Stevie Wonder, Groove and Flow Decitation
©Copyright 2003 Timothy S. Hughes
Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder
Timothy S. Hughes
A dissertation submitted in partial fulfillment of the requirements for the degree of
Doctor of Philosophy
University of Washington 2003
Program Authorized to Offer Degree: Music
University of Washington Graduate School
This is to certify that I have examined this copy of a doctoral dissertation by
Timothy S. Hughes
and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made.
Chair of Supervisory Committee:
Jonathan Bernard
Reading Committee:
Jonathan Bernard Lawrence Starr Thomas Collier Date:
In presenting this dissertation in partial fulfillment of the requirements for the Doctoral degree at the University of Washington, I agree that the Library shall make its copies freely available for inspection. I further agree that extensive copying of the dissertation is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for copying or reproduction of this dissertation may be referred to Proquest Information and Learning, 300 North Zeeb Road, Ann Arbor, MI 48106-1346, to whom the author has granted “the right to reproduce and sell (a) copies of the manuscript in microform and/or (b) printed copies of the manuscript made from microform.”
Signature
Date
University of Washington Abstract Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder Timothy S. Hughes Chair of the Supervisory Committee: Professor Jonathan Bernard Music Theory
This dissertation is a collection of analytical essays on songs made by Stevie Wonder between 1972 and 1974. The essays focus on two interwoven aspects of soul and funk music, as they are employed by Wonder: the use of repeated musical figures, particularly grooves, to generate a sense of
Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder
Timothy S. Hughes
A dissertation submitted in partial fulfillment of the requirements for the degree of
Doctor of Philosophy
University of Washington 2003
Program Authorized to Offer Degree: Music
University of Washington Graduate School
This is to certify that I have examined this copy of a doctoral dissertation by
Timothy S. Hughes
and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made.
Chair of Supervisory Committee:
Jonathan Bernard
Reading Committee:
Jonathan Bernard Lawrence Starr Thomas Collier Date:
In presenting this dissertation in partial fulfillment of the requirements for the Doctoral degree at the University of Washington, I agree that the Library shall make its copies freely available for inspection. I further agree that extensive copying of the dissertation is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for copying or reproduction of this dissertation may be referred to Proquest Information and Learning, 300 North Zeeb Road, Ann Arbor, MI 48106-1346, to whom the author has granted “the right to reproduce and sell (a) copies of the manuscript in microform and/or (b) printed copies of the manuscript made from microform.”
Signature
Date
University of Washington Abstract Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder Timothy S. Hughes Chair of the Supervisory Committee: Professor Jonathan Bernard Music Theory
This dissertation is a collection of analytical essays on songs made by Stevie Wonder between 1972 and 1974. The essays focus on two interwoven aspects of soul and funk music, as they are employed by Wonder: the use of repeated musical figures, particularly grooves, to generate a sense of
Bibliography: Dick Hebdidge, Cut ‘n’ Mix: Culture, Identity and Caribbean Music (New York: Routledge, 1987), 11 See the full citations in note three above. All five songs are also available in the boxed set At the Close of a Century, Motown 012 153992-2 (1999).