Frank Zappa – A Frank Zappa – A Case Study In Case Study In

Musical ResearchMusical ResearchDr Paul CarrDr Paul Carr

University of GlamorganUniversity of Glamorgan

Interdisciplinary activities Interdisciplinary activities Involving ZappaInvolving Zappa

An Experiment in Multidisciplinary Teaching – An Experiment in Multidisciplinary Teaching – Palatine funded project (2006)Palatine funded project (2006)

Frank Zappa and musical theatre: ugly ugly Frank Zappa and musical theatre: ugly ugly o’phan Annie and really deep, intense, thought-o’phan Annie and really deep, intense, thought-provoking Broadway symbolism.provoking Broadway symbolism. (Published in (Published in the inaugural edition of “Studies in Musical the inaugural edition of “Studies in Musical Theatre” Journal 2006)Theatre” Journal 2006)

Twist n’ frugg in an arrogant gesture: Frank Twist n’ frugg in an arrogant gesture: Frank Zappa and the musical-theatrical gesture.Zappa and the musical-theatrical gesture. ((Published ‘Popular Musicology Online” March Published ‘Popular Musicology Online” March 2008)2008)

Why Frank Zappa (1940 – Why Frank Zappa (1940 – 1993)?1993)?

A fascinating case study in A fascinating case study in intertextuality.intertextuality.

Represented a point of interest from both Represented a point of interest from both a musical and theatrical perspectivea musical and theatrical perspective

Zappa’s work not only represents an Zappa’s work not only represents an extraordinary confluence of extraordinary confluence of stylesstyles, but a , but a prolonged and considered interchange of prolonged and considered interchange of musical tmusical traditionsraditions

His constant, often simultaneous His constant, often simultaneous engagement with both high and low engagement with both high and low culture.culture.

Principal Research Principal Research QuestionsQuestions

How do musical, physical and other gestures How do musical, physical and other gestures influence the implementation and influence the implementation and interpretation of his music? interpretation of his music?

How/Why was Zappa’s music described as rock How/Why was Zappa’s music described as rock despite its numerous incongruous influences?despite its numerous incongruous influences?

How/Why were the more “serious” aspects of How/Why were the more “serious” aspects of his music usually juxtaposed with humour and his music usually juxtaposed with humour and frivolity? frivolity?

Overall intention was to begin to explain the Overall intention was to begin to explain the processes that underlie his multifaceted processes that underlie his multifaceted performances and recordingsperformances and recordings

Who is Frank Zappa?Who is Frank Zappa?

The Effect Of Zappa’s Sustained But The Effect Of Zappa’s Sustained But Uneasy Interface With High And Low Uneasy Interface With High And Low

CultureCulture ‘‘Rock Star’ persona played a substantial part in Rock Star’ persona played a substantial part in

informing his audience how to categorise his informing his audience how to categorise his workwork

Utilised the archetypal clichés of the Rock Utilised the archetypal clichés of the Rock tradition to compartmentalise his work into as tradition to compartmentalise his work into as lucrative a direction as possible. For Example:lucrative a direction as possible. For Example:

Instrumentation of Live Instrumentation of Live BandBand

Guitar SolosGuitar Solos

Image, performance Image, performance practices and stage practices and stage

presencepresence

Stylistic Features of music Stylistic Features of music (often)(often)

SomeSome Compositional Compositional Techniques (Band as Techniques (Band as compositional tool)compositional tool)

Album Packaging and Album Packaging and publicity.publicity.

Example of some of these Example of some of these processes in practiceprocesses in practice

Examples of continuous and Examples of continuous and progressive contradictions progressive contradictions against the rock aestheticagainst the rock aesthetic

Musical/Stylistic Musical/Stylistic FeaturesFeatures

‘‘The The Return of the Son The The Return of the Son of Monster Magnet’ and of Monster Magnet’ and

‘‘It Can’t Happen Here’. It Can’t Happen Here’. ((Freak Out,Freak Out, 1966) 1966)

Who Are The Brain Police. Who Are The Brain Police. ((Freak OutFreak Out, 1966), 1966)

Composed 2 Film Scores (Composed 2 Film Scores (The The Worlds Greatest SinnerWorlds Greatest Sinner and and Run Run

Home Slow)Home Slow)

200 Motels (1971)200 Motels (1971)

Numerous orchestral Numerous orchestral albumsalbums

Pioneering jazz/rock Pioneering jazz/rock albumsalbums

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

Mountain’Mountain’

Computer based albumsComputer based albums

Image, Performance Image, Performance Practices and Stage Practices and Stage

Presence (Presence (Conducting)Conducting) Conducting band since Conducting band since

mid 1950’s – entitled it mid 1950’s – entitled it ‘Conduction’‘Conduction’

Gave instructions Gave instructions (specific and (specific and improvisatory) to band improvisatory) to band and sometimes and sometimes audiences!audiences!

Alluded subliminal Alluded subliminal messages regarding messages regarding his his dominant dominant hierarchical position hierarchical position and musical meritand musical merit

Dichotomies instigated in the Dichotomies instigated in the mindset of audiencesmindset of audiences

Is the music Rock, Jazz or Classical? Is the music Rock, Jazz or Classical? High or low art? High or low art? Controlled or open? Controlled or open? Improvisatory or notated? Improvisatory or notated? Serious or frivolous? Serious or frivolous? Complex or simple? Complex or simple? Elitist or vernacular?Elitist or vernacular?

Complexity Of Style and Complexity Of Style and

Integration Of TraditionIntegration Of Tradition Rock founded style/genre usually present, but his constant Rock founded style/genre usually present, but his constant

interface with other styles and genres make describing his interface with other styles and genres make describing his music music unusuallyunusually problematic. problematic.

Can be described with Bakhtin’s notion of Can be described with Bakhtin’s notion of centripetalcentripetal and and centrifugalcentrifugal forces. forces.

In Zappa’s case, Rock is the centripetal force, with other In Zappa’s case, Rock is the centripetal force, with other other sub styles/traditions (Doo- wop, Reggae, Blues, etc) other sub styles/traditions (Doo- wop, Reggae, Blues, etc) acting as centrifugal “destabilising forces”.acting as centrifugal “destabilising forces”.

However - Zappa’s use of music, and involvement with However - Zappa’s use of music, and involvement with music music outsideoutside of the tradition has a more profound effect on of the tradition has a more profound effect on the stylistic balance and ultimate reception of his music.the stylistic balance and ultimate reception of his music.

Zappa’s long-term relationship with contemporary classical Zappa’s long-term relationship with contemporary classical music represents not just a juxtaposition of style, but a music represents not just a juxtaposition of style, but a confluence of traditionsconfluence of traditions

Zappa’s long term incorporation of classical Zappa’s long term incorporation of classical music was intentionally progressive – he music was intentionally progressive – he stated in 1968: stated in 1968:

““Stravinsky in rock n’ roll is like a get-Stravinsky in rock n’ roll is like a get-acquainted offer… It’s a gradual progression acquainted offer… It’s a gradual progression to bring in my own ‘serious’ music”to bring in my own ‘serious’ music”

Explicitly but subtly integrated Explicitly but subtly integrated classical classical gestures into his early portfolio, gradually gestures into his early portfolio, gradually increasing the propensity of the statements in increasing the propensity of the statements in individual compositions, and eventually individual compositions, and eventually albumsalbums

Early examples include:Early examples include: Puns that allude to classical titles Puns that allude to classical titles

(EG – ‘Prelude to the Afternoon of a (EG – ‘Prelude to the Afternoon of a Sexually Aroused Gas Mask’)Sexually Aroused Gas Mask’)

Direct quotations from the canon Direct quotations from the canon (EG ‘Fountain of Love’)(EG ‘Fountain of Love’)

Acknowledgement of relevant Acknowledgement of relevant influencesinfluences

Compositional Intent Compositional Intent

In 1967 Zappa took this process a stage In 1967 Zappa took this process a stage further, by interspersing an entire album further, by interspersing an entire album Lumpy GravyLumpy Gravy (1967) – which makes (1967) – which makes extensive use of an orchestra – between the extensive use of an orchestra – between the more more centripetalcentripetal rock forces of rock forces of Absolutely Absolutely FreeFree (1967) and (1967) and We’re Only in it for the We’re Only in it for the Money Money (1968)(1968)

A process he repeated with A process he repeated with Orchestral Orchestral FavouritesFavourites (1979) (1979) ( (Between Between Sheik YerboutiSheik Yerbouti (1979) and (1979) and Joe’s Garage Act IJoe’s Garage Act I (1979)). (1979)).

And later - And later - London Symphony Orchestra London Symphony Orchestra Volume 1Volume 1 (1983) (Between (1983) (Between The Man from The Man from UtopiaUtopia (1983) and (1983) and Them or UsThem or Us (1984)). (1984)).

Towards end of life recorded three Towards end of life recorded three orchestral albums – a profound centrifugal orchestral albums – a profound centrifugal gesture.gesture.

The impact of musical ‘tradition’ The impact of musical ‘tradition’ on the interpretation of the work.on the interpretation of the work.

Song For My Father (Horace Song For My Father (Horace Silver) Silver)

Steely DanSteely Dan

Ricky Don’t Lose Ricky Don’t Lose That Number That Number

Art Music related Art Music related philosophical concepts - philosophical concepts -

‘The ‘Big Note’‘The ‘Big Note’ ““All the material in the albums is organically All the material in the albums is organically

related and if I had all the master tapes and I related and if I had all the master tapes and I could take a razor blade and cut them apart could take a razor blade and cut them apart and put it together again in a different order, it and put it together again in a different order, it still would make one piece of music you can still would make one piece of music you can listen too”.listen too”.

Constantly rearranged earlier compositions as Constantly rearranged earlier compositions as outlined aboveoutlined above

Constantly included recorded samples of Constantly included recorded samples of earlier recordings in ‘new’ works.earlier recordings in ‘new’ works.

Aligned the old with the new.Aligned the old with the new. Self Plagiarism?? – He commented:Self Plagiarism?? – He commented:

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

Implemented this philosophy Implemented this philosophy principally via three techniques that principally via three techniques that were diachronic and synchronic in were diachronic and synchronic in nature.nature.

‘‘Project/Object’Project/Object’ ‘‘Conceptual Continuity’Conceptual Continuity’ ‘‘Xenochrony’Xenochrony’

Project/ObjectProject/Object

Perceived a difference between the Perceived a difference between the completed work of art in a recording completed work of art in a recording (Object), and the ongoing process of (Object), and the ongoing process of redefining it (Project)redefining it (Project)

Many Zappa compositions are Many Zappa compositions are recomposed and defined over many recomposed and defined over many years.years.

Examples of Examples of Project/ObjectProject/Object

Strictly GenteelStrictly Genteel The Torture Never StopsThe Torture Never Stops

Conceptual ContinuityConceptual Continuity

Musical and non musical Musical and non musical ‘Conceptual Continuity’ gestures ‘Conceptual Continuity’ gestures were embedded into his entire were embedded into his entire creative output. creative output.

For example:For example:

ExamplesExamplesFrancesco Zappa (1984)Francesco Zappa (1984)

Them or Us (1984)Them or Us (1984)

The Perfect Stranger The Perfect Stranger (1984)(1984)

This ‘canine conceptual continuity’ This ‘canine conceptual continuity’ was extended in his music with was extended in his music with compositions such as:compositions such as:

““Dirty Love” (1974)Dirty Love” (1974) ““Stinkfoot” (1974)Stinkfoot” (1974) ““The Poodle Lecture” (1974)The Poodle Lecture” (1974) ““Cheepnis” (1974)Cheepnis” (1974)

Louie LouieLouie Louie

Fragments of this track are found Fragments of this track are found throughout his compositional throughout his compositional portfolio.portfolio.

For example: For example:

Examples of incorporation Examples of incorporation of “Louis Louis”of “Louis Louis”

““Plastic People” (Plastic People” (Absolutely FreeAbsolutely Free)) Son of Suzy Cream cheese Son of Suzy Cream cheese

((Absolutely FreeAbsolutely Free) 1967) 1967 ““Florentine Pogen” (Florentine Pogen” (One Size Fits One Size Fits

AllAll) 1974) 1974 ““Jesus Thinks You’re A Jerk” Jesus Thinks You’re A Jerk”

((Broadway The Hard WayBroadway The Hard Way) 1984) 1984

XenochronyXenochrony

““This collection is not chronological”, - This collection is not chronological”, - any band from any year can be (and often any band from any year can be (and often is) edited to the performance of any other is) edited to the performance of any other band from any other year – sometimes in band from any other year – sometimes in the middle of a song” (Taken from the middle of a song” (Taken from YCDTOSA Volume 4, YCDTOSA Volume 4, 1988)1988)

Procedure that fuses music, performances Procedure that fuses music, performances and musicians from different time, spaces and musicians from different time, spaces and places. and places.

ExamplesExamples

““Friendly Little Friendly Little Finger” (Finger” (Zoot Zoot AlluresAllures 1974) Bass 1974) Bass and guitar recorded and guitar recorded together, and together, and combined with combined with drums from drums from another track (“The another track (“The Ocean Is The Ocean Is The Ultimate Solution” Ultimate Solution” from from Sleep DirtSleep Dirt))

Rubber Shirt (Rubber Shirt (Sheik Sheik YerboutiYerbouti 1979) 1979)

Examples of painters who Examples of painters who have employed similar have employed similar

techniquestechniques

René MagritteRené MagritteThe Man With The Bowler Hat The Man With The Bowler Hat

(1964)(1964)

The Son of Man (1964)The Son of Man (1964)

Golconda (1953)Golconda (1953)

Mysteries of the HorizonMysteries of the Horizon (1955)(1955)

Salvador Dali -Anthromomorphic Salvador Dali -Anthromomorphic bread (1932)bread (1932)

The Persistence of The Persistence of Memory (1931)Memory (1931)

Disintegration of the Disintegration of the Persistence of memory Persistence of memory

(1954)(1954)

Soft watch at the Soft watch at the moment of explosion moment of explosion

(1954)(1954)

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

The weaning of furniture The weaning of furniture nutrition (1934)nutrition (1934)

Autumn Cannibalism Autumn Cannibalism (1936)(1936)

Sleep (1937)Sleep (1937)

The Burning Giraffe The Burning Giraffe (1937)(1937)

Warrior (1982)Warrior (1982)

Examples of musicians Examples of musicians who have incorporated who have incorporated

similar processessimilar processes Monteverdi - incorporating material from Monteverdi - incorporating material from L’OrfeoL’Orfeo in the 1610 in the 1610 VespersVespers

Prokoviev’s 3Prokoviev’s 3rdrd Symphony - instrumental Symphony - instrumental version of his opera version of his opera Fiery AnFiery Angelgel

Simon and Garfunkel’s ‘Save The Life Of My Simon and Garfunkel’s ‘Save The Life Of My Child’ (Child’ (BookendsBookends 1968) - ‘samples’ part of 1968) - ‘samples’ part of ‘The Sound of Silence’ ‘The Sound of Silence’

Buffalo Springfield’s live version of ‘Broken Buffalo Springfield’s live version of ‘Broken Arrow’ incorporates a direct recording of Arrow’ incorporates a direct recording of their ‘Mr Soul’their ‘Mr Soul’

Pervasive throughout Hip Hop and some Pervasive throughout Hip Hop and some dance music.dance music.

Ontological InterestOntological Interest

QuestionsQuestions

Palatine ProjectPalatine Project

Investigate Investigate viabilities of viabilities of interdisciplinary interdisciplinary teaching between teaching between Drama and MusicDrama and Music

Proposed an Proposed an ‘experiment’ – and ‘experiment’ – and documented a documented a report report demonstrating its demonstrating its effectiveness.effectiveness.

Project AimsProject Aims Enable Staff from Enable Staff from

Drama and Music to Drama and Music to work togetherwork together

Assist the assimilation Assist the assimilation and awareness of sister and awareness of sister disciplinesdisciplines

Assist a challenge for Assist a challenge for teaching staff who have teaching staff who have little experience in little experience in other disciplineother discipline

Consider other Consider other interdisciplinary units, interdisciplinary units, and ultimately degree and ultimately degree programmes.programmes.

The ProcessThe Process Students from both disciplines Students from both disciplines

worked on – Zappa worked on – Zappa Fish – An Fish – An Anti Off Off Off Broadway Anti Off Off Off Broadway MusicalMusical..

Music and text of piece Music and text of piece influenced by “Thing Fish”, and influenced by “Thing Fish”, and the Zappa portfolio in general. the Zappa portfolio in general.

Students worked in Students worked in drama/music groups, prior to drama/music groups, prior to coming together toward the coming together toward the end (similar methodology to end (similar methodology to what Zappa himself employed)what Zappa himself employed)

Music/Drama staff – Music/Drama staff – Transcribed the music in lead Transcribed the music in lead sheet form, documented the sheet form, documented the script, led rehearsals, and script, led rehearsals, and researched everything related researched everything related to Zappa!to Zappa!

Once working together – Once working together – students explored:students explored:

Musicological and Musicological and dramatic challengesdramatic challenges

Bilateral potential for Bilateral potential for integration into each integration into each others contextsothers contexts

How can one art form How can one art form substantiate the substantiate the meaning of the other?meaning of the other?

How Zappa’s How Zappa’s philosophical philosophical approaches to art can approaches to art can be incorporated.be incorporated.

Potential Future Potential Future Pedagogical ProjectsPedagogical Projects

Interdisciplinary work Interdisciplinary work exploring one or more exploring one or more of Zappa’s characters of Zappa’s characters (Billy the Mountain, (Billy the Mountain, Gregory Peccary, Gregory Peccary, ETC)ETC)

Interdisciplinary work Interdisciplinary work exploring techniques exploring techniques such as Big Note, such as Big Note, Conceptual Conceptual Continuity, Archetypal Continuity, Archetypal American Music American Music Icons, etc.Icons, etc.

Academic text Academic text discussing his personal discussing his personal characteristics, characteristics, political views, political views, manipulation of the manipulation of the media, etc)media, etc)

Compositional work Compositional work incorporating his incorporating his concepts.concepts.

Could begin with Could begin with either a musical or either a musical or dramatic starting pointdramatic starting point

Critical discussion of Critical discussion of the process.the process.

Use of space between Use of space between music and narrativemusic and narrative

Potential for Potential for improvisationimprovisation

Acting is good for Acting is good for popular music popular music performers – taking performers – taking on a character seems on a character seems to be liberating.to be liberating.