Analysis of White Room by Cream Introduction In western today, there are two major types of music that prevail. On the one hand, there is classical music, choir music generally performed by solo artists. On the other hand, there is popular music or rock music performed by rock groups. This article provides a detailed semiotic analysis of “white room” by Cream in the 1968. The period, after the 1940-1950 eras, was when rock’ n roll began to take shape (Anthony Garble ; Matthew Shift, 1992) Musical semiotics is essentially a new concept of musical analysis. Also It Is very subjective.
Although It can be applied to all forms of music, it is best used on dance and program music. (Semiotics analysis, 2009) Therefore, in considering the complexity and the importance of expression of this recording, I will not be concerned only with the patterns of musical structure and its surrounding complex of symbolic values and activities. I will also consider the need not only of semiotic concepts and paramedical fields of connotation In this recording analysis, and the needs to locate and discuss around two museums. According to Wisped, a muse is a minimal unit of musical meaning.
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A museums may be Rosen down into component parts which are not in themselves meaningful within the framework of the musical language (Tag 1979, p. 71). The muse is the basic element of musical expression or musical message that is generally understood by audience who are associated with the culture background. That means musical structure that conveys these music expressions. Essentially, semiotic analysis provides neither clear criteria for Identifying museums nor rules for segmenting music notation to isolate museums. (Garry Tamely, 2009) Therefore, the paper aims to analysis of “white room” by Cream.
To identify three museums and each muse will be locate two example of comparison material. To make sure music structures are received within the culture and society that produces them. Consequently, to figure out how the music is Interpreted by listeners and what is the musical communication. Also to discuss some structure of and to propose some theories which may contribute towards the establishment of a semiotics of music. Paramedical fields of connotation The single White Room’, by Cream, in the sass, was a huge hit single for a group whose music was original and definitive at the time.
The graphics of a “White Room” over below shows sartorial aspects of band members during that time. Link with the rock development culture, this CD cover clear to represented a new style of musical expression. Compare this to the sass’s group Bill Haley and “The Comets”, the CD cover also shows below: Firstly, we could take sartorial aspects for example; rock music and fashion have been inextricably linked. It could produce a huge Influenced with generation of young fashionable cut and color at the time.
This was not considered unusual, or particularly noticeable, as it was the style worn by mainstream society at the time. Rock music had its beginnings around this time. Although audiences were focusing on the new style of music in sass’s, as symbolized by Bill Haley and the Comets, above, its sartorial aspects had not changed. As rock music genres become more segmented, what an artist wore become as important as the music itself in defining an artist’s intent and relationship to the audience (Martin Leading, Pal Sad,2008). As we turn to the sass’s, rock group members began to wear Jeans and suit Jackets.
These changes in sartorial aspects were concurrent with the development of rock sic, and was part of the culture expression of rock music. In addition, this culture expression had close relationships with performance musical expression and audience emotional expression, such as paramedical sound and movement. Response data gained from audience rating the emotional expression of different music performances can be modeled by multiple regression analysis Guilin, 2000). For example, if we are focusing here on performance cues such as tempo and dynamics.
A complete set of cues should also include compositional features such as tonality, rhythm and instrumentation (Gibberellins and Lindquist 2001). In “white room”, the paramedical sound was combining lots of elements such as chiming, mains hum and trio that were a new style for the rock music which can influence audiences. Moreover, the song makes use of the “way-way pedal”, which was used by several notable guitarists. A way-way pedal is a type of guitar effects pedal that alters the tone of the signal to create a distinctive effect, intended to imitate humans voice, a “talking-effect”.
This song was similar in style and composition to “Tales of Brave Ulysses”, a song which also used way-way pedal. Both of these songs also use he main guitar riff following, a descending chord progression in D minor (Schumacher, Michael, 1995). At the beginning of “write room”, the guitar parts sound like some anarchic riff. However, according to the musical score, some chords were exactly same. Hence, the drum or other instruments and rhythm make listener feel chaotic, a difference to “Tales of Brave Ulysses”.
Additionally, the movement associated with the music, musical expression is intimately couple to expression in body gestures and biological motion in general (Fibber and Sandburg 1999, Guilin et al. 2002). In “whit room”, the movement could present dance and hit. That was quite suitable for young generation. However, compare to the kinks “you really got me”. This song was similar in style to “white room”, both belonging to heavy metal genre. However, “you really got me” was more power for the young generation to dance and hit. Mimi really got me” was an early hit song built around power chords.
The kinks’ “you really got me”guitar riff shows below: It is clear from listening to “you really got me” that one bar guitar riff contains one main musical gestures which is tow quaver chords heard at the beginning of the riff. “neighbor chord”. Also the first chord and fifth chord was same. That means the riff would repeat all the times. Therefore, the musical expression of this song could more represent dance and hit. Furthermore, compare to “white room” the movement of this song also represents kick and Jump. All in all, “white room” has relatively clear paramedical fields of connotation.
Before we discussed how the cultural expression were related to the musical expression, how changes in style of dress and music style occurred at the same time. The CD cover and dancing movement were also associated with the rock music develop. Patterns of musical structure Analysis of “White Room” includes disassembling the song to determine its musical patterns, or structures. The search for musical patterns is central to semiotic analysis. Many musical pieces are structured in various components that can naturally be associated with the notion of pattern (Benefit Medic, 2002).
Essentially, “White Room” includes almost all elements of song structure, including introduction, verse, chorus, bridge and instrumental solo. However, to analysis and define the patterns of musical structure for “White Room”, I have chosen to focus on perceptible classical structures. The following lyrics are examined: The lyrics of “white room” have a very structured and unusual meter. The verses have twelve syllables per line, and these tend primarily to fall into three feet per line. The first two syllables of each four-syllable foot tend in particular to vary from this pattern Jack Bruce ; Pete Brown, 2010).
Moreover, the patterns are some of the components of the musical structure. This makes the music clearer, and offers to the listener a more fair-sounding lyrics and familiar beat. In the chorus structure of the Eng, although each chorus is worded differently, the repetition of the phrase “where the shadows run from themselves” to conclude each chorus provides some familiar grounding (White Room, 2010). Compare to other song, “White Room” lyrics was like a Jumbled narrative. However, this recording is a brilliant example of the prime that heavy rock has to provide.
All elements such as lyrics, vocals, music and instrumental parts all work together to produce a complex, unified, unique effect (White Room, 2010). Therefore, we have defined patterns as “perceptible repetitions in a musical sequence” (Benefit Medic, 2002). Music as sign / musical communication Music is one of the oldest forms of human communication, in all cultures at all time. Music, by its own system of acoustic values, is also a semiotic system of values Jacobson, 1971). No matter what genre, music can be a sign to develop interurban communication.
Also in communicative terms, music is considered a sign, which carries a meaning that has to be interpreted. (birthrate’s, anatine, 1990)The usual approach of the semiotic analysis of music in everyday life is either by structural analysis (Tag 2000). In general, the music style of “white room” is rock n’ roll, the reverence of rock music can be trace back to country music and rhythm ; blues of the 20th century. Following the rock music development, the new style of represents metal is a new style of rock music. This music style gain energy from traditional rock and rhythm ; blues.
Rock music, denotes a cultural object (Chester, 1970). It is a sign in itself and the various way of organizing it can be viewed as forms of semiotics. Rock music becomes a sign because it has many facets and many uses, but it is generally acknowledge that its primary appeal is to the emotions of a generation, particularly a young generation. The content of the musical communication in this situation is in the emotion evoked within the listener (Onto, 1990) Evolution of the rock music within this era led to music aimed at particular audiences. White Room”, in compare to some early stage songs, was a novelty, a song with variable melody and beat. The lyric describes a feeling, an attitude of mind and a psychological mood produced by the music in listeners. Also, every listener has different interpretations among different cultures, society and periods of time through history. It should be clear that music is regarded here as a particular form of activity and communication in the much larger set of coloratura reality of which it is a part (Philip Tag, 2010). White Room”, with its new sound, accelerated the speed of activity in rock music during this period. With this novelty song as a musical communication with young generation, Cream was able to be hugely influential at this time.. Conclusion This article attempted to show that white room has relatively clear paramedical fields of connotation which is to provide the relationship of the culture expression and musical expression, including the CD cover, lyrics and different parameters of armistice expression, such as paramedical sound, movement.
In line with those analyses, it is plain to see that white room, as a new style of rock music in sass, was a powerful new means of expression. In a similar fashion, the aim was to develop a semiotic analysis for “white room”, to locate around tow museums. Checklists parameters of musical expression, the establishment of museums (minimal units of expression) and muse compounds by means of introspective comparison was one of the most important parts of analytical model (Philip Tag, 1982). Therefore, to meiotic analysis “white room”, by cream, can be used to help us develop our understanding of musical communication.