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001 AAI28260689
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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
