Who Got Da Funk? an Etymophony of Funk from the 1950S to 1979

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Who Got Da Funk? an Etymophony of Funk from the 1950S to 1979 i Université de Montréal Who Got Da Funk? An Etymophony of Funk music from the 1950s to 1979. par Robert Davis Faculté de musique Thèse présentée à la faculté des études supérieures eu vue de l’obtention du grade de Philosophiae Doctor (Ph.D) en Musicologie. Décembre 31, 2005. © Robert Davis, 2005 ii Université de Montréal Faculté des études supérieures Cette thèse intitulée : Who Got da Funk? An Etymphony of Funk from the 1950s to 1979 presénté par Robert Davis a été évaluée par un jury composé des personnes suivantes: …………………………………….………….. …………………………………….………….. …………………………………….………….. …………………………………….………….. Thése acceptée le: …………………………………………… i Abstract The codification of music into categories of style or genre is an activity that fans, musicians, journalists, producers and academics engage in on a daily basis. Over the years a significant body of literature has been created theorising genre formations. While we are able to identify, understand and problematize general terms such as rock, jazz, funk, disco and metal, there has been relatively little musicological discourse to investigate the musical basis for this vocabulary. The consequence of the lack of musicological discourse is that genre formations are often created around personality, politics, fashion or socio-cultural activity rather than the sonic experience. Existing musicological discourse on genre suggests a hierarchical approach has developed which privileges writing on jazz and rock leaving ‘minor’ genres such as funk relatively ignored. The aim of this thesis is to present an etymophony of funk which traces the development of the genre through an investigation of the sonic text. To facilitate the discussion I have created a conceptual framework for understanding the process of genre formation. The framework provides a basis for understanding how the network of intertextual musical relationships, within their socio-cultural context, act as points of departure for stylistic and genre formations. These stylistic formations are traced through musematic analysis of a representative body of works created around existing literature on funk. The thesis begins by discussing the current literature and meanings that circulate around the music of funk. Once these preliminaries have been dealt with, the main body of the argument traces the development of funk from the 1950s until 1979. The ii thesis is subdivided into three distinct sections. The first section discusses the early formation of the genre from the 1950s until the end of the 1960s. The second section argues that between 1970 and 1974, intertextual ideas began to be redefined and a clear understanding of the genre emerged. The third section examines the diffusion of funk styles through the mid to late 1970s as musicians formed other traditions and began to experiment with stylistic characteristics of funk with some of these acting as a point of departure for new stylistic formations such as disco. I argue that without musicological investigation of the sonic text, descriptions of genre formation will continue to construct a mythological past around personality and socio-cultural constructs that have little relation to the complexity of the intertextual process. I will argue that an etymphonic investigation of this kind invites us to re- examine the often neglected contribution made by individual musicians and the social framework that sustains music making. Finally, I suggest that if we are to understand the meanings that circulate around terms like funk, we must investigate primary sources by foregrounding the sonic text. It is only by undertaking scholarly activity of this kind that we will be able to critique essentialist and ideological genre formations and gain a clearer understanding of our musical world. Keywords: Etymophony, semiotics, museme, funk, groove, feel, Musicology, analysis, style, genre. iii Résumé La codification de la musique dans les catégories de style ou de genre est une activité à la quelle les fans de musique, les musiciens, les journalistes, les producteurs et les universitaires se livrent sur une base quotidienne. Au cours des ans un corps significatif de littérature a été créé qui théorise les formations de genre. Bien que nous soyons capables d’identifier, comprendre et théoriser les problèmes des expressions comme «le rock», le «jazz», «le funk», «le disco» et «le métal» dans les termes généraux, il y a eu comparativement peu de discours relatif à la musicologie qui puisse enquêter sur la base musicale pour ce vocabulaire. La conséquence du manque de discours musicologique est que les formations de genre sont souvent créées autour de la personnalité, la politique, la mode ou l'activité socioculturelle plutôt que l'expérience sonique. Le discours musicologique sur le genre qui existe suggère qu'une approche hiérarchique s'est développée qui privilégie l’écriture sur le jazz et le rock en laissant relativement ignorés des genres 'mineurs' comme le funk. L’objectif de cette thèse est de présenter un etymophonie de funk qui suit la trace du développement du genre par une enquête du texte sonique. Pour faciliter la discussion j'ai créé un cadre conceptuel pour comprendre le processus de la formation du genre. Le cadre fournit une base à comprendre comment le réseau de rapports musicaux intertextuels, dans leur contexte socioculturel, agissent comme des points de départ pour les formations du style et du genre. Ces formations stylistiques sont localisées iv par l'analyse musematic d'un corps représentatif d’œuvres créées autour de la littérature existante sur le funk. La thèse commence le par discuter discutant la littérature actuelle et les sens qui circulent autour de la musique de funk. Dès que ces préliminaires ont été traités, le corps principal de l'argument suit la trace du développement de funk à partir des années 1950 jusqu'à 1979. La thèse est subdivisée en trois sections distinctes. La première section discute les débuts de la formation du genre des années 50 à la fin des années 60. La deuxième section soutient qu'entre 1970 et 1974, les idées intertextuelles ont commencé à être redéfinies et une compréhension claire du genre a émergé. La troisième section examine la diffusion des styles de funk par le milieu à la fin des années 70 comme les musiciens formaient d'autres traditions et commençaient à faire des expériences avec les caractéristiques stylistiques de funk et quelques-uns uns d'entre ceux-ci interprétaient comme un point de départ pour de nouvelles formations stylistiques comme le disco. Je soutiens que sans enquête relative sur la musicologie du texte sonique, les descriptions de formation du genre continueront à construire un passé mythologique autour de la personnalité et des constructions socioculturelles qui ont peu de relation à la complexité du processus intertextuel. En outre je vais soutenir aussi qu'une enquête etymphonic de cette sorte nous invite à réexaminer la contribution souvent négligée faite par des musiciens individuels et le cadre social qui soutient la réalisation de musique. Finalement, je propose que si nous devons comprendre les sens qui circulent v autour des termes comme le funk, il faut enquêter sur les sources primaires par mettre en relief le texte sonique. C'est seulement en entreprenant l'activité intellectuelle de cette sorte que nous serons capables de faire la critique des formations du genre essentialiste et idéologiques et nous gagnerons ainsi une compréhension plus claire de notre monde musical. Mots clés. Etymophonie, sémiotiques, museme, funk, «groove», «feel» musicologie, analyses, style, genre. vi Table of Contents Abstract ........................................................................................................................i Résumé .......................................................................................................................iii List of Tables..............................................................................................................ix List of Figures............................................................................................................ix List of music examples ............................................................................................... x Conventions of notation.........................................................................................xvii List of abbreviations................................................................................................ xx Acknowledgements.................................................................................................xxii Preface ....................................................................................................................xxiii INTRODUCTION........................................................................................................ 1 PART 1. MUSICOLOGICAL CONSIDERATIONS: THEORY AND METHOD6 1.1 The Musicological Problem ..................................................................................... 6 1.1.2 Musicology of the mass media..................................................................... 14 1.1.3 Musicological precedents............................................................................. 18 1.1.4 Choosing the analysis objects ...................................................................... 24 1.2 What Is Hip? Genre, style and the use of funk....................................................... 28 1.2.1 Understanding funk.....................................................................................
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