The Beatles and the Beatlesque: A Crossdisciplinary Analysis of Sound Production and Stylistic Impact

Preface

1. Introduction: a short history of The Beatles in the studio1.1 Recording strategies, tricks and effects1.2 Instrumentation and recurrent techniques1.3 The centrality of the studio
2. Style and sound2.1 Sound and musical competence2.2 The roots of The Beatles sound2.3 Later influences
3. On (the difficulty of) defining The Beatles style3.1. Vocals3.2. Harmonic solutions3.3. Melodic solutions3.4. Rhythmic solutions3.5. Instruments3.6. Dynamics3.7. Sound3.8. Endings3.9. Lyrics
4. Crossdisciplinary reflections: production seen from the perspective of multimodality studies, narratology and film studies.4.1. Visual and literary components in Lennon-McCartney     4.1.1. Lennon or McCartney 4.1.2. Lennon and McCartney4.2. Production as multimodality4.3. Production and diegesis4.3.1. Diegesis, non-diegesis, formality, non-formality4.3.2. Hybrid forms and metadiegesis4.4. Case-study: feedbacks, false starts and blisters4.4.1. Redefining the spatial/temporal dimension of a song4.5. Production as montage4.5.1. Martin vs. Spector (and Lynne)4.5.2. Types of production as types of montage4.6. Case-study: The Fool on the Hill4.6.1. Creation and production4.6.2. What kind of fool was the fool on the hill?4.6.3. The authorial context4.6.4. Themes, structure and imagery4.6.5. Musical strategies4.7. Foreshadowing strategies
5. Birth and fortune of the "Beatlesesque": Transmission of creativity and legacy5.1 A little survey5.2 Stylistic features in a nutshell5.3 Another little survey5.4 Intrinsically-Beatlesesque features5.4.1 Different approaches5.4.2 Most referenced production elements5.5 Conclusions
ReferencesIndex of namesIndex of songs/albums

Prof. Dr. Dario Martinelli (1974), musicologist and semiotician, is Full Professor of History and Theory of Arts at Kaunas University of Technology. He is also affiliated with the University of Helsinki, as Adjunct Professor in Semiotics and Musicology, and with the University of Lapland, as Adjunct Professor in Methodologies of Semiotics and Communication Studies. He is also Editor-in-chief of the series "Numanities - Arts and Humanities in Progress", published by Springer.  Martinelli has been recipient of several prizes, including, in 2006, a knighthood from the Italian Republic for his contribution to Italian culture.

Paolo Bucciarelli (1974) is a music producer, songwriter and keyboard player. As a musician, he started his career in the second half of the 90's, in the Italian pop/rock band Giuliodorme, signed to BMG in 1996. After the band's break-up, Bucciarelli graduated in Record Production at the London College of Music, and began his activity as producer in England, Italy and Finland. In 2003, he composed the soundtrack for Alessandro Nico Savino's "5 e Mezza in Punto". Since 2004, Bucciarelli has also been active as a musicologist, giving lectures and seminars at the University of Helsinki, the Finnish Institute of Technology and the Evtek University of Applied Sciences in Helsinki.