Often when we listen to music, we just instinctually enjoy it. Sometimes, though, it’s worth dissecting a song or other composition to figure out how it’s built.
Take the 1953 jazz standard “Satin Doll,” written by Duke Ellington and Billy Strayhorn, whose subtle structure rewards a close listening. As it happens, MIT Professor Emeritus Samuel Jay Keyser, a distinguished linguist and an avid trombonist on the side, has given the song careful scrutiny.
To Keyser, “Satin Doll” is a glittering example of what he calls the “same/except” construction in art. A basic rhyme, like “rent” and “tent,” is another example of this construction, given the shared rhyming sound and the different starting consonants.
In “Satin Doll,” Keyser observes, both the music and words feature a “same/except” structure. For instance, the rhythm of the first two bars of “Satin Doll” is the same as the second two bars, but the pitch goes up a step in bars three and four. An intricate pattern of this prevails throughout the entire body of “Satin Doll,” which Keyser calls “a musical rhyme scheme.”
When lyricist Johnny Mercer wrote words for “Satin Doll,” he matched the musical rhyme scheme. One lyric for the first four bars is, “Cigarette holder / which wigs me / Over her shoulder / she digs me.” Other verses follow the same pattern.
“Both the lyrics and the melody have the same rhyme scheme in their separate mediums, words and music, namely, A-B-A-B,” says Keyser. “That’s how you write lyrics. If you understand the musical rhyme scheme, and write lyrics to match that, you are introducing a whole new level of repetition, one that enhances the experience.”
Now, Keyser has a new book out about repetition in art and its cognitive impact on us, scrutinizing “Satin Doll” along with many other works of music, poetry, painting, and photography. The volume, “Play It Again, Sam: Repetition in the Arts,” is published by the MIT Press. The title is partly a play on Keyser’s name.
Inspired by the Margulis experiment
The genesis of “Play It Again, Sam” dates back several years, when Keyser encountered an experiment conducted by musicologist Elizabeth Margulis, described in her 2014 book, “On Repeat.” Margulis found that when she altered modern atonal compositions to add repetition to them, audiences ranging from ordinary listeners to music theorists preferred these edited versions to the original works.
“The Margulis experiment really caused the ideas to materialize,” Keyser says. He then examined repetition across art forms that featured research on associated cognitive activity, especially music, poetry, and the visual arts. For instance, the brain has distinct locations dedicated to the recognition of faces, places, and bodies. Keyser suggests this is why, prior to the advent of modernism, painting was overwhelmingly mimetic.
Ideally, he suggests, it will be possible to more comprehensively study how our brains process art — to see if encountering repetition triggers an endorphin release, say. For now, Keyser postulates that repetition involves what he calls the 4 Ps: priming, parallelism, prediction, and pleasure. Essentially, hearing or seeing a motif sets the stage for it to be repeated, providing audiences with satisfaction when they discover the repetition.
With remarkable range, Keyser vigorously analyzes how artists deploy repetition and have thought about it, from “Beowulf” to Leonard Bernstein, from Gustave Caillebotte to Italo Calvino. Some artworks do deploy identical repetition of elements, such as the Homeric epics; others use the “same/except” technique.
Keyser is deeply interested in visual art displaying the “same/except” concept, such as Andy Warhol’s famous “Campbell Soup Cans” painting. It features four rows of eight soup cans, which are all the same — except for the kind of soup on each can.
“Discovering this ‘same/except’ repetition in a work of art brings pleasure,” Keyser says.
But why is this? Multiple experimental studies, Keyser notes, suggest that repeated exposure of a subject to an image — such as an infant’s exposure to its mother’s face — helps create a bond of affection. This is the “mere exposure” phenomenon, posited by social psychologist Robert Zajonc, who as Keyser notes in the book, studied in detail “the repetition of an arbitrary stimulus and the mild affection that people eventually have for it.”
This tendency also helps explain why product manufacturers create ads with just the name of their products in ads: Seen often enough, the viewer bonds with the name. However the mechanism connecting repetition with pleasure works, and whatever its original function, Keyser argues that many artists have successfully tapped into it, grasping that audiences like repetition in poetry, painting, and music.
A shadow dog in Albuquerque
In the book, Keyser’s emphasis on repetition generates some distinctive interpretive positions. In one chapter, he digs into Lee Friendlander’s well-known photo, “Albuquerque, New Mexico,” a street scene with a jumble of signs, wires, and buildings, often interpreted in symbolic terms: It’s the American West frontier being submerged under postwar concrete and commerce.
Keyser, however, has a really different view of the Friendlander photo. There is a dog sitting near the middle of it; to the right is the shadow of a street sign. Keyser believes the shadow resembles the dog, and thinks it creates playful repetition in the photo.
“This particular photograph is really two photographs that rhyme,” Keyser says.“They’re the same, except one is the dog and one is the shadow. And that’s why that photograph is pleasurable, because you see that, even if you may not be fully aware of it. Sensing repetition in a work of art brings pleasure.”
“Play It Again, Sam” has received praise from arts practitioners, among others. George Darrah, principal drummer and arranger of the Boston Pops Orchestra, has called the book “extraordinary” in its “demonstration of the ways that poetry, music, painting, and photography engender pleasure in their audiences by exploiting the ability of the brain to detect repetition.” He adds that “Keyser has an uncanny ability to simplify complex ideas so that difficult material is easily understandable.”
In certain ways “Play It Again, Sam” contains the classic intellectual outlook of an MIT linguist. For decades, MIT-linked linguistics research has identified the universal structures of human language, revealing important similarities despite the seemingly wild variation of global languages. And here too, Keyser finds patterns that help organize an apparently boundless world of art. “Play It Again, Sam” is a hunt for structure.
Asked about this, Keyser acknowledges the influence of his longtime field on his current intellectual explorations, while noting that his insights about art are part of a greater investigation into our works and minds.
“I’m bringing a linguistic habit of mind to art,” Keyser says. “But I’m also pointing an analytical lens in the direction of natural predilections of the brain. The idea is to investigate how our aesthetic sense depends on the way the mind works. I’m trying to show how art can exploit the brain’s capacity to produce pleasure from non-art related functions.”
