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ON THE MUSIC AND THE SPECIFICITY OF THE GROUP THE DOORS IN THE LIGHT OF THEIR COMPOSITIONS: LIGHT MY FIRE, CELEBRATION OF THE LIZARD, AND THE END (Polish title below)

100%
Gradowski M.
Przegląd Muzykologiczny
|
2009
|
issue 7
163-189
EN
(Polish title: O muzyce zespolu The Doors na przykladzie kompozycji 'Light My Fire', 'Celebration of the Lizard' i 'The End'). The three chosen compositions from The Doors allow for discussion of three aspects leading to an interpretation of the music of this American group. A song Light my fire, written by Robbie Krieger, illustrates the process of composing and arranging the music of The Doors, along with their individual experiences and capabilities of the members of that group, as well as their inspirations and compositional choices which resulted from their playing music together. The Celebration of the Lizard is an extended composition which allows an analysis of the stage realisations of their music, enriched, as they were, with para-theatrical and para-ritual elements which influenced considerably the impact of their particular compositions. The End is a distinct example of close connections between the music and the poetry created by Jim Morrison, the leader of the group. In conclusion the author of the article points to the pop-cultural meaning of the myth of Jim Morrison himself and to some functional relationship of that myth with the figure of Dionysus.
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Marlene Dietrich i "The Millionaire Waltz" Queen. Językowo-muzyczne konstrukcje persony w muzyce popularnej

63%
Gradowski M., Konert-Panek M.
Załącznik Kulturoznawczy
|
2020
|
issue 7. Hitchcock - rozchylanie kurtyny / Badanie muzyki popularnej
301-326
EN
The paper adopts an interdisciplinary research perspective on popular music on the basis of the song The Millionaire Waltz by Queen. The main focus is placed on the key part of the song: the fragment in which the vocalist, Freddie Mercury, adopts German accent. This fragment is analyzed with reference to the concept of persona, both musical (A.F. Moore) and linguistic – as emphasized in the theory of style-shifting (A. Bell) and the third wave in sociolinguistics (P. Eckert). The analysis concentrates on the problem of the split between the performer, persona and protagonist in the song, as well as the artistic tension between projection and originality. The applied research tools and methods (Praat and Sonic Visualiser programs, as well as formal and auditive analises) lead to the conclusion confirming the popular impression according to which Freddie Mercury imitates Marlene Dietrich in the analyzed song. His performance may be theorized as an example of Referee Design. Yet, some linguistic and musical aspects of this stylization suggest that this interpretation is not unambiguous. The complex character of the persona created by Mercury may be seen as an asset which gives rise to a wide spectrum of meanings (Marlene – German diva – diva), corresponding with Queen’s artistic tropes (stylization, cabaret, operetta, contrast, humor, nostalgia, queer) and maintaining the balance between reproduction and innovation.
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