Name: Ege Oyuryuz
Student ID: 2307192
Module: PAL401 – Critical and Cultural Theory 1
Tutor: Ian Hornsby
Date: 01/03/2025
Breaking the Formula: How The Beatles Rede ned Music-
Making
Thesis Statement and Theoretical Framework
The Beatles had neither a xed nor a direct approach to music-making. Their albums often
playfully experimented with different genres, recording techniques, making their work
less predictable and much innovative. Most contemporary musicians often rely on
structured industry formulas, The Beatles created a musical legacy. It continues to
in uence both experimental and mainstream artists. This essay will explore how their
open-mindedness in mixing cultural hybridisation and their experimental approach set them
apart from their era and shaped modern music
Modernism vs. Postmodernism (Lyotard 1984; Jameson 1991)
The Beatles re ect modernist ideals, rejecting tradition and embracing experimentation
(Barry 2021: 102).
Today’s postmodern music has streaming services promoting algorithmic, consumer-
driven formulas.
Music Industry & Capitalism (Adorno 1941; Fisher 2009)
Adorno argues that industrialised music follows repetitive patterns (Adorno 1941).
Fisher (2009) critiques capitalism’s push for predictability, which contrasts with The
Beatles’ ever-changing soundscapes.
Cultural Hybridisation (Gilroy 1993; Hall 1997)
The Beatles incorporated blues, Indian ragas, classical counterpoint, and psychedelic
rock, making them a key example of cultural fusion.
fl
fl
fi
fi
Introduction
-Most artists develop a xed musical style or formula for commercial success.
Example: Imagine Dragons' songs such as Thunder and Believer follow repetitive (four-
chord loops, heavy distortions, and reverb effects, contributing to a recognizable but
predictable sound.)
-The music industry today often favours formulaic production due to its proven success in
capturing audience attention, making music catchy and easily marketable (Fisher 2009).
-The Beatles' genre-blending, experimentation, and refusal to follow a xed method
made them unique.
The Beatles’ Ever-Changing Musical Approach
Genre-shifting:
Please Please Me (1963) – Merseybeat rock.
Rubber Soul (1965) – Folk-rock and orchestration.
Sgt. Pepper’s (1967) – Psychedelic and surrealist in uences.
The White Album (1968) – Avant-garde soundscapes.
No single songwriting method:
Classical-based (Bach’s Baroque counterpoint technique) (Blackbird).
Experimental (Different sounds experiment in the track) (Revolution 9).
Studio improvisation (Hey Jude).
Using reverse tape loops, synthesized effects, and arti cial double tracking invented by
Ken Townsend, EMI Technical Engineer for band to avoid re-recording their vocals over
and over for multi-layered vocal effects.
Comparison: Modern Music-Making
Formulaic Pop Music:
Modern production often follows a BPM range (70-120) and pre-set chord progressions.
Streaming services favor short, hook-driven tracks (Fisher 2009).
Example: Max Martin’s hit-making formula for Taylor Swift and The Weeknd.
Experimental Artists Inspired by The Beatles:
Radiohead (OK Computer, Kid A) rejects predictable structures.
Billie Eilish & Finneas use unconventional production, layered vocals, and abstract sounds.
(Bad Guy sampled its beat from the sound of a traf c light while they were crossing the
street.)
fi
fi
fl
fi
fi
Conclusion
The Beatles created music that evolved with each album.
Their in uence continues today. Their unpredictability remains a de ning feature of
innovative music.
Primary Sources (The Beatles’ Music & Interviews)
All the songs are available at: [Spotify/Apple Music/Youtube].
1. The Beatles (1963) Please Please Me. [Audio Recording] London: Parlophone.
2. The Beatles (1965) Rubber Soul. [Audio Recording] London: Parlophone.
3. The Beatles (1966) Revolver. [Audio Recording] London: Parlophone.
4. The Beatles (1967) Sgt. Pepper’s Lonely Hearts Club Band. [Audio Recording] London:
Parlophone.
5. The Beatles (1968) The White Album. [Audio Recording] London: Apple Records.
6. The Beatles (1968) Blackbird. [Audio Recording] In: The White Album. London: Apple
Records.
7. The Beatles (1968) Revolution 9. [Audio Recording] In: The White Album. London: Apple
Records.
8. The Beatles (1968) Hey Jude. [Audio Recording] London: Apple Records.
9. The Beatles (2000) The Beatles’ Anthology Interviews. [Interview] Chronicle Books.
Secondary Sources (Academic & Theoretical Texts)
10. Adorno, T. W. (1941) On Popular Music. New York: Institute for Social Research.
11. Barry, P. (2021) Modernism. New York; London: Routledge.
12. Fisher, M. (2009) Capitalist Realism: Is There No Alternative? London: Zero Books.
13. Frith, S. (1988) ‘Sound Effects: Youth, Leisure, and the Politics of Rock 'n' Roll’, Popular
Music and Society, 12(3), pp. 45-62.
14. Gilroy, P. (1993) The Black Atlantic: Modernity and Double Consciousness. London: Verso.
15. Hall, S. (1997) Representation: Cultural Representations and Signifying Practices. London:
Sage.
Audio Sources (Songs Used for Analysis)
1. Imagine Dragons (2017) Believer. [Audio Recording] KIDinaKORNER/Interscope. Available
at: [Spotify/Apple Music link if applicable].
2. Imagine Dragons (2017) Thunder. [Audio Recording] KIDinaKORNER/Interscope. Available
at: [Spotify/Apple Music link if applicable].
3. Eilish, B. (2019) Bad Guy. [Audio Recording] Darkroom/Interscope Records. Available at:
[Spotify/Apple Music link if applicable].
fl
fi
Appendix
Billie Eilish and Finneas
Billie Eilish is an grammy winner American singer-songwriter, and Finneas O’Connell (her brother)
is a producer and musician. When We All Fall Asleep, Where Do We Go? (2019), has been noted for
its innovative usements such as vocal manipulation and household sounds in production.
BPM Range
BPM (beats per minute) refers to the tempo of a song, determining its rhythm speed. Contemporary
pop music commonly follows a BPM range of 70-120. Songs within this range are often favored in
streaming and radio formats because they are easily digestible and rhythmically familiar.
Distortions
Distortion is a sound effect, it has a “fuzzy” or “gritty” sound, often used in rock and electronic
music. It is ideal for a raw, aggressive, or emotional impact. The Beatles have used distortions in
many songs but most iconic one is Helter Skelter.
Four-Chord Loops
A four-chord loop is basically fours chords in a major or minor key, a common harmonic structure
in modern popular music where a sequence of four chords is repeated throughout a song. This
technique, can found in almost every genre pop, rock, and electronic music, creates a sense of
familiarity and ease of listening. Many hit songs, including Imagine Dragons’ Believer and
Thunder, use variations of the same four-chord progressions to maintain a consistent, accessible
sound.
Imagine Dragons
Imagine Dragons is an American rock band known for their epic, stadium-style sound, characterized
by heavy percussion, electronic elements.
Max Martin’s Hit Formula
Max Martin is a Swedish music producer known for crafting some of the biggest pop hits over the
last three decades. His "hit formula" involves catchy melodies, repetitive structures, predictable
chord progressions, and a balance between tension and release within a song’s structure. Taylor
Swift, Katy Perry and The Weeknd have used this approach to create commercially successful
tracks.
Pre-Set Chord Progression
A pre-set chord progression is chords commonly used in mainstream music production. Many pop
songs use standard progressions like I–V–vi–IV (C–G–Am–F) because they are proven to be
harmonically pleasing to the listener. In musical theory wise they are in harmony because Tonic (I)
and Dominant (V) and subdominant (IV) are the chords that ,in mathematical sense: awlessly,
combined with each other in any genre, The world of music has been built on a triadic foundation
for the past few centuries, as the 1 - 3 - 5 structure allows for harmonic cohesion and seamless
blending of sounds.
Radiohead
Radiohead is an English alternative rock band. Albums like OK Computer (1997) and Kid A (2000)
are their famous works. Their work often blends elements of jazz, electronic music and avant-garde
in uences.
Reverbs
Reverb (short for reverberation) is a sound effect. It creates a sense of space, depth, and atmosphere
in music. Reverb is frequently used in modern pop and rock music to enhance vocals and
instrumentation, making them sound fuller and more immersive.
AI Acknowledgment
I acknowledge the use of OpenAI ChatGPT for editing punctuation, improving clarity,
and categorizing my content in the drafting of this assessment. As English is not my rst
language, AI was used as a tool to re ne structure and coherence. No content generated by
AI technologies has been presented as my own work.
Prompt {List my appendix in alphabetical order:(my appendix list)}
Respond: {Here is your appendix in alphabetical order:
Billie Eilish and Finneas
BPM Range
Distortions
Four-Chord Loops
Imagine Dragons
Max Martin’s Hit Formula
Pre-Set Chord Progression
Radiohead
Reverbs}
—————————————————————————————————————
Prompt {my text: Thesis Statement and Theoretical Framework The Beatles had no certain nor direct approach to music-making. Their
albums often playfully experimented with different genres, recording techniques, making their work less predictable and much innovative. Most
contemporary musicians are often rely on structured industry formulas, The Beatles created a musical legacy. It continues to in uence both
experimental and mainstream artists. This essay will explore how their open-mindedness to mix cultural hybridisation and experimental approach set
them apart from their era and shaped modern music production.
Modernism vs. Postmodernism (Lyotard 1984; Jameson 1991)
fl
fi
fl
fl
fi
The Beatles re ect modernist ideals, rejecting tradition and embracing experimentation
(Barry 2021: 102).
Today’s postmodern music have streaming services promoting algorithmic, consumer-driven formulas. Music Industry & Capitalism (Adorno 1941;
Fisher 2009)
Adorno argues that industrialised music follows repetitive patterns (Adorno 1941).
Fisher (2009) critiques capitalism’s push for predictability, which contrasts with The Beatles’ ever-changing soundscapes.
Cultural Hybridisation (Gilroy 1993; Hall 1997)
The Beatles incorporated blues, Indian ragas, classical counterpoint, and psychedelic rock, making them a key example of cultural fusion.
Introduction -Most artists develop a xed musical style or formula for commercial success. Example: Imagine Dragons' songs such as Thunder and
Believer follow repetitive (four-chord loops, heavy distortions, and reverb effects, contributing to a recognizable but predictable sound.) -The music
industry today often favours formulaic production due to its proven success in capturing audience attention, making music catchy and easily
marketable (Fisher 2009). -The Beatles' genre-blending, experimentation, and refusal to follow a xed method made them unique. The Beatles’ Ever-
Changing Musical Approach Genre-shifting:
Please Please Me (1963) – Merseybeat rock.
Rubber Soul (1965) – Folk-rock and orchestration.
Sgt. Pepper’s (1967) – Psychedelic and surrealist in uences.
The White Album (1968) – Avant-garde soundscapes. No single songwriting method:
Classical-based (Bach’s Baroque counterpoint technique) (Blackbird).
Experimental (Different sounds experiment in the track) (Revolution 9).
Studio improvisation (Hey Jude).
Using reverse tape loops, synthesized effects, and arti cial double tracking invented by Ken Townsend, EMI Technical Engineer for band to avoid re-
recording their vocals over and over for multi-layered vocal effects. Comparison: Modern Music-Making Formulaic Pop Music:
Modern production often follows a BPM range (70-120) and pre-set chord progressions.
Streaming services favor short, hook-driven tracks (Fisher 2009).
Example: Max Martin’s hit-making formula for Taylor Swift and The Weeknd. Experimental Artists Inspired by The Beatles: Radiohead (OK
Computer, Kid A) rejects predictable structures.
Billie Eilish & Finneas use unconventional production, layered vocals, and abstract sounds. (Bad guy sampled his beat from a traf c lights natural
sound, while Bille Eilish and Finneas were crossing the street.) Conclusion The Beatles created music that evolved with each album. Their in uence
continues today. Their unpredictability remains a de ning feature of innovative music .}
—————————————————————————————————————
{Check my grammar, punctuations, and clarity for this essay, But only tell me the crucial
thinks and errors, you don't need me to offer different sentences, etc. Unless, if there are
misunderstandings or unclear communications.}
Respond:
{Grammar & Punctuation Issues:
1. "Most contemporary musicians are often rely on structured industry formulas" → "Most
contemporary musicians often rely on structured industry formulas." ("are" is unnecessary.)
2. "It continues to in uence both experimental and mainstream artists." → Unclear what "it"
refers to. Better to clarify: "Their legacy continues to in uence both experimental and
mainstream artists."
3. "Today’s postmodern music have streaming services promoting algorithmic, consumer-
driven formulas." → "Today’s postmodern music has streaming services promoting
algorithmic, consumer-driven formulas." (Singular/plural mismatch: "music" is uncountable,
so it takes "has.")
4. "Adorno argues that industrialised music follows repetitive patterns (Adorno 1941)." →
Redundant citation. Either say "Adorno (1941) argues that industrialised music follows
repetitive patterns." or just keep the citation in parentheses at the end.
5. "The Beatles incorporated blues, Indian ragas, classical counterpoint, and psychedelic rock,
making them a key example of cultural fusion." → "a key example" is ne, but "one of the
key examples" may be more precise if you're acknowledging other artists with similar traits.
fl
fl
fi
fl
fi
fi
fl
fi
fi
fi
fl
Clarity Issues:
6. "No single songwriting method: Classical-based (Bach’s Baroque counterpoint technique)
(Blackbird). Experimental (Different sounds experiment in the track) (Revolution 9)."
◦ "Different sounds experiment in the track" → should be clearer, e.g., "Experimental
(Revolution 9 uses avant-garde sound techniques and tape manipulation)."
7. "Formulaic Pop Music: Modern production often follows a BPM range (70-120) and pre-set
chord progressions."
◦ Clarify "pre-set chord progressions" → "common chord progressions frequently used
in hit songs."
8. "Example: Max Martin’s hit-making formula for Taylor Swift and The Weeknd."
◦ You should brie y explain what Max Martin's formula is (e.g., "Max Martin's
formula includes repetitive hooks, simple melodies, and predictable harmonic
structures").
9. "Experimental Artists Inspired by The Beatles: Radiohead (OK Computer, Kid A) rejects
predictable structures."
◦ It should be "reject" instead of "rejects" since "Radiohead" refers to a collective
group.
10. "Their unpredictability remains a de ning feature of innovative music."
• Slightly vague—consider clarifying what aspect remains in uential today (e.g., "Their
constant reinvention remains a de ning feature of innovative music today.").
————————————————————————————————————————
I use it’s some of the advice and recommendations. However, I’d also like to present some
of its errors that I couldn’t use it as a truthful source too:
Prompt1: [I have two Imagine dragons songs, Thunder and Believer. I know their beats are
similar, I know they are both minor keys, while I am listening both they are feel it
same but can you give me any other similarities, Musical theory wise?}
Respond1: {Yes, they have similar beats and minor keys. Musically, "Thunder" and
"Believer" by Imagine Dragons share several similarities in terms of musical theory:
1. Key and Chord Progression
• Key: Both songs are in B minor, giving them a dark, intense feel.
• Chord Progression: They use similar progressions that revolve around B m - G -
E m - F (or slight variations of this). This creates a repetitive and hypnotic structure.
2. Rhythm and Groove
• Both songs have syncopated rhythms, emphasizing off-beats and creating a punchy,
percussive feel.
• They rely heavily on staccato vocal delivery, where syllables are short and detached.
• The drum beats are steady and pounding, with a strong four-on-the- oor kick and
electronic claps/snaps.
fl
fi
fi
fl
fl
3. Melody and Vocal Style
• Both tracks feature chant-like melodies in the verses, almost spoken rather than sung,
which contributes to their anthemic and rhythmic feel.
• They use ascending melodic motion in the choruses to create an emotional build-up.
• The vocal lines are highly percussive and repetitive, reinforcing the rhythmic intensity.
Prompt2: {You are wrong, I've got my piano and play by ear and I can de nitely say
Thunder is key of Cm not, Bbm}
Respond2: You're absolutely right! "Thunder" is indeed in C minor (Cm), not B minor.
Thanks for catching that! I appreciate the hands-on veri cation with your piano. 🎹
That being said, here’s an updated musical theory breakdown of "Thunder" and "Believer",
focusing on their true key differences and similarities.
fi
fi
