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An Exploration of Melody, Harmony, and Improvisation in The AN EXPLORATION OF MELODY, HARMONY, AND IMPROVISATION IN THE MUSIC OF STEVIE WONDER by JEFFREY L. LOVELL A DISSERTATION Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2012 DISSERTATION APPROVAL PAGE Student: Jeffrey L. Lovell Title: An Exploration of Melody, Harmony, and Improvisation in the Music of Stevie Wonder This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Music and Dance by: Stephen Rodgers Chair Jack Boss Member Loren Kajikawa Member Ben Saunders Outside Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2012 ii © 2012 Jeffrey L. Lovell iii DISSERTATION ABSTRACT Jeffrey L. Lovell Doctor of Philosophy School of Music and Dance December 2012 Title: An Exploration of Melody, Harmony, and Improvisation in the Music of Stevie Wonder In this dissertation, I examine Stevie Wonder’s compositional style from his celebrated “classic period,” (1972-1976) focusing specifically on the concentrated two- year time span from 1972-1974 marked by his unparalleled creative output that launched him into superstardom. My study operates on the premise that most melodic relationships are governed by a fundamentally pentatonic process and that harmonic relationships are largely governed by jazz-influenced tonal processes. I have transcribed dozens of examples from the time period under review in order to survey the expressive interaction between these two related but distinct systems and the resulting effect their usage has on melody and harmony. Using Schenkerian reductive analysis as my primary tool, I uncover recurring patterns that shape and shed light on his style. The final chapter of this study focuses on the ways in which Wonder’s improvised melodic lines relate to the voice-leading framework of the basic melodic ideas in his performance of “I Love Every Little Thing About You” and also the ways in which his improvisation impacts forward motion in the course of this song. iv CURRICULUM VITAE NAME OF AUTHOR: Jeffrey L. Lovell GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon; Eugene, OR Rutgers University; Newark, NJ Brigham Young University; Provo, UT Ricks College; Rexburg, ID DEGREES AWARDED: Doctor of Philosophy in Music Theory, 2012, University of Oregon Master of Arts in Jazz History and Research, 2003, Rutgers University Bachelor of Music in Music Composition, 2001, Brigham Young University Associate in General Studies, 1997, Ricks College AREAS OF SPECIAL INTEREST: Music Theory, Analysis, and Theory Pedagogy Jazz Research, Composition, and Performance Superhero Complex/Identity Crisis Studies PROFESSIONAL EXPERIENCE: Assistant Professor of Music, Lebanon Valley College, 2011 – present Graduate Teaching Fellow, University of Oregon, 2006 – 2011 Adjunct Instructor, Sierra College, 2005 – 2006 Private Piano/Saxophone Instructor, 2004 – 2006 Freelance musician, 1999 – present SELECTED GRANTS, AWARDS, AND HONORS: Graduate Teaching Fellow of the Year, School of Music and Dance, University of Oregon, 2009 – 2010 Walter C. Russell Fellowship, Rutgers University, 2002 – 2003 Berger-Carter Jazz Research Fund Recipient, 2003 Milton & Gloria Barlow Composition Scholarship, BYU, 2001 v PUBLICATIONS: Lovell, Jeffrey. Entries: “Joe Henderson,” and “Freddie Hubbard.” The Grove Dictionary of American Music, second edition (forthcoming). ________. “Out of the Ordinary: Andrew Hill’s Verona Rag.” Journal of Jazz Studies, Vol. 7, no. 1 (2011), 47-72. ________. Transcription of “Verona Rag,” Andrew Hill: 21 Piano Compositions. Hendon Music, Inc. (2010). ________. Review: Barry Kernfield: “The Story of Fakebooks, Bootlegging Songs to Musicians.” in American Music, Vol. 25, no. 3 (Fall 2007), 370- 373. vi ACKNOWLEDGMENTS This dissertation is the culmination of the efforts of several important individuals in my life. First, I express my profound appreciation to my wife, Jennifer, and my kids, for standing by me through this long and often trying journey to complete my formal education studies. It is their sacrifice and unflagging support for which I am most grateful. My parents too were extremely supportive and encouraging from the beginning. I love you guys. I greatly appreciate the counsel and friendship of Jack Boss and Steve Rodgers, who were instrumental in not only advising me on this dissertation, but in helping me develop facility as a music theorist. Steve, I thank you for admirably stepping in and filling the void left with the tragic loss of Steve Larson, my advisor-mentor whose influence pervades the pages of this study (and who is sorely missed). To you Steve Rodgers I say with a heart full of gratitude, bravo. I always felt that this project was in good hands under your careful guidance. A special thanks goes to the other committee members, Loren Kajikawa and Ben Saunders, for their outside perspectives and keen insights into the larger cultural considerations and implications of this study. My heartfelt thanks goes out to all of my wonderful friends, both colleagues and students, who enriched my personal and professional life while at the University of Oregon. David Heyer and Dennis Linsley, thank you for commiserating over dissertation woes at Taylor’s Pub, and the invaluable advice you gave, especially helping me remember the sage advice of Steve Larson. Thank you Caitlin Snyder, Justin Morrell, Andrew Pokorny, Jodi Jolley, and Heather Holmquest for simply being the wonderful friends that you are. The words of encouragement, the well-meaning flip-sided vii perspectives and arguments, and all other irrelevant conversations and interactions, together made my time at the U of O exceptional. Ali Heyer, your Presto Music Fonts added that extra little bit of class to virtually all my musical examples—it is with deep appreciation that I thank you for allowing me to use them. viii Dedicated to the memory of Steve Larson, who inspired me with his love of music and its analysis, his enthusiasm for life, and his natural knack for making purposeful puns. ix TABLE OF CONTENTS Chapter Page I. INTRODUCTION ................................................................................................. 1 Scope of Study ............................................................................................... 4 Chapter Overview........................................................................................... 5 Methodology .................................................................................................. 9 Strict Use of Analytic Notation.................................................................. 10 The Pentatonic Scale and Reductive Analysis ............................................ 12 Current State of Research/Literature Review .................................................. 14 Other Forms of Inquiry Relating to African-American Music Studies ........ 19 Nomenclature ................................................................................................. 24 A Word on Transcriptions............................................................................... 26 II. THE PENTATONIC IDEAL: EXPLORING PENTATONICISM IN THE MELODIES OF STEVIE WONDER ................................................................... 28 Part 1: Properties of the Pentatonic Scale........................................................ 30 Pentatonic Structure.................................................................................. 31 Pentatonic Modes...................................................................................... 34 On Relative Relationships in Pentatonicism .............................................. 35 The Parallel Minor (Mode 5 Transposed) as the Important “Other”........... 37 Part 2: Melodic Construction and “Pentatonic-Defining Gestures”.................. 39 Pentatonic Pathways ................................................................................. 39 The Most Common Pentatonic-Defining Gestures: Major Mode ............... 42 The Most Common Pentatonic-Defining Gestures: Minor Mode............... 44 PDG Variants............................................................................................ 46 Part 3: Larger Pentatonic Processes................................................................. 52 Type 1 Melodies: Surface-Level Pentatonicism......................................... 52 Major Pentatonic Melodies.................................................................. 52 Minor Pentatonic Melodies ................................................................. 55 x Chapter Page Fluid Interaction Between Major and Minor........................................ 58 Type 2 Melodies: Embedded Pentatonicism.............................................. 63 Case Study: Pentatonicism and Narrative in “Superwoman (Where Were You When I Needed You)”......................................... 66 Conclusion: Deviations from the Pentatonic Ideal........................................... 84 III. EXPLORING THE VERTICAL: STEVIE WONDER’S HARMONY................. 85 Introduction: Understanding the Melodic Through the Harmonic.................... 85 Part 1: Pentatonicism and Harmony................................................................ 86 Pentatonic Bass
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