語系:
繁體中文
English
說明(常見問題)
回圖書館首頁
手機版館藏查詢
登入
回首頁
切換:
標籤
|
MARC模式
|
ISBD
Sound, Syntax, and Space in Studio-P...
~
Zinser, Zachary.
FindBook
Google Book
Amazon
博客來
Sound, Syntax, and Space in Studio-Produced Popular Music.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
Sound, Syntax, and Space in Studio-Produced Popular Music./
作者:
Zinser, Zachary.
出版者:
Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:
254 p.
附註:
Source: Dissertations Abstracts International, Volume: 82-07, Section: A.
Contained By:
Dissertations Abstracts International82-07A.
標題:
Music theory. -
電子資源:
https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28260689
ISBN:
9798557041614
Sound, Syntax, and Space in Studio-Produced Popular Music.
Zinser, Zachary.
Sound, Syntax, and Space in Studio-Produced Popular Music.
- Ann Arbor : ProQuest Dissertations & Theses, 2020 - 254 p.
Source: Dissertations Abstracts International, Volume: 82-07, Section: A.
Thesis (Ph.D.)--Indiana University, 2020.
This item must not be sold to any third party vendors.
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.
ISBN: 9798557041614Subjects--Topical Terms:
547155
Music theory.
Subjects--Index Terms:
Music cognition
Sound, Syntax, and Space in Studio-Produced Popular Music.
LDR
:03299nmm a2200349 4500
001
2280091
005
20210823091517.5
008
220723s2020 ||||||||||||||||| ||eng d
020
$a
9798557041614
035
$a
(MiAaPQ)AAI28260689
035
$a
AAI28260689
040
$a
MiAaPQ
$c
MiAaPQ
100
1
$a
Zinser, Zachary.
$3
3558595
245
1 0
$a
Sound, Syntax, and Space in Studio-Produced Popular Music.
260
1
$a
Ann Arbor :
$b
ProQuest Dissertations & Theses,
$c
2020
300
$a
254 p.
500
$a
Source: Dissertations Abstracts International, Volume: 82-07, Section: A.
500
$a
Advisor: Johnston, Blair.
502
$a
Thesis (Ph.D.)--Indiana University, 2020.
506
$a
This item must not be sold to any third party vendors.
520
$a
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.
590
$a
School code: 0093.
650
4
$a
Music theory.
$3
547155
650
4
$a
Music.
$3
516178
653
$a
Music cognition
653
$a
Music theory
653
$a
Musical texture
653
$a
Sound recordings
690
$a
0221
690
$a
0413
710
2
$a
Indiana University.
$b
Music Theory.
$3
3168619
773
0
$t
Dissertations Abstracts International
$g
82-07A.
790
$a
0093
791
$a
Ph.D.
792
$a
2020
793
$a
English
856
4 0
$u
https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28260689
筆 0 讀者評論
館藏地:
全部
電子資源
出版年:
卷號:
館藏
1 筆 • 頁數 1 •
1
條碼號
典藏地名稱
館藏流通類別
資料類型
索書號
使用類型
借閱狀態
預約狀態
備註欄
附件
W9431824
電子資源
11.線上閱覽_V
電子書
EB
一般使用(Normal)
在架
0
1 筆 • 頁數 1 •
1
多媒體
評論
新增評論
分享你的心得
Export
取書館
處理中
...
變更密碼
登入