Editing Tone cluster (section)

===In popular music===
Like jazz, [[rock and roll]] has made use of tone clusters since its birth, if characteristically in a less deliberate manner—most famously, [[Jerry Lee Lewis]]'s live-performance piano technique of the 1950s, involving fists, feet, and derrière.<ref>Tyler (2008), p. 76; Morrison (1998), p. 95.</ref> Since the 1960s, much [[drone music]], which crosses the lines between rock, [[electronic music|electronic]], and [[experimental music]], has been based on tone clusters. On [[The Velvet Underground]]'s "[[Sister Ray]]", recorded in September 1967, organist [[John Cale]] uses tone clusters within the context of a [[drone (music)|drone]]; the song is apparently the closest approximation on record of the band's early live sound.<ref>Schwartz (1996), pp. 97, 94.</ref> Around the same time, [[The Doors|Doors]] keyboardist [[Ray Manzarek]] began introducing clusters into his solos during live performances of the band's hit "[[Light My Fire]]".<ref>Hicks (1999), p. 88.</ref>

[[Kraftwerk]]'s self-titled 1970 [[Kraftwerk (album)|debut album]] employs organ clusters to add variety to its repeated tape sequences.<ref>Bussy (2004), p. 31.</ref> In 1971, critic [[Ed Ward (writer)|Ed Ward]] lauded the "tone-cluster vocal harmonies" created by [[Jefferson Airplane]]'s three lead singers, [[Grace Slick]], [[Marty Balin]], and [[Paul Kantner]].<ref>Quoted in Brackett (2002), p. 217.</ref> [[Tangerine Dream]]'s 1972 double album ''[[Zeit (Tangerine Dream album)|Zeit]]'' is replete with clusters performed on synthesizer.<ref>Patterson (2001), p. 505.</ref> The [[Beatles]]' 1965 song "[[We Can Work It Out]]" features a momentarily grating tone cluster with voices singing A sharp and C sharp against the accompanying keyboard playing a sustained chord on B to the word "time".<ref>"We can work it out" (1986, p.990, bar 7) ''The Beatles Complete Scores''. Hal Leonard</ref> [[The Band]]'s 1968 song "[[The Weight]]" from their debut album ''[[Music from Big Pink]]'' features a dissonant vocal refrain with [[suspended chord|suspension]]s culminating in a 3-note cluster to the words "you put the load right on me."

The sound of tone clusters played on the organ became a convention in [[radio drama]] for dreams.<ref name="Maconie 2005, p. 338"/> Clusters are often used in the [[film score|scoring]] of horror and science-fiction films.{{efn|1=For a discussion of the use of tone clusters in film scoring, see Huckvale 1990, pp. 1–35. For descriptions of their role in three individual films, Hosokawa 2004, p. 60n21; for ''To the Devil a Daughter'', Huckvale 2008, pp. 179–181 ; and, for ''Close Encounters'', Neil Lerner, "Nostalgia, Masculinist Discourse, and Authoritarianism in John Williams' Scores for ''Star Wars'' and ''Close Encounters of the Third Kind''," in ''Off the Planet'', pp. 96–107; 105–106.}} For a 2004 production of the play ''Tone Clusters'' by [[Joyce Carol Oates]], composer [[Ash Black Bufflo|Jay Clarke]]—a member of the indie rock bands [[Dolorean]] and [[The Standard (band)|The Standard]]—employed clusters to "subtly build the tension", in contrast to what he perceived in the cluster pieces by Cowell and Ives suggested by Oates: "Some of it was like music to murder somebody to; it was like horror-movie music."{{sfn|Chandler|2004}}