By Phil Rose
Beyond its elucidation and critique of conventional ‘notation-centric’ musicology, this book's fundamental emphasis is at the negotiation and building of which means in the prolonged musical multimedia works of the vintage British staff red Floyd. Encompassing the idea that albums that the crowd published from 1973 to 1983, in the course of Roger Waters’ ultimate interval with the band, chapters are dedicated to Dark part of the Moon (1973), Wish You have been Here (1975), Animals (1977), The Wall (1979) and The ultimate Cut (1983), in addition to Waters’ 3rd solo album Amused to Death (1993). This book's research of album covers, lyrics, track and picture uses concepts of literary and picture feedback, whereas utilizing the mixed lenses of musical hermeneutics and discourse research, for you to illustrate how sonic and musical details give a contribution to listeners’ interpretations of the discerning messages of those huge musical artifacts. eventually, it demonstrates how their phrases, sounds, and photographs interact to be able to speak one basic problem, which—to paraphrase the track journalist Karl Dallas—is to confirm human values opposed to every little thing in lifestyles that are supposed to conspire opposed to them.
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Additional resources for Roger Waters and Pink Floyd: The Concept Albums
The narrator’s view of death results in further feelings of anxiety and fear, which, for him, are not relieved through faith in resurrection. He is not among the “faithful” who are “far away”; rather, he sits alone merely observing. These lines are ushered in with the entrance of an organ (an instrument connoting the Christian church) whose melodic descent (C, B, A, G, F, D#, D) expresses his falling spirits. His anxiety is also portrayed harmonically in the cadence of the piece. At the end of the first appearance of the music of “Breathe,” the piece cadences on the tonic (D7#9, D# diminished 7th, E minor), but in the song’s reprise, the ambiguous diminished-7th chord (which has four possible resolutions) cadences on the minor dominant (D7#9, D# diminished-7th, B minor), an unsettling effect for the listener’s ear.
And it’s something that we all have to learn. Now most of us learn it the hard way [but] it would be good if we could produce a society in which we helped our children learn it the easy way. It’s interesting that the Archbishop of York yesterday, it was reported on the front page of the London Times, has finally come to the conclusion that what’s largely creating the problems that we face socially in England now, is the fact that our politics foster a competitive society where we encourage our children to believe in a “dog eat dog” philosophy; and then we wonder why they A) commit crimes, and B) grow up rather unhappy.
Her withdrawal or distancing is portrayed musically with another occurrence of the voice retreating away from the listener, toward the back of the mix during the last bars of the piece. The feeling of discomfort generated by this musical portrayal of what is a typical contemporary characteristic—a retreat into the self (later becoming Waters’s primary focus with The Wall)—is intensified by the occurrence of a chromatic fluctuation in pitch, which occurs during the fade-out on the final chord of the piece.