RADIOHEAD AND IDENTITY: A MOON SHAPED POOL AND THE PROCESS OF IDENTITY CONSTRUCTION _______________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board _______________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY _______________________________________________________________________ by Sean M. Davis May 2019 _______________________________________________________________________ Examining Committee members: Michael Klein, Advisory Chair, Music Studies Noriko Manabe, Music Studies Edward Latham, Music Studies Pablo Vila, External Member, Sociology ii © Copyright 2019 by Sean M. Davis All Rights Reserved iii ABSTRACT This dissertation synthesizes critical theories of identity with music theoretical analysis to explore how listeners use popular music as a means of identity construction. Focusing on Radiohead’s 2016 album A Moon Shaped Pool, the dissertation investigates the various sociological and musical frameworks that illuminate how the songs interact with listener expectations in the process of interpretation. Work on popular music and personal expression is already present in sociology, anthropology, musicology, and other disciplines, though that work rarely engages the close readings of musical processes that I employ in the dissertation. Richard Middleton (Studying Popular Music) and Tia DeNora (Music in Everyday Life), for example, apply a wide variety of methodologies toward identifying the complexities of identity and popular music. For the dissertation, though, I focus primarily on how Judith Butler’s conception of interpellation in Giving an Account of Oneself can be used as a model for how musical conventions and listener expectations impact the types of identity positions available to listeners. For Butler, interpellation refers to how frameworks of social norms force subjects to adhere to specific identity positions. This dissertation will explore both the social and musical conventions that allow for nuanced and critical interpretations of popular songs. Although many theorists have probed Radiohead’s music, this dissertation synthesizes robust analytical approaches with hermeneutics in order to explore how Radiohead’s music signifies, both in the context of their acoustic components and with regard to how this music impacts the construction of listener identities. Radiohead’s music is apt for these analyses because it often straddles the line between convention and surprise, opening several avenues for critical and musical scrutiny. I also argue that iv listeners interact with this music as if the songs are agents themselves––they have powerful emotional and physical effects on us. v ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the support, guidance, and patience of innumerable colleagues, teachers, friends, and family. I am sorry to say that I cannot hope to thank them all in what limited space I have available. First, I want to thank my advisor, Michael Klein, whose attentive and patient guidance kept me focused on what often felt like an insurmountable task. Without his advice and support, this project would never have come to fruition. In addition, his insightful edits elevated the quality of this dissertation beyond what I could hope to accomplish alone. I also want to thank the rest of my committee––Noriko Manabe and Edward Latham––for taking the time to read my dissertation and work with me to make this project the best that it could be. Both of them provided valuable guidance as teachers when I was a student in their classes, helpful suggestions when I sought advice for written projects, and meaningful advice as mentors and colleagues. I also want to extend my thanks to Pablo Vila, my outside reader, whose sociological work on narrative and music informed much of the critical components of this dissertation. All of these individuals’ hard work and perseverance throughout this process was both enlightening and inspiring. I would like to thank Cynthia Folio, the chair of the Music Studies department and my former composition teacher and Master’s Thesis advisor. Her encouragement to explore the study of popular music opened a world of possibilities to a young theorist vi looking to begin his academic career. In addition, her passion as a teacher helped foster a love for education that motivates me in the classroom every day. My fellow graduate students formed a community of support that not only helped encourage me to finish this dissertation, but also challenged me to work my hardest by being incredible scholars and educators themselves. In particular, I want to thank Tim Gonzales, with whom I enjoyed many wonderful discussions about Radiohead, song, and a myriad of other topics, and Risa Okina, whose positivity and enthusiasm for the music of Brahms always seemed to brighten my days. The love and support of my parents throughout my schooling was perhaps the most wonderful gift I could have hoped to receive. My father’s knowledge of, and enthusiasm for, classical music and art was the catalyst that set me on the path toward the study of music in college. My mother’s beautiful singing voice and unwavering support always provided the inspiration I needed to keep working (not to mention I can never repay her for introducing me to the Beatles––one of my favorite bands). My siblings, Brian and Erin, are both incredibly talented musicians and it was always my pleasure to perform with both of them on many occasions. Finally, I do not think I can ever thank my wife, Jennifer, enough for all of her sacrifices during my graduate work. When I felt as though the project was too overwhelming, she was there to show me that I could succeed. She never complained about my long hours, instead she offered me coffee and reminded me that it was okay to take a break every once in a while. My greatest hope is that I can someday repay her for all of her patience, love, and support during this extensive and arduous process. vii TABLE OF CONTENTS Page ABSTRACT……………………………………………………………………………...iii ACKNOWLEDGEMENTS…………………………………………………………….…v LIST OF EXAMPLES……………………………………………………………………ix CHAPTER 1. ARTICULATING MUSICAL IDENTITIES………………………………...…………1 1.1 Radiohead––A Brief Introduction…. ………………………………..………..1 1.2 Critical Music Theory––Articulating Identity...……………………………….4 1.3 Convention and Radiohead…………………………..……………………….10 1.4 Analysis and Identity……….…..…………………………………………….18 1.5 Conclusion…………….………………………..…………………………….33 2. CONSTRUCTING MASCULINE FRAGILITY: FORM AND PHRASING…..…….35 2.1 Masculine Subjectivity..………..…………………………………………….36 2.2 Music and Masculinity..……………..……………………………………….41 2.3 “Present Tense”….……………………..…………………………………….45 2.4 “Ful Stop”…..………………..……………………………………………….52 2.5 “Glass Eyes”..…………..…………………………………………………….59 2.6 Conclusion...………………………………………………………………….66 3. TEMPORALITY, RHYTHM, AND METER…………………...…………………….68 3.1 Narrative and Temporality….………..……………………………………….69 3.2 Projective Potential of Rhythm as Temporal Analysis.……………………….72 viii 3.3 “Daydreaming”………….………………..………………………………….77 3.4 “True Love Waits”….………………………..……………………………….85 3.5 Conclusion….……………………………………………………..………….93 4. HARMONY AND GOAL-DIRECTED NARRATIVE……………………..………...95 4.1 Introduction…...……………………………………………………………...95 4.2 Harmony, Schenker, and Narrative Goals....………………………………….96 4.3 Apathy, Anxiety, and the Static Ursatz––“Identikit”.……………………….101 4.4 Cautious Optimism and the Call to Action––“The Numbers”……………….110 4.5 Voice-Leading Closure and Catharsis: “Desert Island Disk”...……………...117 4.6 Conclusion.………………………………………………………………….124 5. THE ‘REAL’ PICTURE: SYNTHESIS OF APPROACHES………………………..125 5.1 Introduction...……………………………………………………………….125 5.2 The Real Deal……………………………………………………………….126 5.3 “Tinker Tailor” and the Real Analysis...…………………………………….130 5.4 Conclusion.………………………………………………………………….147 5.5 Final Thoughts...…………………………………………………………….148 BIBLIOGRAPHY………………………………………………………………………152 ix LIST OF EXAMPLES Example Page 1.1 Brad Osborn’s Harmonic Classifications of Radiohead….…………..………………16 1.2 “Burn the Witch” –– String Reduction………………………………………………22 1.3 “Burn the Witch” –– Chorus Reduction Middleground……………………………..22 1.4 “A Wolf at the Door” –– Verse Reduction……………………..…………………….27 1.5 “Decks Dark” Form and Key scheme……………………………………...………...28 1.6 “Decks Dark” –– A Section Reduction………………………………………………30 1.7 “Decks Dark” –– A Section Piano Texture…………………………….…………….31 1.8 “Decks Dark” –– B Section Reduction………………………….…………………..32 1.9 “Decks Dark” –– C Section Reduction…………….……………………………..…..33 2.1 “Present Tense” –– Form…………….……………………………………………….46 2.2 “Present Tense” –– Addiditive Phrasing……………………………………………..48 2.3 “Present Tense” –– Verse 1………………...…………………………………………49 Figure 2.1 “Ful Stop” –– Form Chart……………………………………………………..54 2.4 “Ful Stop” –– Potential Metrical Groupings……………………………………….…57 Figure 2.2 “Glass Eyes” Form Chart……………………………………………………..62 2.5 “Glass Eyes” –– Verse 1 Opening Vocal Line ……………………………...………..62 2.6 “Glass Eyes” –– Harmonic Reduction…..……………………………………………65 2.7 “Glass Eyes” ––Verse 2 Vocal Line…………………………………………………..66 3.1 Example of Euclidean Rhythm…………………………………………………….…74 3.2 Hasty’s Symbols: Rhythmic Projection………………………………………………77 3.3 “Daydreaming” –– Polymeter: Introduction and Metrical Underpinning…………….79 x 3.4 “Daydreaming” –– Projective Potential of Basic Rhythmic Unit…………………….81 3.5 “Daydreaming” –– Permutation of Piano Theme…………………….……………….81