MARC 主機 00000nam a2200445K 4500 001 AAI28260689 005 20210823091517.5 006 m o d 007 cr mn ---uuuuu 008 210823s2020 xx sbm 000 0 eng d 020 9798557041614 035 (MiAaPQ)AAI28260689 040 MiAaPQ|beng|cMiAaPQ|dNTU 100 1 Zinser, Zachary 245 10 Sound, Syntax, and Space in Studio-Produced Popular Music 264 0 |c2020 300 1 online resource (254 pages) 336 text|btxt|2rdacontent 337 computer|bc|2rdamedia 338 online resource|bcr|2rdacarrier 500 Source: Dissertations Abstracts International, Volume: 82- 07, Section: A 500 Advisor: Johnston, Blair 502 Thesis (Ph.D.)--Indiana University, 2020 504 Includes bibliographical references 520 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 533 Electronic reproduction.|bAnn Arbor, Mich. :|cProQuest, |d2021 538 Mode of access: World Wide Web 650 4 Music theory 650 4 Music 653 Music cognition 653 Music theory 653 Musical texture 653 Sound recordings 655 7 Electronic books.|2local 690 0221 690 0413 710 2 ProQuest Information and Learning Co 710 2 Indiana University.|bMusic Theory 773 0 |tDissertations Abstracts International|g82-07A 856 40 |uhttp://pqdd.sinica.edu.tw/twdaoapp/servlet/ advanced?query=28260689|zclick for full text (PQDT) 912 圖書館PQDT110|b1110406
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