List of Figures

  1. Figure 2.1 Structural hierarchy and overall shape (form) of "Every Little Thing" by the Beatles.
  2. Figure 3.1 Underlying metric grid, surface rhythmic pattern, hypermeter and phrase structure.
  3. Figure 3.2 Blues, pentatonic and pentatonic minor scales commonly found in rock and popular music.
  4. Figure 3.3 Chords built on the scale degrees of Dorian, Mixolydian, Aeolian and major modes, with designations of chord qualities and scale degrees.
  5. Figure 3.4 A typical twelve-bar blues pattern indicating harmonies, harmonic rhythm and four-bar hypermeter.
  6. Figure 4.1 Scansion notating the chorus and first verse of the Beatles' "Strawberry Fields Forever" (1967).
  7. Figure 4.2 Phonetic symbols for English vowel and consonant sounds.
  8. Figure 4.3 Listing of diacritical and suprasegmental IPA symbols. Adapted from the IPA Chart, http://www.internationalphoneticassociation.org/content/ipa-chart, available under a Creative Commons Attribution-Sharealike 3.0 Unported License. Copyright © 2015 International Phonetic Association.
  9. Figure 4.4 Song titles transferred into the International Phonetic Alphabet.
  10. Figure 5.1 Large dimension timeline of "While My Guitar Gently Weeps" (1968).
  11. Figure 5.2 Middle dimension timeline containing select elements of music and lyrics; beginning sections of "Here Comes the Sun" (1969).
  12. Figure 5.3 Timeline of the opening sections of "Let It Be" (1, 2000 version) with sound sources identified in each section.
  13. Figure 5.4 Melodic gestures illustrated as general melodic shapes and contours. John Lennon's lead vocal from the first chorus and first verse of "Strawberry Fields Forever" (1967).
  14. Figure 5.5 Pitch density graph of all instruments present within the musical fabric in the opening sections of "Let It Be" (1, 2000).
  15. Figure 5.6 Basic groove in "Cold Sweat" (1967) by James Brown (standard pattern indicated in circles). Figure from Presence and Pleasure: The Funk Grooves of James Brown and Parliament © 2006 by Anne Danielsen. Published by Wesleyan University Press. Used by permission.
  16. Figure 5.7 Select observations of lyrics incorporated into timeline, within "While My Guitar Gently Weeps" Verse 1 and Bridge 1.
  17. Figure 5.8 Quartertone notation demonstrating enharmonic spellings using one- and three-quartertone symbols.
  18. Figure 5.9 Notation for an indeterminate notation for microtone and microrhythm deviations from conventional notation values, and for speech-singing.
  19. Figure 5.10 The line "Nothing is real" from "Strawberry Fields Forever" (1967) as it appears in each chorus.
  20. Figure 6.1 X-Y multi-tier graph, with separate tiers for loudness balance, stereo imaging and distance position.
  21. Figure 6.2 Direct-field loudspeaker relationships to the listening room and the listener location.
  22. Figure 7.1 Harmonic vibrations of a string through the 8th harmonic.
  23. Figure 7.2 Harmonic series through 16 harmonics, with pitch names and frequencies identified.
  24. Figure 7.3 Dynamic envelope general shape and parts.
  25. Figure 7.4 Pitch/frequency registers in relation to keyboard with pitches, octave designations and equivalent frequencies.
  26. Figure 7.5 Pitch area graph of individual drum sounds from "The End" (1969, 1987).
  27. Figure 7.6 Pitch density and timbral balance (including all instruments in the texture) from the beginning through the second verse of "Let It Be" (1, 2000).
  28. Figure 7.7 Timbre analysis graph.
  29. Figure 7.8 Timbre analysis graph of Moog synthesizer sound from "Maxwell's Silver Hammer" (1969, 1987) at 51.1 seconds.
  30. Figure 8.1 Left-right stereo loudspeaker configuration imbedded within the 5.1 surround sound layout recommended by the ITU (International Telecommunications Union); mono reproduced by center speaker or L/R stereo speakers.
  31. Figure 8.2 Sound sources positioned by lateral (stereo) location and distance from the listener, grouped into a single area or sound stage, which is contained within the track's holistic environment.
  32. Figure 8.3 Stereo field: area of sound source localization in stereo.
  33. Figure 8.4 Calculating degree increments for stereo image source positions, and the vertical axis of the Stereo Location X-Y Graph.
  34. Figure 8.5 Stereo imaging graph of "A Day in the Life" (1967, 1987). Graph contains two tiers of sources against the timeline.
  35. Figure 8.6 Distance location graph, divided into five distance zones, each divided into halves.
  36. Figure 8.7 Distance location graph of the initial sections of the Beatles' "A Day in the Life" (1967, 1987).
  37. Figure 8.8 Proximate sound stage, for generalized image placements.
  38. Figure 8.9 Scaled sound stage diagram for precise localization of images.
  39. Figure 8.10 Host Environments (sources and their spaces) on a sound stage; simultaneous spaces, overlapping spaces, spaces within space (host environments embedded within the holistic environment).
  40. Figure 8.11 Unfolding time segments of environments, and types of reflections within environments.
  41. Figure 8.12 Simple paths of reflected sound within an enclosed space.
  42. Figure 9.1 VU (volume unit) meter.
  43. Figure 9.2 Program dynamic contour (track loudness contour) graph of the Beatles' "Here Comes the Sun," Abbey Road (1969, 1987).
  44. Figure 9.3 Loudness balance graph of the Beatles' "Lucy in the Sky with Diamonds" from Sgt. Pepper's Lonely Hearts Club Band (1967, 1987).
  45. Figure 9.4 Generalized loudness balance graphs of three versions of the Beatles' "Let It Be."
  46. Figure 9.5 Performance intensity and loudness balance graph of the Beatles' "Lucy in the Sky with Diamonds," Yellow Submarine (1999).
  47. Figure 9.6 Temporal X-Y graph comparing pitch density and stereo imaging against a common timeline; from the Beatles' "Lucy in the Sky with Diamonds," Yellow Submarine (1999).
  48. Figure 9.7 Non-temporal X-Y graph comparing pitch density and stereo imaging; the Beatles' "Lucy in the Sky with Diamonds," Yellow Submarine (1999), 0:00-0:31.
  49. Figure 9.8 Proximate sound stage of "Let It Be" (Past Masters, Volume Two, 1988) 0:00-1:01. Diagram illustrates sound source image positions and size, outlined by the widths and depths of their host environments.
  50. Figure 9.9 Confluence of domains and performance, within the context, character, affects and interpretation of the track.
  51. Figure 9.10 Master chart of element activities and of materials within the three domains, qualities added by performance, and of interpretation, context, affects, character and characteristics of the track.
  52. Figure 10.1 Palindromic shape of "While My Guitar Gently Weeps" (1968, 1987).
  53. Figure 10.2 Structure of "Here Comes the Sun" (1969, 1987).
  54. Figure 10.3 Annotated timeline of "Here Comes the Sun" (1969, 1987).
  55. Figure 10.4 Moog synthesizer glissando at 0:12 in "Here Comes the Sun" (1969, 1987).
  56. Figure 10.5 Strong and weak stresses, phonetic sounds, and the lyrics as sung by John Lennon, "Strawberry Fields Forever" (1967, 1987).
  57. Figure 10.6 Pitch density and timbral balance graph of the beginning through Verse 1 of "Here Comes the Sun" (1969, 1987).
  58. Figure 10.7 Program dynamic contour of "Strawberry Fields Forever" (1967, 1987).
  59. Figure 10.8 Performance intensity and loudness balance of "Strawberry Fields Forever" (1967, 1987).
  60. Figure 10.9 Distance location graph of vocal lines from "Not Ready to Make Nice" (2006) by the Dixie Chicks.
  61. Figure 10.10 Distance location graph of "Here Comes the Sun" (1969, 1987), beginning through Verse 1.
  62. Figure 10.11 Lead vocal distance positions by track throughout Time Out of Mind (1997) by Bob Dylan.
  63. Figure 10.12 Stereo location graph of two versions of "Let It Be," the Past Masters, Volume Two (original single release) and Let It Be (1970); through Verse 2 (the first 24 measures).
  64. Figure 10.13 Stereo location and timbral balance graph of two versions of "Let It Be," the Past Masters, Volume Two (original single release) and Let It Be (1970); through Verse 2 (the first 24 measures).
  65. Figure 10.14 Scaled sound stage for "While My Guitar Gently Weeps," LOVE (2006) version.
  66. Figure 10.15 Scaled sound stage for "While My Guitar Gently Weeps," The Beatles (1968, 1987) "White Album" version.
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