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Three Solitudes and a DJ: a Mashed-Up Study of Counterpoint in a Digital Realm

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Three Solitudes and a DJ: a Mashed-Up Study of Counterpoint in a Digital Realm Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-26-2013 12:00 AM Three Solitudes and a DJ: A Mashed-up Study of Counterpoint in a Digital Realm Anthony B. Cushing The University of Western Ontario Supervisor Dr. Norma Coates The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Anthony B. Cushing 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons Recommended Citation Cushing, Anthony B., "Three Solitudes and a DJ: A Mashed-up Study of Counterpoint in a Digital Realm" (2013). Electronic Thesis and Dissertation Repository. 1229. https://ir.lib.uwo.ca/etd/1229 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. THREE SOLITUDES AND A DJ: A MASHED-UP STUDY OF COUNTERPOINT IN A DIGITAL REALM (Thesis format: Monograph) by Anthony B. Cushing Graduate Program in Music A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Anthony Cushing 2013 ii Abstract This dissertation is primarily concerned with developing an understanding of how the use of pre-recorded digital audio shapes and augments conventional notions of counterpoint. It outlines a theoretical framework for analyzing the contrapuntal elements in electronically and digitally composed musics, specifically music mashups, and Glenn Gould’s Solitude Trilogy ‘contrapuntal radio’ works. Conventional studies of counterpoint encompass sixteenth- through early twentieth-century modernist and neo- classical materials but stop there. Composition by magnetic tape and computer software using pre-existing recorded audio offers the potential for a new study of music that displays clear contrapuntal elements but lacks the analytical models to outline the underlying musical systems. Central to these investigations is the assertion that counterpoint operates not only within the sphere of art music but also in the compositional logic of non-musical sound works (radio documentary) and in the harmonic and melodic underpinnings of popular music. The first chapter examines technological and cultural developments that contribute to the formation of digital contrapuntal music. The second and third chapters outline the traditional musical elements—harmony, form, and texture—of contrapuntal radio and mashups, respectively. Chapter Four explores how counterpoint exists in the sonic space of the stereo or mono sound field. Chapter Five presents the notion of program as a useful concept for analyzing interaction between lyric samples to form original narratives. These two final chapters present the original contributions from contrapuntal radio and mashups to a study of counterpoint. In each of these chapters, counterpoint forms the basis for how we perceive the underlying systems of musical works composed by traditional counterpoint or by assembling pre-existing recorded audio. The connection between the old and new is important, as one does not supplant but augment the other. As such, counterpoint is a fluid musical concept, rather than a fixed system of rules governing composition in a narrow musical palette. Keywords Counterpoint, Glenn Gould, mashups, music and technology, composition, recording practice, Solitude Trilogy, contrapuntal radio, music and space iii Acknowledgments My thanks go first and foremost to my supervisor, Norma Coates, without whose help this project would never have been completed so quickly and painlessly. Her feedback and valuable insight introduced me to a wide world of ideas and theories throughout my entire degree program. I wish to thank Jay Hodgson for his assistance in shaping this project in its early stages. He helped me make many of the theoretical connections that provided the impetus for this study. A word of thanks also goes to Omar Daniel whose input in later stages helped clarify some key points of this project. A special thanks to Lorne Tulk who gave so generously of his time and knowledge of his work with Glenn Gould. Without his assistance, a significant portion of this project would not have been possible. Thanks also to Jean Sarrazin for providing insight into Gould’s workflow in later projects. I also benefitted greatly from sharing my ideas with friends and colleagues, and wish to thank them for their valuable comments and probing questions. I owe a great debt to Tara Ferguson, Alayna Jay, Sean Twomey, and Tomasz Mrozewski for reading early versions of this work, listening patiently, and being excellent sounding boards for my ideas, and to Chih-Ying Lay for his assistance with musical transcriptions. Thanks also to Richard Semmens, Paul Théberge, and Peter Franck for their thoughtful feedback in personal meetings, conferences, and colloquia. Finally, I wish to express my deepest gratitude to my family for their support through the last five years. This project could not have happened without them. To my parents, Burke and Bernadette, for believing in my work sometimes more than I did and their understanding of why I did not always get home for the holidays. To my grandmother, Katie, the only nonagenarian I know who understands the meaning of “Rip. Mix. Burn,” and to my grandfather, Carroll, for always asking, “Yeah, but what does that mean?” iv Table of Contents Abstract ........................................................................................................................................... ii Acknowledgments .......................................................................................................................... iii List of Tables ................................................................................................................................. vi List of Figures ............................................................................................................................... vii List of Appendices ......................................................................................................................... ix Introduction to a study of digital counterpoint ............................................................................... 1 Overview ..................................................................................................................................... 1 Nomenclature .............................................................................................................................. 2 Literature ..................................................................................................................................... 5 Methods and Approaches .......................................................................................................... 22 Chapter organization ................................................................................................................. 25 Chapter One ................................................................................................................................ 28 A Historical Survey of Digital Counterpoint ............................................................................ 28 Quodlibet ................................................................................................................................... 30 The phonograph and turntablism .............................................................................................. 34 Tape recording .......................................................................................................................... 41 Radio ......................................................................................................................................... 45 Sampling (tape and digital) ....................................................................................................... 51 Digital sampling ........................................................................................................................ 54 Chapter Summary ..................................................................................................................... 63 Chapter Two ................................................................................................................................ 65 Contrapuntal Radio as Contrapuntal Music ............................................................................ 65 Harmony ................................................................................................................................... 67 Semantic harmony .................................................................................................................... 69 Form .......................................................................................................................................... 80 Texture ...................................................................................................................................... 86 Chapter Summary ..................................................................................................................... 98 Chapter Three ............................................................................................................................
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