From Prog to Pop: Progressive Rock Elements in the Pop-Rock Music of Genesis, 1978-91 Item Type Electronic Dissertation; text Authors Koss, Michael Paul Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 22:27:18 Link to Item http://hdl.handle.net/10150/145489 FROM PROG TO POP: PROGRESSIVE ROCK ELEMENTS IN THE POP-ROCK MUSIC OF GENESIS, 1978-91 by Michael Paul Koss _____________________________________ Copyright © Michael P. Koss 2011 A Dissertation Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Michael Koss entitled From Prog to Pop: Progressive Rock Elements in the Pop-Rock Music of Genesis, 1978-91 and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. ________________________________________________ Date: April 11, 2011 Donald G. Traut ________________________________________________ Date: April 11, 2011 Pamela Decker ________________________________________________ Date: April 11, 2011 Kelland Thomas Final approval and acceptance of this dissertation is contingent upon the candidate‘s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________ Date: April 11, 2011 Dissertation Director: Donald G. Traut 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Michael Paul Koss 4 ACKNOWLEDGEMENTS Thank you to Mom, Dad, and John for your support. Thank you to the clergy, staff, and parishioners of St. Odilia Catholic Community for your prayers, support, and employment. Thank you to my advisor, Don Traut, and committee, Pamela Decker and Kelland Thomas. Thank you to Pamela Decker for many late night proofreading sessions, last minute meetings, and dedication through the entire degree process. Thank you to Lyneen Elmore, graduate advisor, whose knowledge, support, and kindness makes the degree process bearable. 5 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES .................................................................................. 8 LIST OF FIGURES ....................................................................................................... 11 ABSTRACT .................................................................................................................. 13 I. THE PROJECT AND THE HISTORY OF GENESIS ................................................ 14 1. Introduction and Outline of the Project................................................................... 15 2. The Formation of Genesis and Its Progressive Style ............................................... 17 3. The Transformation of Genesis from Prog Band to Pop ......................................... 31 II. LITERATURE REVIEW AND ANALYSIS............................................................. 40 1. Review of Literature on Genesis ............................................................................ 40 2. Defining Progressive Rock Elements ..................................................................... 46 Instrumentation ...................................................................................................... 48 Duration ................................................................................................................ 51 Form ...................................................................................................................... 53 Harmony ................................................................................................................ 55 Rhythm and Meter .................................................................................................. 59 3. The Genesis Pop-Rock Style .................................................................................. 62 III. DEFINITION OF FORMAL TERMS ...................................................................... 66 1. Song Sections ........................................................................................................ 66 Verse ..................................................................................................................... 67 Chorus ................................................................................................................... 70 6 TABLE OF CONTENTS – Continued Refrain ................................................................................................................... 74 Prechorus .............................................................................................................. 76 Bridge and Interverse ............................................................................................ 79 Introduction ........................................................................................................... 86 Coda ...................................................................................................................... 87 Interlude ................................................................................................................ 87 Transition .............................................................................................................. 87 2. Forms and Techniques ........................................................................................... 88 AABA ..................................................................................................................... 90 Non-AABA Song Structure ..................................................................................... 92 Cumulative and Accumulative Techniques ............................................................. 95 3. The Song Analysis Chart (SAC) ............................................................................ 97 IV. PROGRESSIVE CHARACTERISTICS IN THE MUSIC OF GENESIS ............... 101 1. Expanded Form.................................................................................................... 101 Introductions........................................................................................................ 101 Codas .................................................................................................................. 108 Internal Units....................................................................................................... 111 2. Expanded Harmony ............................................................................................. 116 Key Ambiguity ..................................................................................................... 116 Modulation and Sectional Tonality....................................................................... 119 Pedal Points ........................................................................................................ 125 7 TABLE OF CONTENTS – Continued 3. Rhythmic Complexity ............................................................................................ 127 Ostinato ............................................................................................................... 128 Irregular Meter .................................................................................................... 131 Disproportional Song Sections ............................................................................. 135 V. COMPLETE SONG ANALYSES .......................................................................... 140 1. ―Illegal Alien,‖ Genesis (1983) ............................................................................ 140 2. ―Tonight, Tonight, Tonight,‖ Invisible Touch (1986)............................................ 154 3. ―Driving the Last Spike,‖ We Can’t Dance (1991) ............................................... 165 VI. CONCLUSION ..................................................................................................... 175 APPENDIX A: SONG ANALYSIS CHARTS............................................................. 177 APPENDIX B: DISCOGRAPHY ................................................................................ 273 REFERENCES ............................................................................................................ 274 8 LIST OF MUSICAL EXAMPLES Musical Example 3.1. V1 section in "The Brazilian.‖ ..................................................... 69 Musical Example 3.2. V2 section in "The Brazilian."...................................................... 69 Musical