1.
Frank Zappa – A Case Study In Musical Research Dr Paul Carr Research Skills Musicology

2.
Current Zappa Based Publications <ul><li>Carr, P. and Hand, R. (2006) ‘An Experiment in Interdisciplinary Teaching: The Music Theatre of Frank Zappa’. Palatine, http://www.lancs.ac.uk/palatine/dev-awards/carr-hand-report.pdf </li></ul><ul><li>Carr, P and Hand, R.J. (2007) ‘Frank Zappa and musical Theatre: ugly ugly o’phan Annie and really deep intense, thought-provoking Broadway symbolism’. Studies in Musical Theatre 1:1, pp.41 – 56, dol: 10.1386/smt.1.1.41/1 </li></ul><ul><li>Carr, P and Hand, R.J. (2008)’Twist n’ frugg in an arrogant gesture: Frank Zappa and the musical-theatrical gesture’ Popular Musicology Online (March 2008). http://www.popular-musicology-online.com/issues/05/carr.html </li></ul><ul><li>Carr, P and Delville, M. (2009) ‘King Kong: a conversational analysis’. The Rondo Hatton Report, http://www.rhreport.net/current.html </li></ul><ul><li>Carr, P (2009) ‘An Autocratic Approach to Music Copyright? The means through which Frank Zappa translated and adapted both his own and other composers’ music’. Encontros de Investigação em Performance . Universidade de Aveiro. ISBN: 978-972-789-209-7 (Conference Proceedings) </li></ul><ul><li>Carr, P (2010) An Autocratic Approach to Music Copyright?: The potential negative impacts of restrictive rights on a composers legacy – The case of the Zappa Family Trust. Contemporary Theatre Review . Forthcoming 2010 </li></ul><ul><li> </li></ul>

3.
Zappa Focused Conferences <ul><li>Fair Use, Grand Rights and the Zappa Family Trust: A legal and ethical examination of the enforcement of restrictive rights by a copyright holder. The IASPM-Norden 2010 Conference on MUSIC, LAW AND BUSINESS. Helsinki, November 2010. </li></ul><ul><li>“ Dickie’s Such An Asshole”: Frank Zappa, Popular Music and Politics . 20 th Century Music and Politics Conference. Bristol University. Bristol. April 2010. </li></ul><ul><li>The Big Note: The Ultimate Gesture: The incorporation of time and space in performing, composing, arranging and producing Frank Zappa’s music. The Fifth Annual Art of Record Production Conference . University of Glamorgan, Cardiff. November 2009 </li></ul><ul><li>“ Make a Sex Noise Here”: Frank Zappa, Sex and Popular Music. Sex und populäre Musik . Halle an der Saale, Germany. September 2009 </li></ul><ul><li>An Autocratic Approach to Music Copyright?: The means through which Frank Zappa translated and adapted both his own and other composers’ music . Performa 09 Encontros de Investigação em Performance . University of Evora, Portugal. May 2009 </li></ul><ul><li>Frank Zappa: Researching a Musical Legend, The 20 th Zappanale Music Festival, Bad Doberan, Germany, August 2009 </li></ul>

4.
<ul><li>Locating Frank Zappa in a Multidisciplinary Context: An Introduction. Aalborg University, Denmark, March 2008 </li></ul><ul><li>Frank Zappa: A Case Study in Musical Research . Trinity College, Carmarthen, October 2007 </li></ul><ul><li>Twist n’ frugg in an arrogant gesture: Frank Zappa and the musical-theatrical gesture. Second International Conference on Music and Gesture . Royal Northern College of Music and Drama, July 2006 </li></ul><ul><li>Ugly Orphan Annie and Really Deep, Intense, Thought-Provoking Broadway Symbolism. Song, Stage & Screen – Interdisciplinary approaches to the stage and Screen. University of Portsmouth, April 2006 </li></ul>

5.
Why Frank Zappa (1940 – 1993)? <ul><li>A fascinating case study in intertextuality. </li></ul><ul><li>Represented a point of interest from both a musical and ‘extra-musical’ perspective . </li></ul><ul><li>Work includes ‘embodied’ and ‘designated’ meaning. </li></ul><ul><li>Interesting relationship between the ‘Song’ and the ‘Track’ </li></ul><ul><li>Interesting ‘Immediate’/’Hypermediate’ relationships in music </li></ul><ul><li>Polysemic </li></ul>

6.
<ul><li>Often very low ‘convention probability’ (unexpected happenings) </li></ul><ul><li>Interesting mix of ‘intentional’ and ‘extensional’ meaning </li></ul><ul><li>Interesting use of the recording studio </li></ul><ul><li>Zappa’s work not only represents an extraordinary confluence of styles , but a prolonged and considered interchange of musical t raditions </li></ul><ul><li>His constant, often simultaneous engagement with both high and low culture. </li></ul><ul><li>Etc, Etc </li></ul>

7.
1) Frank Zappa and Gesture: Principal Research Questions <ul><li>How do musical, physical and other gestures influence the implementation and interpretation of his music? </li></ul><ul><li>How/Why was Zappa’s music described as rock despite its numerous incongruous influences? </li></ul><ul><li>How/Why were the more “serious” aspects of his music usually juxtaposed with humour and frivolity? </li></ul><ul><li>Overall intention was to begin to explain the processes that underlie his multifaceted performances and recordings </li></ul>

8.
Who is Frank Zappa?

19.
The Effect Of Zappa’s Sustained But Uneasy Interface With High And Low Culture <ul><li>‘ Rock Star’ persona played a substantial part in informing his audience how to categorise his work </li></ul><ul><li>Utilised the archetypal clichés of the Rock tradition to compartmentalise his work into as lucrative a direction as possible. For Example: </li></ul>

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Instrumentation of Live Band

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Guitar Solos

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Image, performance practices and stage presence

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Stylistic Features of music (often)

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Some Compositional Techniques (Band as compositional tool)

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Album Packaging and publicity.

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Example of some of these processes in practice (Peaches and Regalia) <ul><li>Play Video </li></ul>

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Examples of continuous and progressive contradictions against the rock aesthetic

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Musical/Stylistic Features <ul><li>‘ The The Return of the Son of Monster Magnet’ and </li></ul><ul><li>‘ It Can’t Happen Here’. ( Freak Out, 1966) </li></ul><ul><li>Who Are The Brain Police. ( Freak Out , 1966) </li></ul>

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Composed 2 Film Scores in early 60’s ( The Worlds Greatest Sinner and Run Home Slow)

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200 Motels (1971)

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Numerous orchestral albums

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Pioneering jazz/rock albums

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Radio Plays – ‘The Adventures of Gregory Peccary’, ‘Billy the Mountain’

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Computer based albums

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Image, Performance Practices and Stage Presence ( Conducting) <ul><li>Conducting band since mid 1950’s – entitled it ‘Conduction’ </li></ul><ul><li>Gave instructions (specific and improvisatory) to band and sometimes audiences! </li></ul><ul><li>Alluded subliminal messages regarding his dominant hierarchical position and musical merit </li></ul>

37.
Dichotomies instigated in the mindset of audiences <ul><li>Is the music Rock, Jazz or Classical? </li></ul><ul><li>High or low art? </li></ul><ul><li>Controlled or open? </li></ul><ul><li>Improvisatory or notated? </li></ul><ul><li>Serious or frivolous? </li></ul><ul><li>Complex or simple? </li></ul><ul><li>Elitist or vernacular? </li></ul>

38.
Complexity Of Style and Integration Of Tradition <ul><li>Rock founded style/genre usually present, but his constant interface with other styles and genres make describing his music unusually problematic. </li></ul><ul><li>Can be described with Bakhtin’s notion of centripetal and centrifugal forces. </li></ul><ul><li>In Zappa’s case, Rock is the centripetal force, with other other sub styles/traditions (Doo- wop, Reggae, Blues, etc) acting as centrifugal “destabilising forces”. </li></ul><ul><li>However - Zappa’s use of music, and involvement with music outside of the tradition has a more profound effect on the stylistic balance and ultimate reception of his music. </li></ul><ul><li>Zappa’s long-term relationship with contemporary classical music represents not just a juxtaposition of style, but a confluence of traditions </li></ul>

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Rock Blues Jazz CLASSICAL Reggae Doo Wop 'Low' Art 'High' Art

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<ul><li>Zappa’s long term incorporation of classical music was intentionally progressive – he stated in 1968: </li></ul><ul><li>“ Stravinsky in rock n’ roll is like a get-acquainted offer… It’s a gradual progression to bring in my own ‘serious’ music” </li></ul><ul><li>Explicitly but subtly integrated classical gestures into his early portfolio, gradually increasing the propensity of the statements in individual compositions, and eventually albums </li></ul>

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<ul><li>Early examples include: </li></ul><ul><li>Puns that allude to classical titles (EG – ‘Prelude to the Afternoon of a Sexually Aroused Gas Mask’) </li></ul><ul><li>Direct quotations from the canon (EG ‘Fountain of Love’) </li></ul><ul><li>Acknowledgement of relevant influences </li></ul><ul><li>Compositional Intent </li></ul>

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<ul><li>In 1967 Zappa took this process a stage further, by interspersing an entire album Lumpy Gravy (1967) – which makes extensive use of an orchestra – between the more centripetal rock forces of Absolutely Free (1967) and We’re Only in it for the Money (1968) </li></ul><ul><li>A process he repeated with Orchestral Favourites (1979) ( Between Sheik Yerbouti (1979) and Joe’s Garage Act I (1979)). </li></ul><ul><li>And later - London Symphony Orchestra Volume 1 (1983) (Between The Man from Utopia (1983) and Them or Us (1984)). </li></ul><ul><li>Towards end of life recorded three orchestral albums – a profound centrifugal gesture. </li></ul>

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The impact of musical ‘tradition’ on the interpretation of the work. <ul><li>Song For My Father (Horace Silver) </li></ul>

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Steely Dan <ul><li>Ricky Don’t Lose That Number </li></ul>

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Art Music related philosophical concepts - ‘The ‘Big Note’ <ul><li>“ All the material in the albums is organically related and if I had all the master tapes and I could take a razor blade and cut them apart and put it together again in a different order, it still would make one piece of music you can listen too”. </li></ul><ul><li>Constantly rearranged earlier compositions as outlined above </li></ul><ul><li>Constantly included recorded samples of earlier recordings in ‘new’ works. </li></ul><ul><li>Aligned the old with the new. </li></ul><ul><li>Self Plagiarism?? – He commented: </li></ul>

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<ul><li>“ When a novelist invents a character. If the character is a good one, he takes on a life of his own. Why should he get to go to only one party?” </li></ul>

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<ul><li>Implemented this philosophy principally via three techniques that were diachronic and synchronic in nature. </li></ul><ul><li>‘ Project/Object’ </li></ul><ul><li>‘ Conceptual Continuity’ </li></ul><ul><li>‘ Xenochrony’ </li></ul>

48.
Project/Object <ul><li>Perceived a difference between the completed work of art in a recording (Object), and the ongoing process of redefining it (Project) </li></ul><ul><li>Many Zappa compositions are recomposed and defined over many years. </li></ul>

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Examples of Project/Object <ul><li>Strictly Genteel </li></ul><ul><li>The Torture Never Stops </li></ul>

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Conceptual Continuity <ul><li>Musical and non musical ‘Conceptual Continuity’ gestures were embedded into his entire creative output. </li></ul><ul><li>For example: </li></ul>

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Examples Francesco Zappa (1984)

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Them or Us (1984)

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The Perfect Stranger (1984)

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<ul><li>This ‘canine conceptual continuity’ was extended in his music with compositions such as: </li></ul><ul><li>“ Dirty Love” (1974) </li></ul><ul><li>“ Stinkfoot” (1974) </li></ul><ul><li>“ The Poodle Lecture” (1974) </li></ul><ul><li>“ Cheepnis” (1974) </li></ul>

55.
Louie Louie <ul><li>Fragments of this track are found throughout his compositional portfolio. </li></ul><ul><li>For example: </li></ul>

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Examples of incorporation of “Louis Louis” <ul><li>Original Track The Kingsman </li></ul><ul><li>“ Plastic People” ( Absolutely Free ) </li></ul><ul><li>“ Son of Suzy Cream cheese” ( Absolutely Free ) 1967 </li></ul><ul><li>“ Florentine Pogen” ( One Size Fits All ) 1974 </li></ul><ul><li>“ Jesus Thinks You’re A Jerk” ( Broadway The Hard Way ) 1984 </li></ul>

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Xenochrony <ul><li>“ This collection is not chronological”, - any band from any year can be (and often is) edited to the performance of any other band from any other year – sometimes in the middle of a song” (Taken from YCDTOSA Volume 4, 1988) </li></ul><ul><li>Procedure that fuses music, performances and musicians from different time, spaces and places. </li></ul>

58.
Examples <ul><li>“ Friendly Little Finger” ( Zoot Allures 1974) Bass and guitar recorded together, and combined with drums from another track (“The Ocean Is The Ultimate Solution” from Sleep Dirt ) </li></ul>

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Rubber Shirt ( Sheik Yerbouti 1979)

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Examples of painters who have employed similar techniques

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René Magritte The Man With The Bowler Hat (1964)

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The Son of Man (1964)

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Golconda (1953)

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Mysteries of the Horizon (1955)

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Salvador Dali -Anthromomorphic bread (1932)

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The Persistence of Memory (1931)

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Disintegration of the Persistence of memory (1954)

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Soft watch at the moment of explosion (1954)

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The ghost of Vermeer Van Delft which can be used as a table (1934)

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The weaning of furniture nutrition (1934)

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Autumn Cannibalism (1936)

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Sleep (1937)

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The Burning Giraffe (1937)

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Warrior (1982) Conceptual Continuity?

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Examples of musicians who have incorporated similar processes <ul><li>Monteverdi - incorporating material from L’Orfeo in the 1610 Vespers </li></ul><ul><li>Prokoviev’s 3 rd Symphony - instrumental version of his opera Fiery An gel </li></ul><ul><li>Simon and Garfunkel’s ‘Save The Life Of My Child’ ( Bookends 1968) - ‘samples’ part of ‘The Sound of Silence’ </li></ul><ul><li>Buffalo Springfield’s live version of ‘Broken Arrow’ incorporates a direct recording of their ‘Mr Soul’ </li></ul><ul><li>Pervasive throughout Hip Hop and some dance music. </li></ul>

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Ontological Interest

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Questions

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Palatine Project <ul><li>Investigate viabilities of interdisciplinary teaching between Drama and Music </li></ul><ul><li>Proposed an ‘experiment’ – and documented a report demonstrating its effectiveness. </li></ul>

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Project Aims <ul><li>Enable Staff from Drama and Music to work together </li></ul><ul><li>Assist the assimilation and awareness of sister disciplines </li></ul><ul><li>Assist a challenge for teaching staff who have little experience in other discipline </li></ul><ul><li>Consider other interdisciplinary units, and ultimately degree programmes. </li></ul>

80.
The Process <ul><li>Students from both disciplines worked on – Zappa Fish – An Anti Off Off Off Broadway Musical . </li></ul><ul><li>Music and text of piece influenced by “Thing Fish”, and the Zappa portfolio in general. </li></ul><ul><li>Students worked in drama/music groups, prior to coming together toward the end (similar methodology to what Zappa himself employed) </li></ul><ul><li>Music/Drama staff – Transcribed the music in lead sheet form, documented the script, led rehearsals, and researched everything related to Zappa! </li></ul>

81.
<ul><li>Once working together – students explored: </li></ul><ul><li>Musicological and dramatic challenges </li></ul><ul><li>Bilateral potential for integration into each others contexts </li></ul><ul><li>How can one art form substantiate the meaning of the other? </li></ul><ul><li>How Zappa’s philosophical approaches to art can be incorporated. </li></ul>

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Potential Future Pedagogical Projects <ul><li>Interdisciplinary work exploring one or more of Zappa’s characters (Billy the Mountain, Gregory Peccary, ETC) </li></ul><ul><li>Interdisciplinary work exploring techniques such as Big Note, Conceptual Continuity, Archetypal American Music Icons, etc. </li></ul>

83.
<ul><li>Academic text discussing his personal characteristics, political views, manipulation of the media, etc) </li></ul><ul><li>Compositional work incorporating his concepts. </li></ul><ul><li>Could begin with either a musical or dramatic starting point </li></ul>

84.
<ul><li>Critical discussion of the process. </li></ul><ul><li>Use of space between music and narrative </li></ul><ul><li>Potential for improvisation </li></ul><ul><li>Acting is good for popular music performers – taking on a character seems to be liberating. </li></ul>