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Bob Dylan Group 5: Joshua Jansen, Alexandra Puls, Jake Parenteau, & Jared Larson.

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Presentation on theme: "Bob Dylan Group 5: Joshua Jansen, Alexandra Puls, Jake Parenteau, & Jared Larson."— Presentation transcript:

1 Bob Dylan Group 5: Joshua Jansen, Alexandra Puls, Jake Parenteau, & Jared Larson

2 Why Bob Dylan? Bob Dylan is one of the greatest lyricists to have ever lived. He has been an influential figure in music and culture for more than five decades. He won a special citation from the Pulitzer Prize jury because of his compositions of poetic power.

3 So... why else? Bob Dylan is more than just a figure of rock music's developmental history - he is a figure of societal development through his use of, as mentioned: poetry! Utilizing his uniquely intelligent lyrics, Dylan's music often surrounded deeper topics such as depression, victory, the supernatural, and countless others. "The thing about rock'n'roll is that for me anyway it wasn't enough... There were great catch-phrases and driving pulse rhythms... but the songs weren't serious or didn't reflect life in a realistic way. I knew that when I got into folk music, it was more of a serious type of thing. The songs are filled with more despair, more sadness, more triumph, more faith in the supernatural, much deeper feelings." - Bob Dylan

4 Early Life Bob Dylan was born Robert Allen Zimmerman in Duluth, Minnesota on May 24, Throughout his early years and teen years, Dylan spent most of his time listening to blues, country, and rock 'n' roll radio stations - with a particular musical affinity for those genres of country, rock 'n' roll, and traditional folk- music. By age 10 he was a self-taught guitarist and also learned how to play harmonica. He created and performed with many different bands during high school; doing covers of Danny and the Juniors, Elvis Presley, and Little Richard.

5 Early Life Continued 1959 Bob Dylan moved to Minneapolis and enrolled at the University of Minnesota. He performed at a local coffeehouse known as the Ten O'Clock Scholar. He lived in an apartment above Gray's Campus Drug, which is now called The Loring Pasta Bar. It was during his Dinkytown days that Robert Zimmerman began introducing himself as Bob Dylan.

6 The Beginning In May 1960, Bob Dylan dropped out of college and by January of '61 he was moving to New York City. The reasoning for this: o He was hoping to perform there o Dylan wanted to visit his idol and biggest influence during his early days, Woody Guthrie (Guthrie was terribly sick with Huntington's Disease). Dylan achieved both his hopes within only a short time. He performed at various clubs in the Greenwich Village area.

7 About Bob Dylan Unlike anybody else at the time, regarded as the rock ‘n’ roll “poet-singer” Has an innate ability to connect his words and songs with everybody who listens to his music "[I] don't call myself a poet." - Bob Dylan

8 About Bob Dylan Likes speaking from the heart which, while poetic in nature, it is dissimilar by the lyrical value in conjunction with the “background music” That is to say, Bob Dylan values the music as much as the lyrics - and points out the obvious error in saying one form of expressive art is more important than the other (which is the case with poetry; implying that heartfelt, poetic emotions are solely words, which is wrong in Bob Dylan’s eyes as it completely disregards the valuable emotional capabilities that come from musical compositions)

9 Record Deal October 1961, John Hammond signed Dylan to Columbia Records March 1962 Bob Dylan was released. The album consisted of folk, blues, and gospel material. o The album only sold a whopping 5,000 copies August 1962 Bob Dylan signed a management contract with Albert Grossman. That same month he legally changed his name to Bob Dylan.

10 Records Continued May 1963, Dylan's second album The Freewheelin' Bob Dylan was released. He had started to make his name as a singer and a songwriter. o This album included many protest style songs.

11 “The Times They Are a-Changin'” was released, which was far ahead of its time through its stylistic quality that was recognized later on as mixing protest songs with personal lyrics. By this time, Dylan was playing around 200 concerts a year! “Another Side of Bob Dylan” was recorded in a single evening. “Bringing It All Back Home” had a very different sound than the folk style Dylan was known for, the beginning of Bob Dylan's revolution Early Albums

12 Life Changes 1965 Dylan married 25 year old model Shirley Noznisky Bob Dylan is involved in a terrible motorcycle accident with several broken neck vertebrae, a concussion, and lacerations of the face and scalp. o He was in critical condition for a week and bedridden for a month. o The accident left him amnesia and mild paralysis. This accident hurt Dylan mentally as much as it did physically. He spent nine months in seclusion after the accident. In 1968 Bob Dylan made his public re-entry with the release of another album

13 Later On Bob Dylan continued making many more albums, all having powerful and meaningful lyrics. He has numerous achievements and has done many things in the music industry. He is alive and well today and is still writing, producing, and selling his music. o Dylan has also published 3 books of drawings and paintings.

14 Musical Analysis of "Like a Rolling Stone" The song that we have chosen to analyze is: "Like a Rolling Stone" We chose this piece of music because it was one of Bob Dylan's most successful hits, and had an interesting array of instruments for a folk song of that time period.

15 Musical Aspects of "Like a Rolling Stone" Instrumentation: Electronic keyboard/synthesizer Harmonica Vocals (singular vocalist) Electric guitar Basic folk drum kit (kick, snare, & ride/crash) Meter: Binary-Strophic Form Quadruple Metered; but, certain parts of the song are best described as Duple Meters

16 Musical Aspects of "Like a Rolling Stone" Beat Subdivision: Main vocal beats are 1 & 3 o Syncopating drums on 2 & 4 Mezzo-Forte ([mf]) verses; crescendos into choruses at [f]; decrescendos back to [mf] for next verse o This notes one of the musical elements, which will be discussed shortly, regarding "dynamics" of this composition Texture: Polyphonic Imitative

17 Musical Form of "Like a Rolling Stone" Verse-Chorus Song Form [ABABABAB song format - 4 verses] *(A) Verses 1-4 change lyrics, each verse **(B) Chorus in-between each of the verses Chorus ("How does it feel?...") 4/4 time; 10 measures the first time; 12 measures in choruses 2-4 (*); [AAABC form] Verse (new lyrics for each new verse) 4/4 time; 20 measures each; [AABCD form]

18 Musical Structure & Elements of "Like a Rolling Stone" Rhythm: o Syncopation from drums Melody: o Vocals are conjunct mainly, but become disjunct approaching the verse-chorus changes o Guitar riffs and harmonica fills take charge of the melody intermittently throughout the course of the song, using a soloistic approach to keeping the verses different from one-another (solos seem improvised, which impressions the listener to mark a change within the song's format)

19 Musical Structure & Elements of "Like a Rolling Stone" Harmony: o The guitar and keyboard often are within consonance, but the song employs a "Call & Response" tactic within the verses and choruses; calling for major-minor (and vice-versa) transitions between instruments, with the adjacent vocal melody Tone: o The range and register of this song stays mostly within the bass and treble-clef area, with exceptions from vocals approaching changes in verse to chorus transitioning

20 Analytical Discussion of "Like a Rolling Stone" Overall, from an analytical standpoint, I believe that this song follows a pretty standard approach to folk-music; however, it takes an atypical twist (which is quite characteristic for Bob Dylan to do in his music) that starts with the instrumentation and carries on throughout the piece. The instruments used are mainly electronic, which is very different from the folk-music of the time. Most songs were acoustic, as it was customary of the genre to contain those sounds - but this music showed a challenge to normative culture in all aspects; including the simplest, most "key" element of all: instrumentation.

21 Continued Analytical Discussion of "Like a Rolling Stone" To follow that analysis of the base-layer for the song, it can also be noted that the form is very simplistically typical, yet cleverly unique to this genre of music. [ABAB] format is one of the most easily composed types of arrangements: it is the use of an initial verse, followed by a chorus, then followed by a lyrically new verse, succeeded by the same and unchanging chorus - so on, and so forth. While this is widely used in the folk-music style, the intricacies of Bob Dylan can be found in the way that he augments the song's structure.

22 Continued Analytical Discussion of "Like a Rolling Stone" The song structure, technically, follows a format of [ABACACAC] because the first chorus only contains 10 measures, while the other three contain 12 measures. This simple twisting of this streamlined musicality style, from which the generic backbone of this time period's folk-music is based upon, created many forces for change; thus, the beginnings of "crossing-over" from folk-music to contemporary rock 'n' roll!

23 Continued Analytical Discussion of "Like a Rolling Stone" Intricacies are also found within each of the verses and choruses. The patterns in the verses consist of [AABCD] form, which is used for soloing and availability for lyrical changes. The patterns following those are the choruses, which use an oddly effective [AAABC] form. The reason that I call this structure "odd" is because it is atypical for this style to try to change the "call & response" progression between the melody and harmony. This composition, however, uses a form that is more like: "call, call, call... respond, and, uh... just kidding?" This allows the chorus to conjure up a psychologically appealing type of sound that draws in the listener and makes them "want" to continue the song.

24 Continued Analytical Discussion of "Like a Rolling Stone" To conclude the discussion, I believe that this masterpiece of a composition is truly a fine example of a uniquely complex musical ability, merged with an artistic musicality and influential nature, that transpired as our chosen lyricist: Bob Dylan; a genuine pioneer of both musical and societal history. The song, "Like a Rolling Stone", provides a zenith-like signaling of what we know to be the "crossing-over" effect that occurs between genres. This key piece of music was one of the most significant songs of its generation which, alongside other equally important songs, came together to provide a basis for what has become one of the biggest sociological changes in history - the changing of folk-music, alongside other genres, to pave the way for the creating, shaping, and establishing of contemporary Rock 'n' Roll!

25 Conclusion to Bob Dylan's Legacy True rock star status, Bob Dylan began touring full-time in the 1980's; usually alongside Tom Petty 1994 won a Grammy for best Traditional Folk Album for his album: World Gone Wrong Noteworthy for speaking at the award ceremony, Bruce Springsteen was quoted: “Bob [Dylan] frees the mind, as Elvis frees the body.”

26 Assessment of Bob Dylan's Legacy Bob Dylan was a positive representation of folk-music and of the crossing-over to rock 'n' roll, however he was met with criticism due to his somewhat less-than-conventional musical style. This composer's usage of new instrumental ideas, innovative arrangements, and augmented lyrical-writing techniques; ultimately, gave way to an evolutionary process for the time period's general music-scene. The piece of music selected, "Like a Rolling Stone", is deemed significant - particularly for its content, as it is recognizably expressing many definitive characteristics of an atypical, norm- challenging, sociologically influencing piece of music.

27 Assessment of Bob Dylan's Legacy Bob Dylan fit into the evolution of rock 'n' roll by not fitting in all. o Changing instrumentation choices, definitions of musical format, gave way to an extrapolation of those aforementioned structural discontinuities... and, like anything else, one thing can only change up to a certain point before it becomes something new altogether. o These points can be addressed easily within the content of our chosen musical piece: "Like a Rolling Stone". o Other composers at this time were, unlike Bob Dylan, producing generic, strictly uniform, assembly-line types of music: following rigid rules about what folk-music should sound like. o In contrast, however, pioneers of rock 'n' roll; like Bob Dylan; were looking for new ways to bring innovation and creativity to their music - and, in this sense, Bob Dylan fit into the crowd quite well.

28 Achievements Broke through what a recording artist could achieve "Changed the face of Rock and Roll for ever" 1997 Bob became the rock star to ever receive the Kennedy Center Honors, which is considered to be the highest honors an artist can receive 1997 won three more grammys for his album Time out of Mind 1997 performed for Pope John paul the second, he played “Knockin’ on Heavens Door” 1999 won an Academy Award and Golden Globe for best original song, for his song, "Things have Changed"

29 Additional Awards and Achievements Grammy Awards o Nominated 36 times - Won 10 times Academy Awards o Nominated 1 time - Won 1 time Golden Globe Awards o Nominated 1 time - Won 1 time 6 songs in the Grammy Hall of Fame 5 in the Rock and Roll Hall of Fame

30 Honors and Inductions Received Honors for the Tom Paine Award Honorary Doctorate of Music for Princeton University, New Jersey Inducted into the Songwriters Hall of Fame Received honors for Commandeur Des Arts et Des Lettres Received Honors for the Kennedy Center Honors Recipient for The Dorothy and Lillian Gish Prize

31 Honors and Inductions Winner for the Polar Music Prize Inducted into the Nashville Songwriters Hall of Fame Honorary Doctorate of Music for St. Andrews University, Scotland Winner of Prince of Asturias Awards Honors for National Medal of Arts Recipient for Presidential of Freedom

32 Top Songs from Bob Dylan Like a Rolling Stone Subterranean Homesick Blues Positively 4th street Desolation Row The Times, They Are a-Changin’ Tangled Up in Blue Mr. Tambourine Man Just Like a Woman Blowin' in the Wind Visions of Johanna

33 References Bob Dylan. (2010). retrieved , from Bob Dylan Biography Web Site: Bob Dylan. (2013). The Biography Channel website. Retrieved 11:15, Jul 02, 2013, from Bob Dylan. ( ). retrieved , from last.fm Web Site: Erlewine, S. (June, 2004) Bob Dylan. Retrieved July 3, Gilliland, J. (n.d.). Show 31 - ballad in plain d: An introduction to the bob dylan era. [part 1]. University of North Texas Digital Library, Retrieved from Hartzog, B. (2006) Bob Dylan Information. Retrieved July 1, Kemp, M. (2001, March). Bob Dylan Biography. Rolling Stone. Retrieved July 2,

34 More References Marcus, G. (2005, May 12). How does it feel? culture; music; bob dylan. The Guardian: UK. Retrieved from Unterberger, R. (2010). Great moments in folk-rock: Lists of author favorites. Retrieved from Simmons, C. (2008, September 11). Hohner and Bob Dylan Announce Historic Collaboration - Music Industry Newswire. Music Industry Newswire - a magazine covering artists, music and tech. Retrieved July 3, 2013, from Top 10 Bob Dylan Songs. (n.d.). Ultimate Classic Rock. Retrieved July 3, 2013, from University of Western Michigan. (n.d.). Elements of rock music. Retrieved from

35 Bob Dylan


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