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Session 7 Zappa Presentation 1
- 1. Frank Zappa – A Case Study In Musical Research Dr Paul Carr Research Skills Musicology
- 8. Who is Frank Zappa?
- 20. Instrumentation of Live Band
- 21. Guitar Solos
- 22. Image, performance practices and stage presence
- 23. Stylistic Features of music (often)
- 24. Some Compositional Techniques (Band as compositional tool)
- 25. Album Packaging and publicity.
- 28. Examples of continuous and progressive contradictions against the rock aesthetic
- 30. Composed 2 Film Scores in early 60’s ( The Worlds Greatest Sinner and Run Home Slow)
- 34. Radio Plays – ‘The Adventures of Gregory Peccary’, ‘Billy the Mountain’
- 39. Rock Blues Jazz CLASSICAL Reggae Doo Wop 'Low' Art 'High' Art
- 51. Examples Francesco Zappa (1984)
- 52. Them or Us (1984)
- 53. The Perfect Stranger (1984)
- 59. Rubber Shirt ( Sheik Yerbouti 1979)
- 60. Examples of painters who have employed similar techniques
- 61. René Magritte The Man With The Bowler Hat (1964)
- 62. The Son of Man (1964)
- 63. Golconda (1953)
- 64. Mysteries of the Horizon (1955)
- 65. Salvador Dali -Anthromomorphic bread (1932)
- 66. The Persistence of Memory (1931)
- 67. Disintegration of the Persistence of memory (1954)
- 68. Soft watch at the moment of explosion (1954)
- 69. The ghost of Vermeer Van Delft which can be used as a table (1934)
- 70. The weaning of furniture nutrition (1934)
- 72. Sleep (1937)
- 73. The Burning Giraffe (1937)
- 74. Warrior (1982) Conceptual Continuity?
- 77. Questions
Editor's Notes
- Several of his works were conceptualised as musical theatre: Thing Fish (1984), Joe’s Garage (1979), ‘Billy the Mountain’ (Just Another Band from L.A. (1972)), as ‘The Adventures of Greggery Peccary’ (Studio Tan (1978))
- How/Why did “non musical” gestures such as comic and absurdist theatricality in performance, dress code, album packaging, concert promotion, and political views influence the way his music was received?
- Emerged in mid 1960’s – professional musician since leaving high school in late 50’s Gained experience as a jobbing musician, film composer, studio owner, and songwriter prior to mothers musician heavily influenced by the blues, doo-wop, orchestral arranging, and comedy theatre Almost developing an alter ego compulsion for twentieth-century classical music, especially the work of Edgard Varèse Freak Out in 1966 - Stylistic gestures such as sarcastic anti establishment lyrics, tape splicing, doo-wop influenced vocals, classical orchestration, rhythm and blues influence, and humorous complex material – all apparent. Artist who never compromised
- Mention Game shows Performance detracts from seriousness of genre Pete Townsend arm spin followed by conducting gesture – alludes the the high art perspective of his music – appeals to both Juxtaposition of musical and performance based gestures conveys important social and cultural messages to audience – mixing low and high culture. Considered the composer superior to the band
- Echard’s description of tradition as “a complex discursive category which correlates bundles of generic and stylistic features with specific social groups, places and histories”
- For example “Invocation and Ritual Dance of the Young Pumpkin” ( Absolutely Free, 1967), and “Prelude to the Afternoon of a Sexually Aroused Gas Mask” ( Weasels Ripped My Flesh, 1970). For example “Fountain of Love” ( Crusin’ with Ruben and the Jets, 1968) includes a quote from the opening theme of Stravinsky’s The Rite of Spring. His first album Freak Out (1966) includes a substantive list of his major influences, which include Boulez, Kagel, Schoenberg, Varèse, and Stravinsky amongst many others. For example Absolutely Free (1967) was considered to be two oratorios, and included a “mini rock opera” – “Brown Shoes Don”t Make It”.
- Between The Man from Utopia (1983) and Them or Us (1984).
- P
- For example The Perfect Stranger (1984), Franceseco Zappa, (1992) and Them or Us (1984) all featured Patricia the dog on their covers. This “canine conceptual continuation” can be also be found in musical form on “Dirty Love” (Overnite Sensationn,1973), “Stink foot” (Apostrophe, 1974) and "Cheepnis” (Roxy and Elsewhere, 1974).
- This was exclusively a studio based technique that enabled him to horizontally fuse disparate recordings from unrelated time and places, consequently enabling him to superimpose “unrelated” guitar solos, usually from live recordings, into his studio projects aligning musical structures from completely incongruous composition The effect of this angular gesture often has a profound effect on the listener, in effect accentuating the disparate locations and spaces the tracks were originally recording in Research has indicated that if performers are sensitive to the gestural codes emanating from their audiences, it has a direct positive effect on their creative output
- Like Zappa, he clearly regards aspects of his work not as finished products, but as part of an ongoing process which can be developed over many years. without an overarching gesture such as the Big Note , it would be easy to interpret Zappa’s “sampling” practices as at best self-plagiarism, but individuals taking this view are missing the profound conceptual continuity gesture which is so integral to his work
- Rock and Roll Hall of Fame in 1995 Zappa – scientifically recontextualised his life's work. Has been a major influence regarding broadening the stylistic pre-requisites of the Rock genre he has increasingly been accepted as a composer of concert music The Yellow Shark (1993) with the Ensemble Modern, has resulted in numerous concert and radio performances Ensemble Modern Plays Frank Zappa: Greggery Peccary and other persuasions (2004) Not the only artist operating on the boarders of high and low art forms during the late 1960’s – early 1970’s Deep Purple ( Concerto for Group and Orchestra, 1969), ELP ( Pictures at am Exhibition, 1971), Yes , The Moody Blues ( Days of Future Passed , 1967 Zappa – music for entertainment, although some had greater commercial success Few however engaged with the long term consistency, unpretentious complexity, and detached irony/strategic anti essentialism Zappa’s
- Discuss how the above paradigms combined with his orchestral exploits make his music interesting from both perspectives. Allan Moore calls analysis of record the primary text Traditional musicology – based on rhythm and pitch Zappa’s holistic portfolio consequently has what Gracyk describes as ontological “thickness” in both areas