1 / 24

Sonic Patterns and Compositional Strategies in the Music of Queen

This study explores the idiolect of Queen's music, focusing on their sonic patterns and compositional strategies. It examines their unique structural identities, idiolect as a sonic watermark, and their evolution in the 1980s. The influence of progressive rock and glam/glitter rock on their music is also examined.

mmeeks
Download Presentation

Sonic Patterns and Compositional Strategies in the Music of Queen

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Sonic Patterns and Compositional Strategies in the Music of Queen Nick Braae University of Waikato CUNY Graduate Centre 5 November 2015

  2. Background • Idiolect analysis of Queen, 1973-80 (90 songs, Queen to The Game) • Style — refers to common musical traits across a range of artists/composers (e.g. 1980s pop, High Classical) • Idiolect — refers to common musical traits of a single artist • Easily identifiable recurring traits: vocal harmonies, guitar arrangements, harmonic fragments • But, nagging problem of ‘Bohemian Rhapsody’ • Two strands of an idiolect (compositional strategies and sonic patterns)

  3. Unique Structural Identities of the Rock Ballads • Queen’s rock ballads: ‘In the Lap of the Gods…Revisited’, ‘Teo Torriatte’, ‘We are the Champions’, ‘Sail Away Sweet Sister’, ‘Save Me’, etc. • Most standardized song type in Queen’s output: stock instrumentation and textural changes, verse-chorus(-bridge) form, plus other idiolect traits (close-position vocal and guitar arrangements, drum fills, etc.) • But different modulation patterns and techniques

  4. Queen’s Idiolect as a Sonic Watermark: ‘Mustapha’ • ‘Mustapha’ (1978), Jazz • ‘Persian rock’ style; consistent with the pastiche compositional strategy • Consistent in terms of sonic patterns (sudden textural change, overdriven rhythm guitar doubling the bass line, guitar harmonies, vocal arrangement) • Queen’s individual take on the Persian rock style

  5. Queen in the 1980s • Queen’s struggles in the 1980s: intra-band conflicts, Sun City, mixed critical reviews • From ‘Save Me’, The Game (1980) — to ‘Staying Power’, Hot Space (1982) • Mixed fortunes thereafter: ‘If you're a fan who's been hankering for years to hear Queen get back to the bombast of its heyday, replace your old copy of A Night at the Opera or News of the World instead. But don't give up hope. At least The Miracle offers little snippets of Queen's former majesty’ (Neely, Rolling Stone, 1989) • Redemption with Innuendo: ‘The album is a homecoming of sorts for Queen, a return to the mid-'70s glory days of such tunes as the infamous “Bohemian Rhapsody”’ (People Weekly, 1991)

  6. Queen’s Idiolect in the 1980s • ‘Staying Power’ and American R&B/funk, e.g. Skyy’s ‘Call Me’ (1981) • Congruous with compositional strategy, but few sonic patterns • ‘Tear It Up’ (1984), ‘Hammer to Fall’ (1984), ‘Friends Will Be Friends’ (1986), ‘Breakthru’ (1989), ‘I Want It All’ (1989) • Clear sonic patterns (namely, vocal arrangements), but lack of compositional strategies

  7. Queen’s Idiolect and Innuendo (1991) • Queen’s struggles in the 1980s: intra-band conflicts, Sun City, mixed critical reviews • Redemption with Innuendo: ‘The album is a homecoming of sorts for Queen, a return to the mid-'70s glory days of such tunes as the infamous “Bohemian Rhapsody”’ (People Weekly, 1991)

  8. Levels of Relationship Style Sonic Patterns Compositional Strategies Idiolect Idiolect Compositional Strategies Sonic Patterns Compositional Strategies Sonic Patterns

  9. Progressive Rock and the Classical Connection • Classical music influences/borrowing key to progressive rock (Macan 1997; Covach 1997; Holm-Hudson; Anderton 2010, etc.) • ‘Cadenza’ figuration in Yes’ ‘Roundabout’ (Sheinbaum 2002) • Canon in Gentle Giant’s ‘As Old As You’re Young’ (Lundberg 2014) • ‘Classical’ piano in Styx’ ‘Come Sail Away’ (Holm-Hudson 2005) • Pastiche in Queen’s ‘Millionaire Waltz’ (Braae forthcoming)

  10. Progressive Rock and the Classical Connection • Classical music influences/borrowing key to progressive rock (Macan 1997; Covach 1997; Holm-Hudson; Anderton 2010, etc.) • ‘Cadenza’ figuration in Yes’ ‘Roundabout’ (Sheinbaum 2002) • Canon in Gentle Giant’s ‘As Old As You’re Young’ (Lundberg 2014) • ‘Classical’ piano in Styx’ ‘Come Sail Away’ (Holm-Hudson 2005) • Pastiche in Queen’s ‘Millionaire Waltz’ (Braae forthcoming) • Structural and thematic design in Yes and Genesis (Covach 1997, Palmer 2001, Spicer 2008) • Different influences/borrowing practices, but recognised as related = compositional strategy

  11. Glam/Glitter Rock • From Moore (2012) and Auslander (2003), exaggeration of 1950s/1960s pop: Roy Wood (‘See My Baby Jive’) and Phil Spector; David Bowie (‘The Prettiest Star’, ‘Drive-In Saturday’) and doo-wop; Queen (harmonic language) and the Beatles • ‘Glitter stomp’ drum groove

  12. Glam/Glitter Rock • From Moore (2012) and Auslander (2003), exaggeration of 1950s/1960s pop: Roy Wood (‘See My Baby Jive’) and Phil Spector; David Bowie (‘The Prettiest Star’, ‘Drive-In Saturday’) and doo-wop; Queen (harmonic language) and the Beatles • ‘Glitter stomp’ drum groove in Gary Glitter’s ‘Rock and Roll’; ‘Leader of the Gang’; ‘Dynamite’ (Mud); ‘Hell Raiser’ (Sweet’) • Plus, ‘Do You Wanna Touch?’ (Gary Glitter); ‘Tiger Feet’ (Mud); ‘Block Buster!’, ‘Teenage Rampage’ (Sweet); ‘Can the Can’, Suzi Quatro, etc. • Commercial imperatives (sonic patterns) vs. artistic prestige (compositional strategies)?

  13. Further Reading Progressive Rock and the Classical Connection John Covach, 'Progressive Rock, 'Close to the Edge,' and the Boundaries of Style'. In Understanding Rock: Essays in Musical Analysis, eds. John Covach and Graeme M. Boone. New York: Oxford University Press, 1997. 3-31. Kevin Holm-Hudson, '"Come Sail Away" and the Commodification of "Prog Lite"'. American Music 23/3 (2005): 377-394. Nors S. Josephson, 'Bach Meets Liszt: Traditional Formal Structures and Performance Practices in Progressive Rock'. The Musical Quarterly 76/1 (1992): 67-92. Mattias Lundberg, 'Motivic cohesion and parsimony in three songs from Gentle Giant's Acquiring the Taste (1971)'. Popular Music 33/2 (2014): 292-292. ———. '“To Let it Be Without Pretense”: Canon, Fugue, and Imitation in Progressive Rock 1968–1979'. Music Theory Online 20.3 (2014). <http://www.mtosmt.org/issues/mto.14.20.3/mto.14.20.3.lundberg.php> (accessed 14 October 2014). Edward Macan, Rocking the Classics: English Progressive Rock and the Counterculture. New York, Oxford University Press, 1997. John R. Palmer, 'Yes, 'Awaken', and the Progressive Rock Style'. Popular Music 20/2 (2001): 243-261. John J. Sheinbaum, 'Progressive Rock and the Inversion of Musical Values'. In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson. New York: Routledge, 2002. 21-42. Mark Spicer, 'Large-Scale Strategy and Compositional Design in the Early Music of Genesis'. In Expression in Pop-Rock Music: Critical and Analytical Essays, ed. Walter Everett. New York: Routledge, 2008. 313-344. Glam Rock Allan F. Moore, Song Means: Analysing and Interpreting Recorded Popular Song. Farnham, Surrey: Ashgate, 2012. Philip Auslander, 'Good Old Rock and Roll: Performing the 1950s in the 1970s'. Journal of Popular Music Studies 15/2 (2003): 166-194. ———. Performing Glam Rock: Gender and Theatricality in Popular Music. Ann Arbor: University of Michigan Press, 2006.

  14. The ‘Opera’ Section of ‘Bohemian Rhapsody’ • Famous sixty-second episode • Influences? Mercury: ’I did some research…’ (cf. Peraino, McLeod 2001, Long) • Likely allusion to Gilbert and Sullivan (e.g. H.M.S. Pinafore or The Pirates of Penzance)

  15. Queen’s Stylistic Voyages 1960s folk ‘Long Away’ 19th-C Vienna ‘Millionaire Waltz’ Rockabilly ‘Crazy Little Thing Called Love’ Music hall ‘Lazing on a Sunday Afternoon’ Queen 1970s rock 1930s jazz ‘Dreamer’s Ball’

  16. Also in the Opera Section • Vocal arrangement: close-position upper parts plus octave/fifth below • Standard arrangement for Queen • Common-tone diminished chord built on local tonic • Movement of inner/lower voices under upper pedal • Antiphonal dialogue across the sound-box

  17. Issues with Queen • Easily identifiable recurring traits: vocal harmonies, guitar arrangements, harmonic fragments • But, nagging problem of ‘Bohemian Rhapsody’ • ‘One last attribute that is part of Queen's sonic-fingerprint is their stylistic eclecticism’ (de Boer 1999); ‘It is the unpredictability of the band’s recordings that is arguably the only real constant . . . it is in this respect that Radiohead problematizes the specification of idiolect’ (Moore and Ibrahim 2009)

  18. Compositional Strategies and Sonic Patterns • Two strands of an idiolect • Sonic Patterns: gestures or musical details ‘articulated’ in the same ‘manner’ from song to song • Compositional Strategies: gestures or musical details that are ‘articulated’ in a different ‘manner’ from song to song, but shared musical kinship or identity • Any category (style, idiolect, sonic pattern, compositional strategy, etc.) simply ‘tells us something different about how we organize the sequence of sounds issuing from instruments or speakers’ (Moore 2001, 441) • Richness of the method from different forms of commonality within single temporal span

More Related