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Translating Music Intelligibly: Musical Paraphrase in the Long 20Th Century

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Translating Music Intelligibly: Musical Paraphrase in the Long 20Th Century Translating Music Intelligibly: Musical Paraphrase in the Long 20th Century A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Jeremy White Orosz IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advised by Matthew P. Bribitzer-Stull December 2013 Copyright © 2013 Jeremy White Orosz All rights reserved Table of Contents List of Tables ii List of Examples iii Chapter 0: What is Paraphrase? 1 Chapter 1: On the Musically Translatable 19 Chapter 2: On the Musically Forge(t)able: 56 Television Cartoons and the Paraphrase of Popular Music Chapter 3: On the Musically Caricaturable 97 Chapter 4: John Williams: Paraphraser or Plagiarist? 141 Chapter 5: Berg the Wagnerian: Tristan and Lulu 185 Bibliography 215 i List of Tables Table 1.1: MOD-9 Pentachords (in Prime Form) 44 Table 2.1: The “Mapple” logo vs. the Apple Computers logo 56 Table 3.1: Techniques of Caricature (1) 112 Table 3.2: Techniques of Caricature (2) 121 Table 3.3: Techniques of Caricature (3) 124 Table 3.4: Caricature and its counterparts 135 ii List of Examples EXAMPLE 1-1: The Simpsons Theme 32 EXAMPLE 1-2: Tristan und Isolde, mm. 1-4 33 EXAMPLE 1-3: “Golliwogg’s Cakewalk,” Children’s Corner (excerpt) 33 EXAMPLE 1-4: Last Tango at Bayreuth (excerpt) 33 EXAMPLE 1-5: Comparison of the diatonic collection to Messiaen’s modes 38 EXAMPLE 1-6: Hypothetical Mode 3 Scalar Subset 39 EXAMPLE 1-7: Lee’s “Theme” (top line, transposed to C major) compared 40 to the first sixteen measures of the “Messiaen” variation EXAMPLE 1-8: The resultant WT+1 Scale (with “chromatic” B-natural) 40 when the diatonic collection is mapped onto Mode 3 EXAMPLE 1-9: Pitch classes correspondences between the diatonic theme 41 melody and the Mode 6 portion of “Messiaen.” EXAMPLE 1-10: Mode 3 portion of “Messiaen” Variation (mm. 1-16) 42 EXAMPLE 1-11: Axes of Symmetry in mm.17-20 of “Messiaen” 47 EXAMPLE 1-12: Minitudes, 5” (excerpt) 50 EXAMPLE 1-13: Minitudes, “√B“BachX2=Debussy” (complete) 50 EXAMPLE 1-14: Mapping of diatonic step classes onto whole-tone 51 EXAMPLE 1-15: Hypothetical interval doubling performed on the Theme 51 EXAMPLE 1-16: Comparison of “Ach, du lieber” and Slonimsky’s Parody 54 EXAMPLE 1-17: Comparison of “Happy Birthday” and Slonimsky’s Parody 54 EXAMPLE 2-1: “Be Our Guest” and “See My Vest” 65 EXAMPLE 2-2: “Under the Sea” and Clausen’s Parody 66 EXAMPLE 2-3: “Rock Me Amadeus” and “Dr. Zaius” 67 EXAMPLE 2-4: Morricone’s Theme and Clausen’s Signifier 69 EXAMPLE 2-5: “I Think I’m Gonna Like it Here” and “This House is Freakin’ 71 Sweet” EXAMPLE 2-6: “Force” Theme, “Imperial March,” and signifiers for them 72 EXAMPLE 2-7: “U Can’t Touch This” and “Can’t Touch Me” 73 EXAMPLE 2-8: “It’s A Small World After All” and “It’s A Tiny Tiny World” 75 EXAMPLE 2-9: “When You Wish Upon a Star” and “I Need A Jew” 78 iii EXAMPLE 2-10: Carol Burnett’s Television Theme and Signifier Used on 80 Family Guy EXAMPLE 2-11: “Heigh Ho” and “Ho Hi” 82 EXAMPLE 2-12: “Rape Me,” “Shave Me,” “Brain Freeze” 85 EXAMPLE 2-13: “Glycerine” and “Margerine” 86 EXAMPLE 2-14: Jeopardy Theme and signifier for it 95 EXAMPLE 2-15: “How Harry Potter Should Have Ended” 96 EXAMPLE 3-1: Chagrin’s Expansion of The Marriage of Figaro (first phrase) 116 EXAMPLE 3-2: “Dance of the Sugar Plum Fairy” and Chagrin’s Caricature 118 EXAMPLE 3-3: Caricature of “In the Hall of Mountain King” 120 EXAMPLE 3-4: “Blue Danube” Caricature 123 EXAMPLE 4-1: Jaws and its potential source 153 EXAMPLE 4-2: Star Wars “Rebel Motive” and its potential source 154 EXAMPLE 4-3: Octatonic Brass in The Rite of Spring 155 EXAMPLE 4-4: Peter Pan’s Theme and its potential source 156 EXAMPLE 4-5: Copland, Fanfare for a Common Man, mm. 13-18 157 EXAMPLE 4-6: Always, Versions of the Main Theme 157 EXAMPLE 4-7: Saving Private Ryan, “Hymn to the Fallen” (Credits) 158 EXAMPLE 4-8: Suite from Lincoln 158 EXAMPLE 4-9: Superman “Love Theme” and its apparent source 160 EXAMPLE 4-10: “Dumky” Trio Motives compared with E.T. Main Theme 161 EXAMPLE 4-11: “Dumky” Trio, VI, mm. 164-175 161 EXAMPLE 4-12: E.T. Main Theme 161 EXAMPLE 4-13: E.T. excerpt and its potential source (1) 163 EXAMPLE 4-14: E.T. excerpt and its potential source (2) 164 EXAMPLE 4-15: King’s Row vs. Star Wars (from Scheurer) 167 EXAMPLE 4-16: Mars/Jawa 171 EXAMPLE 4-17: “Duel of the Fates” and its potential source 176 EXAMPLE 4-18: “Battle of the Heroes” and its potential source 177 EXAMPLE 4-19: The Right Stuff score and Holst’s “Jupiter” 181 EXAMPLE 4-20: The Right Stuff score and Tchaikovsky’s Violin Concerto 184 iv EXAMPLE 5-1: Berg’s Musical Initials 188 EXAMPLE 5-2a: Opening Motives from Tristan und Isolde 190 EXAMPLE 5-2b: Berg, Op. 2, No. 1, mm. 1-3 190 EXAMPLE 5-3: Berg, Op. 2, No. 3 191 EXAMPLE 5-4: From Berg’s Letter to Fuchs (1925) 193 EXAMPLE 5-5: Tristan Chord in Alwa and Lulu’s duet 195 EXAMPLE 5-6a: Motives from Tristan 197 (presented again for ease of comparison) EXAMPLE 5-6b: Berg’s adaptation of these motives in Lulu, mm. 160-66 198 EXAMPLE 5-7: Palindrome with Berg and Fuchs’ initials, Der Wein 200 EXAMPLE 5-8: Tristan, m. 17 (a), compared to Lulu, m. 44 (b) 202 EXAMPLE 5-9: Respective versions of Wagner’s “Glance” Motive 203 EXAMPLE 5-10: Four Tristan Chords, Lulu, mm. 56-9 203 EXAMPLE 5-11: Comparable figures in Tristan and Lulu 203 EXAMPLE 5-12: Tristan Material and Initials in Lulu, m. 60 204 EXAMPLE 5-13: Tristan Motives in Schön’s Coda Music 205 EXAMPLE 5-14: Berg’s use of Tristan motives at the close of Lulu, Act I 207 EXAMPLE 5-15: Rhythmic Figures in Tristan and Lulu 208 EXAMPLE 5-16: Lulu, Monoritmica 208 EXAMPLE 5-17: The synthesis of Lulu and Schön’s Themes 208 EXAMPLE 5-18: The final Tristan Chord in Lulu 211 v CHAPTER 0: What is Paraphrase? 0.0: Definitions The Oxford English Dictionary provides three definitions of the verb “to paraphrase:” 1. "To express the meaning of (a written or spoken passage, or the words of an author or speaker) using different words, esp. to achieve greater clarity; to render or translate freely." 2. "To make a paraphrase; to comment or enlarge upon a passage so as to bring out the sense." 3. "To adapt, appropriate, or alter the wording of (a saying or quotation) or the words of (an author or speaker) to suit one's own purpose."1 These definitions all refer to paraphrase in language, of course. None maps onto music perfectly, though the third seems to be the closest: “to adapt, appropriate or alter” a passage of music, perhaps “to suit [a composer’s] own purpose.” This definition is quite broad, suggesting that musical paraphrase should encompass a wide range of practices. Curiously, however, the New Grove online provides only two definitions, the first of which is "[a] compositional technique, popular particularly in the 15th and 16th centuries, whereby a pre-existing melody (usually chant) is used in a polyphonic work."2 The other is "a virtuoso work based on well-known tunes, usually taken from popular operas" citing examples from Liszt alone.3 The Oxford Companion to Music offers two similar definitions,4 as does the Oxford Dictionary, though the latter also mentions Scottish Paraphrase, which is 1 OED.com (Accessed July 2012) 2 Grove Music Online (Accessed July 2012) 3 Ibid 4 Oxford Companion to Music (Accessed July 2012) 1 defined as the use of "metrical versions of scriptural passages sung to psalm tunes in the Church of Scotland."5 What the authors of these entries include in their definitions is uncontroversial, but what they omit is bound to raise an eyebrow or two, especially to scholars of music since 1900. If paraphrase is merely the “adaptation, appropriation, and alteration” of music, then a list of only three practices is lamentably short. There are certainly other examples from the period between Josquin and Liszt that bear inclusion, and it is even more problematic that no 20th- century practice is listed in the definitions proper;6 it should go without saying that the long 20th-century has witnessed burgeoning evidence of musical quotation, paraphrase, and other forms of borrowing.7 To avoid the provinciality of an Anglophone bias, it seems appropriate to search for definitions of musical paraphrase in some other languages. In German, Duden provides a perhaps more accurate definition in regards to music than those found in English-language sources: 1) “to re-write or embellish a melody, to make a paraphrase of a known (Opera) melody or a song,” or 2) “to compose out [or develop]” (auskomponieren).8 The author of the first definition clearly had Liszt’s “opera paraphrases” in mind, which are widely written about in German-language 5 Oxford Dictionary of Music (Accessed July 2012) 6 One of the OED’s listed uses of the term “paraphrase” in print is Burkholder’s 1987 article "‘Quotation’ and Paraphrase in Ives' Second Symphony" in 19th-Century Music, however. It is unsurprising that one of Burkholder’s uses of the term has made it into the OED, as he has (as far as I am aware) used it more than anyone else in reference to music of the 20th century.
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