Sound, Syntax, and Space in Studio-Produced Popular Music
出版項
2020
說明
1 online resource (254 pages)
文字
text
無媒介
computer
成冊
online resource
附註
Source: Dissertations Abstracts International, Volume: 82-07, Section: A
Advisor: Johnston, Blair
Thesis (Ph.D.)--Indiana University, 2020
Includes bibliographical references
A foundational question that inspires the ideas explored throughout this dissertation is, broadly speaking, how do we listen? While this continues to be of interest to a wide variety of scientific and scholarly fields, my approach considers it in a specific musical context. Musical encounters are shaped by much more than sound alone; elements of style, association, expectation, and agency are only a few topics in the complex network of relationships that musical listening engenders.Listening to pop music recordings necessitates considering how we interpret musical sounds visually divorced from their sources in an imaginary, virtual space. I argue that the experience of virtual space is a significant element of our textural experience in this music, and the way spatial features align or misalign with more familiar syntactic elements adds an additional dimension specific to music recordings. While records are a medium that preserves a single "performance" for unlimited repeated listening, multidimensional spaces create listening situations for which attentional variability can shape individual experience of "the same" sonic content. One goal of this dissertation, then, is to create a thoughtful foundation for intersubjective dialogue about those experiences as a means of learning more about what we share-and, perhaps more interestingly, what we don't-as listeners.This dissertation provides a variety of ways to appreciate the intricacies of our listening experiences involving virtual musical environments. This orientation is developed from the position that: (1) sound quality features, however construed, have profound capacity to affect syntactical interpretation in this repertoire, (2) virtual spaces can often afford listeners multiple attentional options and perspectives that create potential for experiential variance, and (3) musical texture must be treated from an experiential, participatory perspective, the complexities of which resist visual representation.In working towards the development of an intersubjective conceptual framework for engaging virtual spaces, this dissertation contributes to what is an ongoing conversation about a musical repertoire that is very much alive
Electronic reproduction. Ann Arbor, Mich. : ProQuest, 2021
