The Beatles and Vocal Expression

Contents

 

Contents

List of Tables

List of Analytical Examples

Acknowledgements

Bibliography

Index

 

1. Rethinking The Beatles
2. Before The Beatles: 1950s American Popular Song
3. Primary Voice Qualities: Arch Shaped Intonation
4. Vocal Qualifiers: Vocal Fry, Falsetto, and Head Voice
5. Vocal Alternants: Stop Time and Pauses in Interaction
6. Differentiators: Laughter and Crying in Vocal Performance
7. Paralanguage and Inter-Song Thematic Processes
8. Paralinguistic Personae and The Beatles

 

List of Tables

3.1       Flow Chart of Primary Voice Qualities in Popular Song.

4.1       Flow Chart of Vocal Qualifiers in Popular Song.

5.1       Flow Chart of Vocal Alternants in Popular Song.

7.1       Flow Chart of Expressive Tropes giving rise to Paralinguistic Personae.

 

List of Analytical Examples

1.1       Jürgen Handke’s Formant Characteristics for the Four Cardinal Vowels.

1.2       Spectrogram of vowel ‘a’ alongside Jürgen Handke’s Formant Characteristic of [a].

1.3       Melodic range spectrogram of a steady and vibrato vocal.

 

3.1       Melodic sketch, ‘Misery’, Please Please Me, 1963 (Lennon-McCartney).

3.2       Analysis of ‘Misery’ (Lennon-McCartney), 00:02-00:07.

3.3       Analysis of ‘Misery’ (Lennon-McCartney), 01:39-01:40.

3.4       Analysis of ‘Ask Me Why’, Please Please Me, 1963 (Lennon-McCartney), 01:01-01:03.

3.5       Analysis of ‘A Taste of Honey’, recorded by Lenny Welch, 1962 (Scott and Marlow)

00:17-00:22.

3.6       Analysis of ‘Hold me tight’, With the Beatles, 1963 (Lennon-McCartney), 00:25-

00:31.

3.7       Analysis of ‘Eight days a week’, Beatles for Sale, 1964 (Lennon-McCartney), 01:06-

01:09.

3.8       Analysis of First (00:27-00:29) and Second (00:44-00:46) statements of ‘me’ in

‘What you’re doing’, Beatles for Sale, 1964 (Lennon-McCartney).

3.9       Analysis of Third statement of ‘me’, ‘What you’re doing’ (Lennon-McCartney),

00:57-01:01.

3.10     Analysis of ‘In my life’, Rubber Soul, 1965 (Lennon-McCartney), 02:10-02:15.

3.11     Analysis of ‘Nowhere man’, Rubber Soul, 1965 (Lennon-McCartney), 00:00-00:04.

3.12     Analysis of ‘Nowhere man’ (Lennon-McCartney), 00:42-00:44.

3.13     Analysis of ‘I’ll cry instead’, A Hard Day’s Night, 1964 (Lennon-McCartney), 01:00-

01:01.

3.14     Analysis of ‘Fool on the Hill’, Magical Mystery Tour, 1967 (Lennon-

McCartney), 00:37-00:40.

3.15     Analysis of ‘Across the Universe’, Let It Be (naked), 1970 (Lennon-McCartney),

00:42-00:46.

3.16     Analysis of ‘Across the Universe’ (Lennon-McCartney), 00:20-00:22.

3.17     Analysis of ‘Imagine’, John Lennon/Plastic Ono Band, 1971 (Lennon-Ono), 01:50-

01:51.

3.18     Analysis of ‘For no one’, Revolver, 1966 (Lennon-McCartney), 01:02-01:09.

3.19     Analysis of ‘A day in the life’, Sergeant Pepper’s Lonely Hearts Club Band, 1967

(Lennon-McCartney), 00:13-00:17.

3.20     Analysis of ‘A day in the life’ (Lennon-McCartney), 02:28-02:31.

3.21     Analysis of ‘Mother nature’s son’, The Beatles, 1968 (Lennon-McCartney), 02:08-

02:13.

3.22     Analysis of ‘Julia’, The Beatles, 1968 (Lennon-McCartney), 00:10-00:16.

 

4.1       Analysis of ‘Mr. Moonlight’, Beatles for Sale, 1964 (Johnson), 00:00-00:05.

4.2       Analysis of ‘Long Tall Sally’, recorded by Little Richard in 1957 (Blackwell, Johnson

and Richard), 00:03-00:08.

4.3       Analysis of ‘Long Tall Sally’, recorded by The Beatles in 1964 (Blackwell, Johnson

and Richard), 00:00-00:06.

4.4       Analysis of ‘Ready Teddy’, recorded by Buddy Holly in 1958 (Blackwell and

Marascalco), 00:31-00:33.

4.5       Analysis of ‘Anna (go to him)’, Please Please Me, 1963 (Alexander), 01:30-01:32.

4.6       Analysis of ‘This Boy’, Side 2 of ‘I want to hold your hand’, 1964 (Lennon-

McCartney), 01:01-01:03.

4.7       Analysis of ‘This Boy’ (Lennon-McCartney), 01:11-01:15.

4.8       Analysis of ‘This Boy’ (Lennon-McCartney), 01:24-01:28.

4.9       Analysis of four statements of ‘Hey’ in ‘You’ve got to hide your love away’, Help!

1965 (Lennon-McCartney), 00:39-01:41.

4.10     Analysis of ‘Oh! Darling’, Abbey Road, 1969 (Lennon-McCartney), 01:38-01:41.

Stereo mix.

4.11     Analysis of ‘Long tall Sally’. Little Richard, 00:12-00:13, and The Beatles, 00:11-

00:12.

4.12     Analysis of ‘I saw her standing there’, Please Please Me, 1963 (Lennon-McCartney),

01:05-01:11.

4.13     Analysis of ‘Please please Me’, Please Please Me, 1963 (Lennon-McCartney), 00:28-

00:29.

4.14     Analysis of ‘Help!’, Help! 1965 (Lennon-McCartney), 00:09-00:10.

4.15     Analysis of ‘Help!’ (Lennon-McCartney), 00:46-00:49.

4.16     Analysis From L-R: ‘Sie liebt dich’ (01:01-01:03) and ‘She loves you’ (01:03-01:04),

1963 (Lennon-McCartney).

4.17     Analysis of ‘She’s leaving home’, Sergeant Pepper’s Lonely Hearts Club Band, 1967

(Lennon-McCartney), 00:48-00:53.

4.18     Analysis of ‘She’s leaving home’ (Lennon-McCartney), 00:54-00:58.

4.19     Analysis of ‘She’s leaving home’ (Lennon-McCartney), 00:59-01:04.

 

5.1       Analysis of ‘There’s a place’, Please Please Me, 1963 (Lennon-McCartney), 00:06-

00:10.

 

7.1       Analysis of Tensegrity in ‘Misery’, Please Please Me, 1963 (Lennon-McCartney),

00:02-00:07.

7.2       Analysis of ‘Savoy truffle’, The Beatles, 1968 (Lennon-McCartney), 00:05-00:09.

7.3       Analysis of ‘Savoy truffle’ (Lennon-McCartney), 00:40-00:44.

7.4       Analysis of ‘Savoy truffle’ (Lennon-McCartney), 02:14-02:18.

7.5       Analysis of ‘Happiness is a warm gun’, The Beatles, 1968 (Lennon-McCartney),

00:07-00:10.

7.6       Analysis of ‘Happiness is a warm gun’ (Lennon-McCartney), 01:08-01:12.

7.7       Analysis of ‘Happiness is a warm gun’ (Lennon-McCartney), 01:48-01:52.

7.8       Analysis of ‘Happiness is a warm gun’ (Lennon-McCartney), 02:22-02:26.

7.9       Analysis of ‘Dig a pony’, Let it be (naked), 1970 (Lennon-McCartney), 00:12-00:15.

7.10     Analysis of ‘Dig a pony’ (Lennon-McCartney), 01:57-02:02.

 

8.1       Analysis of ‘Something’, Abbey Road, 1969 (Harrison), 00:55-00:57.

8.2       Analysis of ‘Something’ (Harrison), 01:20-01:25.

8.3       Analysis of ‘All things must pass’, All Things Must Pass, 1970 (Harrison), 00:47-

00:51.

8.4       Analysis of ‘All things must pass’ (Harrison), 01:19-01:25.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Acknowledgements

There are many who deserve my thanks and appreciation for their advice, guidance, and support throughout the planning, writing, and publishing of this book. My passion for research in popular song, specifically the music of The Beatles, began in my final year undergraduate degree at University College Dublin when I analysed Sergeant Pepper’s Lonely Hearts Club Band (1967). Under the supervision of Julian Horton, I developed my knowledge of music analysis and solidified my interest in The Beatles and their music. I then completed a master’s thesis at University College Dublin under the supervision of Wolfgang Marx, who further supported my attempt to develop popular song analysis. This thesis advanced aspects of my undergraduate degree in English and music, which involved a poetic and musical analysis of Abbey Road (1969).

 

I soon learned that traditional models of analysis were insufficient for examining recorded popular song, and with this unresolved thought, I met with Simon Trezise at Trinity College Dublin. He encouraged my thinking on this subject and supervised my PhD thesis ‘Paralanguage and The Beatles’. Simon Trezise has adopted many roles over the years: a supervisor, mentor, and dear friend. I thank him for his thoughtful discussions, continued encouragement, thorough feedback, and sharing his vast knowledge. I thank Gráinne Redican at Trinity College Dublin for her time and the TCD Home Hewson Scholarship and Taylor Bequest, which provided me with financial support during my studies.

 

I am grateful to Glenn Stanley and Laura Watson, the examiners of the Society for Musicology in Ireland Harry White Doctoral prize, who awarded my PhD thesis the inaugural medal in 2020. With this, I thank the Society for Musicology in Ireland, and extend a special mention to the following members of academia in alphabetical order: Lorraine Byrne-Bodley, Majella Boland, Ciarán Crilly, Orla Flanagan, Steven Gamble, Jonathan Hodgers, Nicole Grimes, Michael Lee, Evangelia Rigaki, Kayla Rush, and Harry White. A scholarly community that provided joyful discussions over the years.

 

My appreciation extends to my colleagues at the Department of Music, Dublin City University for supporting my research and teaching pursuits: Barbara Dignam, Patricia Flynn, John O’Flynn, Clare Wilson, and Robert Harvey. Thank you to the American Rock & Pop Music School who awarded me a scholarship to attend Walter Everett’s Beatles Research seminar in 2022. Thank you to Walter Everett for his advice, thoughtful insights, and feedback on aspects of this book.

 

A special thanks to my mentor Justin A. Williams. His pioneering research in hip-hop and musical borrowing has inspired many aspects of my thinking. I am grateful for his unfailing encouragement and supporting my scholarly pursuit. A further thank you goes to Justin Williams, Lori Burns, Heidi Bishop, and the anonymous reviewers at Routledge for their evaluations and expert advice. With this, I thank Mark Katz, John O’Flynn, Simon Trezise, and Steve Waxman for their detailed feedback on various chapters.

 

On a personal note, I wish to thank Bert Duggan, John Miller, and Sophie Barron. Thank you to my dear partner, Julian Ashe, for his kindness and encouragement. A special appreciation of gratitude goes to Ann and Patrick Duggan, Dearbháil Duggan, and Ultán Duggan. I thank my sister Dearbháil for her support, and my brother Ultán, for his thoughtfulness and reading of chapters. I express eternal love and appreciation to my parents Ann and Patrick. I thank them for their love and support, considered discussions, and encouraging my pursuit of music research and this book on The Beatles.

 

With a wide-ranging impact on musical, cultural, and historical events, The Beatles’ music has captivated many people around the world. This includes my ten-year-old self who went home to learn the lyrics of ‘Help!’ after I had heard the song in school. I now thank John Lennon, Paul McCartney, George Harrison and Ringo Starr for their inspirational output. Whilst I remain fascinated by the eclectic range of their melodies, harmonies, use of instrumentation, and lyrics, what continues to intrigue me is their plethora of vocal styles. Accounts from their studio sessions by Mark Lewisohn have noted their individual aims to alter their vocals and Peter Jackson’s Get Back (2021) shows them experimenting with vocalisms. From such accounts, and by listening to many recordings and performances, I have pondered the idea that there is ‘Something in the way [they sing]’ and I now invite the reader to embark on this rethinking of The Beatles.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Malawey, Victoria A Blaze of Light in Every Word: Analysing the Popular Singing Voice

(New York: Oxford University Press, 2020).

 

Maultsby, Portia K., ‘The Politics of Race Erasure in Defining Black Popular Music Origins’,

in Portia K. Maultsby and Mellonee V. Burnim, eds., Issues in African American Music: Power, Gender, Race, Representation (New York: Routledge, Taylor and Francis, 2017).

 

Maultsby, Portia K., and Mellonee V. Burnim, eds., African American Music: an

Introduction (Routledge: Taylor and Francis, 2006).

 

Massey, Howard, The Great British Recording Studio (Hal Leonard Books, 2015).

 

Mac Donald, Ian, Revolution in the Head: The Beatles’ Records and the Sixties, 3^rd edn.

(London: Vintage Books, 2008).

 

McAdams, Stephen, ‘Perspectives on the contribution of Timbre to Musical Structure’,

Computer Music Journal 23/3 (1999): 85-102.

 

McClary, Susan and Robert Walser, ‘Start Making Sense! Musicology Wrestles with Rock’,

in Simon Frith and Andrew Goodwin eds. On Record: Rock, Pop, and the Written

Word, (London: Routledge, 1990).

 

Mehrabian, Albert, Silent Messages (California: Wadsworth Publishing Co. 1971).

 

Meyer, Leonard B., Emotion and Meaning in Music (University of Chicago Press, 1961).

 

Michell, John, Euphonics: A Poet’s Dictionary of Sounds (Norfolk: Frontier Publishing,

1988).

 

Middleton, Richard, Studying Popular Music (Philadelphia: Open University Press,1990).

 

———, ed., Reading Pop: Approaches to Textual Analysis in Popular Music (Oxford:

Oxford University Press, 2000).

 

Miles, Barry, Paul McCartney: Many Years from Now (New York, NY: Henry Holt and

Company, 1997).

 

Moore, Allan F., Song Means: Analysing and Interpreting Recorded Popular Song

(Ashgate Folk Music Series, Surrey: Ashgate Publishing, 2012).

 

———, ‘An Issue of Deictic Projection in Recorded Song’, Journal of the Royal

Musicological Association 135/1 (2010).

 

———, ‘The Persona-Environment Relation in Recorded Song’, Music Theory Online

11/4 (2005).

 

———, ed., Analysing Popular Music (Cambridge: Cambridge University Press, 2003).

 

———, Rock, The Primary Text: Developing a Musicology of Rock (Brookfield and

Aldershot: Ashgate Publishing, 2001).

 

———, Sgt Pepper’s Lonely Hearts Club Band (Cambridge: Cambridge University Press,

1997).

 

Morrison, Matthew D., ‘The Sounds of Subjection: Constructing American Popular Music

and Racial Identity through Blacksound’, Taylor and Francis online (2017) 13-24.

 

Myers, Marc, Anatomy of a Song: the Oral History of 45 Iconic Hits that changed Rock,

R & B, and Pop (Grove Press, 2016).

 

Negus, Keith, ‘Narrative interpretation and the Popular Song’, The Musical Quarterly 95   

(2012): 368-395.

 

Nicholls, David, ‘Narrative Theory as an Analytical Tool in the Study of Popular Music’,

Music and Letters 88/2 (2007): 297-315.

 

Nöth, Winfried, Handbook of Semiotics (Bloomington and Indianapolis: Indiana

            University Press, 1990).

 

Norman, Philip, Shout! The Beatles in their Generation (New York: Simon Schuster, 1981).

Papenburg, Jens Gerrit, and Holger Schulze eds., Sound as Popular Culture: A

Research Companion (Boston: MIT Press, 2015).

 

Pinch, Trevor, and Karen Bijstervled, ‘Sound Studies: New Technology and Music’ Social

Studies of Science 34/5 (2004).

 

Pleasants, Henry, The Great American Popular Singers (London: Lowe & Brydone Ltd,

1974).

 

Pope, Shelby, ‘Ishmael Wadada Leo Smith Explains His Colorful, Abstract Musical

Notation’, KQED (2016).

 

Poyatos Fernando, Nonverbal Communication Across Disciplines, vol. II: Paralanguage,

kinesics, silence, personal and environmental interaction (Amsterdam and

Philadelphia: John Benjamins publishing company, 2002).

 

———, Paralanguage: A linguistic and interdisciplinary approach to interactive speech

and sound (Amsterdam and Philadelphia: John Benjamins publishing Co., 1993).

 

———, ‘Paralinguistic Qualifiers: Our Many Voices’, Language and Communication

11/3 (1991): 181-195.

 

———, ‘Language and Non-Verbal Features in the Structure of Face-to-face Interaction’,

Language and Communication 3/2 (1983a): 129-140.

 

———, New Perspectives in Nonverbal Communication: Studies in Cultural Anthropology,

Social Psychology, Linguistics, Literature and Semiotics (Language and

Communication Library, vol. 5. Pergamon Press, 1983b).

 

———, ‘Cross-cultural analysis of paralinguistic ‘alternants’ in face-to-face Interaction’, in

Kendon, A., Harris, R. and Key, M. eds., Organisation of Behaviour in Face-to-Face

Interaction (1975): 285-314.

 

Price, Charles Gower, ‘Sources of American Styles in the Music of The Beatles’, American

Music 15/2 (1997).

 

Roads, Curtis, Composing Electronic Music (Oxford: Oxford University Press, 2015).

 

Schafer, Murray R., The Soundscape: our sonic environment and the tuning of the world

(Rochester: Destiny Books, 1992).

 

Sebeok, Thomas A., ‘Zoosemiotic Components of Human Communication’, in Thomas

Sebeok ed. How Animals Communicate. Bloomington: Indiana University Press

(1977): 1056-1077. 

 

Shakespeare, William, King Lear, Patrick Murray ed. (Dublin: The Educational

Company of Ireland, 2008).

 

Smalley, Denis, ‘Defining Transformations’, Interface 22/4 (1993): 279-300.

———, ‘Spectromorphology: Explaining Sound-Shapes’, Organised Sound 2/2 (1997):

107-126.

 

Sterne, Jonathan, ed., The Sound Studies Reader (London: Routledge, 2012).

 

Storey, John, Cultural Studies and the Study of Popular Culture (Edinburgh: Edinburgh

University Press, 2010).

 

Sun Eidsheim, Nina, The Race of Sound: Listening, Timbre, and Vocality in African

American Music (Durham and London: Duke University Press, 2019).

 

Tagg, Philip, Music’s Meanings: A Modern Musicology for Non-Musos (New York:

Mass Media Music Scholar’s Press, 2013).

 

———, Everyday Tonality: Towards a Theory of What Most People Hear (Université

de Montreal, The Mass Media Music Scholars Press, 2009).

 

———, ‘Analysing Popular Music: Theory, Method and Practice’, Popular Music:

Theory and Method 2 (Cambridge: Cambridge University Press, 1982).

 

Tatnell, Roland Stuart, ‘Falsetto Practice: A Brief Summary’ The Consort 22 (1965): 32.

 

Thoresen, Lasse, ‘Form-building transformations: an approach to emergent musical forms’,

Journal of Music and Meaning 3 (2007).

 

Touzeau, Jeff, Artists on Recording Techniques (USA: Course Technology PTR: a part of

Cengage Learning, 2009).

 

Tuckman, Bruce W., ‘Developmental Sequence in Small Groups’, Psychological Bulletin 63/6

(1965): 384-399.

 

van Elferen, Isabella, ‘Timbrality: The Vibrant Aesthetics of Tone Color’, in Emily I. Dolan,

and Alexander Rehding (eds), The Oxford Handbook of Timbre (2021; online edn,

Oxford Academic, 8 May 2018),

https://doi.org/10.1093/oxfordhb/9780190637224.013.28, accessed 2 Aug. 2022.

 

Van Leeuwen, Theo, Speech, Music, and Sound (London: MacMillan Press, 1999).

 

Van Der Merwe, Peter, The Origins of the Popular Style: The Antecedents of Twentieth

Century Popular Music (Oxford: Clarendon Press, 1989).

 

Walser, Robert, ‘Out of Notes: Signification, Interpretation, and the Problem of Miles

Davis’, The Musical Quarterly 77/2 (1993): 343-365.

 

Whissell, Cynthia, ‘Traditional and Emotional Stylometric Analysis of the Songs of Paul

McCartney and John Lennon’, Computers and the Humanities 30/3 (1996): 257-

265.

 

Williams, Justin A., Rhymin’ and Stealin’: Musical Borrowing in Hip-Hop (Ann Arbor: The

University of Michigan Press, 2014).

 

———, ‘Theoretical Approaches to Quotation in Hip-Hop Recordings’,

Contemporary Music Review 33/2 (2014): 188-209.

 

———, ‘Musical borrowing in hip-hop music: theoretical frameworks and

case studies’ (PhD diss. University of Nottingham, 2010).

 

Zagorski-Thomas, The Musicology of Record Production (Cambridge: Cambridge

University Press, 2014).

 

———, ‘Timbre as Text: the cognitive roots of intertextuality’ (awaiting publication).

 

Zak, Albin, The Poetics of Rock: Cutting Tracks, Making Records (California:

University of California Press, 2001).

 

Discography

 

Berry, Chuck, Chuck Berry & Other Kings of Rock ‘n’ Roll, compact disc Big BT3024,

2002.

 

Cochran, Eddie, Eddie Cochran: The Absolute Essential 3 CD collection, compact disc

Big 3 BT3110, 2016.

 

Domino, Fats, Fats Domino: The Absolute Essential 3 CD collection, compact disc Big

3 BT3072, 2014.

 

Elliot, Missy, Original Album Series, compact disc box set Rhino B00DDVPXYG, 2013.

 

Fitzgerald, Ella, The Great American Songbook, compact disc Not Now Music Ltd,

NOT2CD211 2007.

 

Harrison, George, All things must pass, compact disc Parlophone/EMI B00005214X,

2001.

 

Holly, Buddy, Buddy Holly: The Absolute Essential 3 CD collection, compact disc Big 3

BT3113, 2016.

 

Lennon, John, Imagine: The Ultimate Collection, compact disc UMC B07FLG9Z47,

2018.

 

———, Double Fantasy, compact disc Capitol B00004WGEK, 2000.

 

———, John Lennon/Plastic Ono Band, compact disc Capital B003Y8YXFI, 2010.

 

McCartney, Paul, Egypt Station, Capitol B07DV95WN6, 2018.

 

———, New, compact disc Virgin EMI 00EUS9IBU, 2013.

 

Orbison, Roy. The Very Best of Roy Orbison, compact disc Sony Music Cmg,

B000EWBNCS, 2007.

 

Presley, Elvis, The Essential Elvis Presley, compact disc Sony Music RCA

88697778392, 2010.

 

———, Rockin’ Elvis: The Absolute Essential 3CD Collection, compact disc Big 3

BT3138, 2017.

 

———, Elvis Presley and the Original Rock’n’Roll Kings, compact disc Big 3 BT3002,

2008.

 

Richard, Little, Little Richard: The Absolute Essential 3 CD collection, compact disc Big

3 BT3115, 2016.

 

The Beatles in Mono: The Complete Mono Recordings, compact disc Parlophone

B002BSHXJA, 2009.

 

The Beatles, The Beatles’ Anthologies, DVD, Capitol, B00008GKEG, 2003.

 

———, The Beatles’ Anthology 1, compact disc Capitol B000002TYX, 1995.

 

———, The Beatles’ Anthology 2, compact disc Capitol B07WGYG1NH, 1996.

 

———, The Beatles’ Anthology 3, compact disc Capitol B000002TZ2, 1996.

 

———, Let it be naked, compact disc Capitol B0000DJZA5, 2003.

 

———, The Beatles Live at the BBC, compact disc Capitol B000007MVD, 2001.

 

———, Twist and Shout: 60 Songs that influenced The Beatles, compact disc Big 3

BT3145, 2017.

 

———, The Beatles Live! At the Star-Club in Hamburg, Germany, vinyl Lingasong Ltd.

BLS 5560, 1977.

 

The Everly Brothers, The Everly Brothers: The Absolute Essential 3CD Collection,

compact disc Big 3 BT3055, 2012.

 

The Foundations, The Foundations: All the hits plus more, compact disc Prestige Elite

Records Ltd. B000024QV6, 1997.

 

The Isley Brothers, Twist and Shout, compact disc Not Now Music Ltd.

B01AXMAXOW, 2015.

 

The Rolling Stones, Rolled Gold: the very best of the Rolling Stones, vinyl The Decca

Record Company Ltd. 1975.

 

The Shirelles, The Shirelles: Will You Love Me Tomorrow, compact disc Not Now Music

Ltd B008DG7YSY, 2013.

 

Robinson, Smokey, et. al., Smokey Robinson & the Miracles: Shop Around, compact disc

Not Now Music Ltd. B007BWUEQ0, 2012.

 

Under the Influence: 60 Songs that influenced The Rolling Stones, compact disc Big 3

BT3180, 2018.

 

Waters, Muddy, The Best of Muddy Waters: King of the Blues, compact disc Not Now

Music Ltd, B001U7FW96, 2009.

 

Welch, Lenny, The Complete Cadence Recordings, 1959-1964, compact disc Ace

Records, B000JJ4G9S, 2007.

 

Williams, Hank, The Very Best of Hank Williams, compact disc Not Now Music Ltd,

B00CL1C68A, 2013.

 

Software

 

aul Boersma & David Weenink (2013): Praat: doing phonetics by computer [Computer

program]. Version 5.3.51, retrieved 2 September 2016 from

http://www.praat.org/

 

Cannam, Chris, Christian Landone, and Mark Sandler, (2010) Sonic Visualiser: An Open

Source Application for Viewing, Analysing, and Annotating Music Audio Files, in

Proceedings of the ACM Multimedia2010 International Conference.

 

Sonic Visualiser: http://www.sonicvisualiser.org/doc/reference/1.3/en/#spectrogram, 3

March 2016).  

 

 

Filmography

 

Boyle, Danny, Yesterday (Decibel Films, Etalon Film, Perfect World Pictures. Working

Title Films, 2019).

 

Butler, David, Calamity Jane (Warner Brothers, 1953).

 

Crosland, Alan, and Samson Raphaelson, The Jazz Singer (USA 1927).

 

Curtiz, Michael, White Christmas (Paramount Pictures Corporation, 1954).

 

Harrison, G., et al. The Magical Mystery Tour, (Apple Corporation, 1967).

 

Lasseter, John, Toy Story (Burbank, Calif, Disney/Pixar, 2000).

 

Musker, John, et al., The Little Mermaid (Burbank, CA, Walt Disney Co., 2006).

 

 

Websites Cited

 

Berio, Luciano, Centro Studio Luciano Berio

(http://www.lucianoberio.org/node/1505?2019623839=1, 25 September 2019).

 

Beatles in the Studio Complete and Very Rare 5:09 – 5:22.

 

‘Box Office Mojo’

(https://www.boxofficemojo.com/movies/?id=untitleddannyboyle.htm, 11

September 2019).

 

Collins English Dictionary (https://www.collinsdictionary.com/dictionary/english/cover,

21 August 2018). 

 

Cambridge Dictionary Online (https://dictionary.cambridge.org/dictionary/english/

paralanguage?topic=terminology-and-vocabulary, 21 August 2018).

 

Dennis, Jon, ‘The Guardian’ (https://www.theguardian.com/music/2011/jul/21/readers-

recommend-songs-false-endings-results, 5 September 2019).

 

Emotional Little Richard Interview on The Donny & Marie Osmond Talk Show

(https://www.youtube.com/watch?v=PgjCSY41L7Y, 25 January 2018).

 

Friedman, Jonathan, ‘More than Words’, Thinking on Music: exploring music in the

human experience (https://thinkingonmusic.wordpress.com/tag/non-verbal-

communication/, 10 December 2018).

 

‘Gene Simmons talks Liverpool, the Beatles’ Kiss Online 2010, Echo.co.uk

(https://www.kissonline.com/news?n_id=50714, 10 October 2017).

 

Handke. Jürgen,‘PHO121 - Speech Analysis’, The Virtual Linguistics Campus

(www.linguistics-online.com, 2013 [date accessed, 5 October 2017]), 12:08.

 

Hopkins, Kate, ‘10 of Operas Greatest Soprano Roles’ Royal Opera House, 2016

(https://www.roh.org.uk/news/aiming-high-10-of-the-most-challenging-

soprano-roles, 30 May 2019).

 

Jones, David L., ‘The Countertenor: vocal issues and answers’

(http://www.voiceteacher.com/counter_Tenor.html, 15 March 2019).

 

Krerowicz, Aaron, Flip Side Beatles (https://www.aaronkrerowicz.com/, 10 April 2017). 

 

Lennon, John, ‘Imagine’ (https://www.youtube.com/watch?v=CywE9VMESlI,

25 April 2019). 

 

‘Lennon or McCartney? Can statistical analysis solve an authorship puzzle?’

(https://phys.org/news/2018-07-lennon-mccartney-statistical-analysisauthorship.html, 27 September 2019).

 

Manabe, Noriko, ‘Abe Road: Kuwata Keisuke’s Political Parody of the Beatles’, Our

Subversive Voice (https://oursubversivevoice.com/voice/abe-road-kuwata-keisukes

political-parody-of-the-beatles/, 4 January 2022).

 

Mastrapolo, Frank, ‘Top 11 musicians influenced by the Beatles’ Rock Cellar Magazine

2014) (https://www.rockcellarmagazine.com/top-11-musicians-influenced-by-

the-beatles-50th-anniversary/, 10 October 2017).

 

McCartney, Paul, ‘The Paul McCartney Project’

https://www.the-paulmccartney-project.com/song/early-days/, 25 April 2019).

 

McCartney breaks down his most iconic songs

(https://www.youtube.com/watch?v=u97_inloBmY, 3 September 2019).

 

McCartney, Paul, ‘Early Days’ (https://www.youtube.com/watch?v=QvBVIA_ZaNg, 8

April 2019).

 

Moss, Charles J, ‘How the Beatles’ Revolver gave Brian Wilson a nervous breakdown:

the magic behind rock’n’rolls artistic revolution of 1966’ Cuepoint 4 August

2016. (https://medium.com/cuepoint/how-the-beatles-revolver-gave-brian-

wilson-a-nervous-breakdown-4b3939c4e0e5, 15 October, 2017).

 

‘Not I’, Billie Whitelaw, 1973

(https://www.youtube.com/watch?v=M4LDwfKxr-M, 25 September 2019).

 

O’Connor, Karyn, ‘SingWise.com’

(http://www.singwise.com/cgibin/main.pl?section=articles&doc=Understanding

VocalRangeRegistersAndType, 24 February 2018).

 

Oxford Reference Online

(https://www.oxfordreference.com/view/10.1093/oi/authority.201108030956527

65, 12 September 2019).

 

Oxford English Dictionary (http://www.oxforddictionaries.com/definition/english/lyric,

21 August 2018).

 

Oxford Music Online

(http://www.oxfordmusiconline.com/subscriber/article/grove/music/47951?q=ly

rics&search=quick&pos=1&_start=1#firsthit, 21 August 2018).

 

Paul McCartney inducts John Lennon into the Rock and Roll Hall of Fame

(https://www.youtube.com/watch?v=YDChVcLWpGc, 10 February 2018).

 

‘Paul McCartney – Come on to me (Official Video)’

(https://www.youtube.com/watch?v=mSU4O7FzrRU, 2 May 2019).

 

‘Paul McCartney Fuh You’ (https://www.youtube.com/watch?v=CWYlWvtEyio, 8 June

2019).

 

Salfino, Mike. ‘The Beatles vs. The Rolling Stones: A tale of the tape-loop look at who

really was best’ https://www.pastemagazine.com/articles/2018/05/beatles-rolling-stones.html, 4 May 2018).

 

Soa Architects, ‘21 types of Architectural Arches’ (https://www.saoarchitects.com/21-types-

of-architectural-arches, date accessed: 30 August 2018).

 

Sutherland, Dame Joan, ‘Eccola’ (The Mad Scene) Donizetti’s Lucia di

Lammermoor (https://www.youtube.com/watch?v=U3_8wz_xNI0, 25

September 2019).

 

Tagg, Philip, Introductory Notes to the Semiotics of Music’

(http://www.tagg.org/xpdfs/semiotug.pdf, January 2014).

 

The Donays ‘Devil in His Heart’ (https://www.youtube.com/watch?v=9oEfzk7kToI,

October 2017).

 

Warwick, Jacqueline, ‘Child’s Play: Mimicry, Nostalgia, and Child Musicians’, Ann

Arbour Symposium IV (https://www.youtube.com/watch?v=qTXzBAxXQOE, 20 November 2015).

 

Willingdale, Victoria, ‘Leading Phonetician Klaus J. Kohler invites you to discuss

Communicative Functions and Linguistic Forms in Speech Interaction’

(https://cup.linguistlist.org/academic-books/leading-phonetician-klaus-j-kohler-invites-you-to-discuss-communicative-functions-and-linguistic-forms-in-speech-interaction/, 25 September 2019).

 

 

 

Index

 

Biography

Bláithín Duggan is a part-time lecturer at Dublin City University. Bláithín’s research focuses on a multidisciplinary approach to the analysis and interpretation of nineteenth- and twentieth-century popular song. This encompasses music theory and analysis, sound studies, performance studies, and paralinguistics. In 2020, Bláithín’s doctoral thesis ‘Paralanguage and The Beatles’, completed under the supervision of Dr Simon Trezise at Trinity College Dublin, was awarded the inaugural Society for Musicology in Ireland Harry White doctoral medal.