouragement through the extended adolescence that is graduate school, and my wife-to-be, Kara Eubanks, for graciously listening to me go on and on about penta- tonic passing tones and syntactical dominants and whose musicality and dedication to her own work is a constant source of inspiration to me. Contents Abstract iv Acknowledgements vi List of Examples x 1 Introduction 1 The Structure of the Dissertation . .5 On Pop, Pop/Rock, Pop-Rock, Pop and Rock, and Rock Music . .7 TranscriptionsandGraphs...............................9 Form:Terminology ................................... 15 Why Schenkerian Analysis? . 17 I Harmonic and Melodic Theory 19 2 Harmonic Syntax 20 Function as Chord Identity: the Riemannian Tradition . 24 Towards a Syntactical Definition of Function . 35 TheFunctionalCircuit................................. 45 Cadences and Closure . 76 Conclusion........................................ 85 3 The Melodic-Harmonic Divorce 88 Type1:HierarchyDivorce ............................... 91 Type2:RotationDivorce ............................... 102 Type3:\SyntaxDivorce" ............................... 107 Looseness and Tightness . 112 viii ix II Full Song Forms 119 4 AABA and srdc 120 Model 1: d contains PD{D; c returnstoT ...................... 125 Model 2: d contains PD; c containsD{T ....................... 133 Model 3: d begins with a neighboring chord . 144 Bridgesections ..................................... 149 Small aaba ....................................... 159 Conclusion........................................ 163 5 Expansion of srdc into Verse{Prechorus{Chorus 165 The PD{TjPD{DSchema ............................... 170 PhraseRhythm..................................... 175 Bridge Sections: \Private Eyes" . 182 Expanded Verses . 193 aaba Structures of Verse{Prechorus{Chorus Songs . 198 The Structural Importance of the Prechorus . 202 6 Verse{Chorus Forms 205 Sectional Verse{Chorus Form . 206 Features of Sectional Verse{Chorus Forms . 219 Analytical Interlude: Minimal Verses . 225 Continuous Verse{Chorus Form . 233 The Grand Neighbor Chord . 246 Conclusion........................................ 250 Bibliography 253 List of Examples 1.1 Transcription of the first verse of the Beatles' \Please Please Me" (1963). 10 1.2 Otis Redding, \(Sittin' On) The Dock of the Bay" (1968): parallel octaves underlie the outer-voice counterpoint in the verse. 14 1.3 The Jackson 5, \ABC" (1970): pentatonic passing tones in the chorus. 15 2.1 Noam Chomsky's \tree structure" diagramming a hierarchical arrangement of constituents in the sentence \sincerity may frighten the boy." (Adapted from Chomsky 1965, 65.) . 21 2.2 The Eagles, \Lyin' Eyes" (1975): a sixteen-bar parallel period in which V functions as dominant in the antecedent and IV functions as dominant in the consequent. 23 2.3 Daniel Harrison's table of scale degrees and their functional descriptions. (Reproduction of Figure 2.1 from Harrison 1994, 45.) . 29 2.4 Nicole Biamonte's functional analyses of several short modal progressions in rock songs. (Reproduced from Biamonte 2010, 97.) . 30 2.5 Radiohead, \Lucky" (1997), chorus. 33 2.6 Recomposition of the chorus from \Lucky" with no return to tonic. 34 2.7 Haydn, Keyboard Sonata in D major, Hob. XVI:37, I: this phrase contains examples of both ii6 and IV chords not functioning as pre-dominants. 38 2.8 Mozart, Piano Sonata in F major, K. 332, II: a I{V{IV{I progression prolongs the tonic. In a syntactical definition of harmonic function, the V and IV chords do not project dominant or pre-dominant function but instead are passing chords within a tonic prolongation. A function-as-chord-identity definition would analyze this progression as T{D{S{T. 43 2.9 The Beatles, \Nowhere Man" (1965): a I{II{IV\{I functional circuit with a prolongational I{V{IV{I progression at the beginning. 47 2.10 The Beatles, \All I've Got to Do" (1965): VI represents the initial tonic in this verse's functional circuit. 48 2.11 Neighboring chords. 51 2.12Passingchords................................... 52 2.13 Pink Floyd, \Wish You Were Here" (1975): II as syntactical dominant. 54 2.14 \Take Me to the River": different representatives of the syntactical dominant at the end of the bridge section in versions by Al Green and the Talking Heads. 55 x xi 2.15 The I7{I cadence in the Talking Heads' version of \Take Me to the River" exhibits directed voice leading towards 1^ in the upper voices, similar to a traditional V{I cadence. 56 2.16 The Talking Heads,\Take Me to the River"(1978), transcription of first verse{ prechorus{chorus cycle. 58 2.17 Graph of the verse{prechorus{chorus cycle of \Take Me to the River" showing a I7 chord functioning as syntactical dominant. 59 2.18 The Beatles, \I'll Cry Instead" (1964), transcription of first verse. 60 2.19 Graph of the verse of \I'll Cry Instead" showing the cadential I prolonging the syntactical dominant function. 61 2.20 Bach (arr. Schumann), Sonata No. 1 in G minor for Unaccompanied Violin, BWV 1001, IV, measures 79{82. Analysis after Cutler 2009, 197. 62 2.21 Beethoven, Piano Concerto No. 3 in C minor, Op. 37, III. Rothstein and Cutler 6 6 6−5 interpret a I {VI{II5{V progression as a composed-out V4−3.......... 63 2.22 Bobby Darin, \Dream Lover" (1959), transcription of first verse: an srdc phrase structure in which the c phrase contains an expanded dominant pro- gression......................................
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