For Experiencing Peter Gabriel: A Listener’s Companion, I think I made the correct decision to do Chapters 1-2 up to early Genesis (childhood/1967-71 and 1972-75), Chapter 3 covering Peter Gabriel 1 and 2 (1976-78), and one on each of the main studio albums after that. I’m nearing completion of Chapter 4 on PG3/Melt (1979-80), and it will be around 22 pages, which is similar to the lengths of Chapters 1, 2, and, 3. I was a bit worried I wouldn’t have enough material, but I think that PG3/Melt is his best album. In Chapters 5 (1981-4/IV/Security), 6 (1985-89/So), 7 (1990-99/Us), and 8 (2000-09/Up), I’ll also have his live album, four film/media scores, occasional movie songs, and entrepreneurial/humanitarian activities to cover a bit. Chapter 9 (2010-15/Scratch/NewBlood) will then also get into the covers/retrospective/double-Rock-Hall-induction, etc. stuff. It’s shaping up nicely!
Institutionally-unaffiliated PhDs in my field are routinely swept under the carpet. Amanda Sewell’s report in the August 2015 newsletter of the American Musicological Society about an early 2015 conference on the Past, Present, and Future of Public Musicology confirms this by not bothering to mention my paper.
My contribution was called: “The Untapped Doctoral Majority of Potential Public Musicologists.” The paper begins by covering such things as:
- the over-supply of musicology PhDs for the number of academic positions
- what some musicology PhDs actually end up doing outside of academia
It continues by covering my:
- published and contracted books in public music history
- numerous reference articles for music encyclopedias
- IT studies in software development
- numerous programme notes, including web-based ones
- web development, including the AMS’s Doctoral Dissertations in Musicology
I also then explain that I created music history instructional videos and that I adapted my dissertation on the Canadian rock band Rush for a public book called Experiencing Rush: A Listener’s Companion (Rowman & Littlefield, 2014). I end the paper with an example from Chapter 1 of my forthcoming book in the same series: Experiencing Peter Gabriel: A Listener’s Companion.
I have done almost all of that work outside of conventional institutional contexts, so does that mean it doesn’t qualify as “public musicology”?! The Musicology Now (blog) version of the report is only slightly better, with one, highly-misleading sentence about my work: “Durrell Bowman (independent scholar) spoke of the challenges he has faced in the decade-long search for an academic position in musicology.” Both my assigned title of “independent scholar”–which I loathe, in favour of “public music historian”–and the falsely-reported subject matter of my paper–which is actually a whole bunch of things I have done in Public Musicology–may explain why the editor of the AMS newsletter decided to exclude it. Not surprisingly, the newsletter version of the report also excludes the following sentence: “Felicia Miyakawa (academic consultant) explained why she left a tenured position and chose to pursue public musicology.”
I can’t speak for Miyakawa, but “we” are not amused.
Around the same time, Gabriel made an orchestra-accompanied cover version of the Beatles’ “Strawberry Fields Forever” for an obscure film of war-related footage and news headlines and clips from war movies combined with new versions of Beatles’ songs, called All This and World War II. The film and soundtrack double-album also include recordings by the Bee Gees, Leo Sayer, Tina Turner, Elton John, Frankie Valli, Rod Stewart, the London Symphony Orchestra, and numerous others, as released in November of 1976. Gabriel’s version of that Beatles’ song was thus his first solo release, and it is fairly charming, although he occasionally sounds rather like Kermit the Frog. He later worked on a number of film scores and film songs from 1984 to 2008 and then revisited the idea of orchestra-accompanied cover versions much more extensively on his 2010 album Scratch My Back. In a related project, the 2013 response-album And I’ll Scratch Yours includes other artists’ stylistically-distinctive cover versions of some of Gabriel’s songs.
- YouTube: Peter Gabriel’s cover version of the Beatles’ “Strawberry Fields Forever”
- YouTube: All This and World War II (an excerpt of Gabriel appears at about 4:00)
My conference paper on early Genesis is now available: Classical Styles & Sources in Early Progressive Rock by Genesis, 1969-72. I derived it from the first two chapters of my forthcoming book, Experiencing Peter Gabriel: A Listener’s Companion.