東華大學圖書館 |

Music's Visual Waves : = Popular Music Technology and Audiovisual Aesthetics.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Music's Visual Waves :/
其他題名:	Popular Music Technology and Audiovisual Aesthetics.
作者:	Skjerseth, Amy Elizabeth.
面頁冊數:	1 online resource (312 pages)
附註:	Source: Dissertations Abstracts International, Volume: 83-12, Section: A.
Contained By:	Dissertations Abstracts International83-12A.
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29065185click for full text (PQDT)
ISBN:	9798834016533

Music's Visual Waves : = Popular Music Technology and Audiovisual Aesthetics.
Skjerseth, Amy Elizabeth.

Music's Visual Waves :Popular Music Technology and Audiovisual Aesthetics. - 1 online resource (312 pages)

Source: Dissertations Abstracts International, Volume: 83-12, Section: A.

Thesis (Ph.D.)--The University of Chicago, 2022.

Includes bibliographical references

This dissertation explores how technological innovations influenced music and visual culture over four decades, from 1960s transistor radios to 1990s Auto-Tune. Portable music technologies in the postwar era inspired American and British filmmakers and pop stars to give pop songs increasingly mobile and visual meanings. In the 1960s and '70s, American avant-garde filmmakers transformed pop songs' often patriarchal and heteronormative subject matter with moving images that championed women's and sexual liberation. And when music videos became a cultural phenomenon from the 1980s on, singers and producers mobilized popular music as a tool for political action through new visual contexts that emphasize countercultures and shatter stereotypes. Studies of pre-existing music in media have mainly focused on how pop songs shape film aesthetics-that a song of a particular era, for example, transports spectators to that time through their aural memories. This dissertation takes up an understudied aspect of media's pre-existing music: the crucial role of music technology in how media portray, and make, history and culture. Magnetic tape, digital samplers, and voice manipulation software, with their ability to fragment and recombine pop music, irrevocably altered how humans could remix and defy forms of representation in visual media with pre-existing pop songs. New waves of visualizing recorded voice, sound, and music in postwar music technology, I argue, reveal shifting depictions of what it means to be human.Each chapter follows a two-part structure to oscillate between sonic and visual culture. First, I show how the historical and economic origins of music recording technologies shape the new sounds that pop artists make to express themselves and their societies. Second, I examine how the visual imagery paired with found pop songs in avant-garde films and contemporary music videos reflects attitudes toward gender, sexuality, race, and more. Throughout, I reveal an audio-visual feedback loop between music and screen technologies, which mutually influence how people express aspects of identity in certain decades. Chapter 1 explores how the avant-garde filmmakers Barbara Rubin and Kenneth Anger appropriated pop songs from transistor radios in their 1963 films. Their queer imagery subverts the typical heterosexual meanings of pop for spectators. Chapter 2 tracks how Karen Carpenter and Yoko Ono used magnetic tape overdubbing to amplify women's embodied experiences. By multiplying the emotional effects of their voices, they contest male-dominated walls of sound (e.g., the Beach Boys and the Beatles). Chapter 3 analyzes the Fairlight Computer Musical Instrument-the first digital sampler with a computer screen-to chart an alternate history of '80s MTV. When Kate Bush, Herbie Hancock, and others drew music with the Fairlight's light pen, they transformed not only sampling in pop music but also the visual style of early music videos. Chapter 4 revises Auto-Tune from an inauthentic gimmick to a distinctly audiovisual tool for creating pop music personas. Cher and her Auto-Tune heirs expand the sound and look of female pop stars. Across these chapters, I show how music technologies shape trends and countercultures in visual culture, and how experimental and mainstream art impact one another.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798834016533Subjects--Topical Terms:

2122736
Film studies.
Subjects--Index Terms:

Audiovisual mediaIndex Terms--Genre/Form:

542853
Electronic books.

Music's Visual Waves : = Popular Music Technology and Audiovisual Aesthetics.
LDR:04706nmm a2200397K 4500 001 2358681
005 20230824071944.5
006 m o d
007 cr mn ---uuuuu
008 241011s2022 xx obm 000 0 eng d
020 $a 9798834016533
035 $a (MiAaPQ)AAI29065185
035 $a AAI29065185
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Skjerseth, Amy Elizabeth. $3 3699222
245 1 0 $a Music's Visual Waves : $b Popular Music Technology and Audiovisual Aesthetics.
264 0 $c 2022
300 $a 1 online resource (312 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 83-12, Section: A.
500 $a Advisor: Morgan, Daniel.
502 $a Thesis (Ph.D.)--The University of Chicago, 2022.
504 $a Includes bibliographical references
520 $a This dissertation explores how technological innovations influenced music and visual culture over four decades, from 1960s transistor radios to 1990s Auto-Tune. Portable music technologies in the postwar era inspired American and British filmmakers and pop stars to give pop songs increasingly mobile and visual meanings. In the 1960s and '70s, American avant-garde filmmakers transformed pop songs' often patriarchal and heteronormative subject matter with moving images that championed women's and sexual liberation. And when music videos became a cultural phenomenon from the 1980s on, singers and producers mobilized popular music as a tool for political action through new visual contexts that emphasize countercultures and shatter stereotypes. Studies of pre-existing music in media have mainly focused on how pop songs shape film aesthetics-that a song of a particular era, for example, transports spectators to that time through their aural memories. This dissertation takes up an understudied aspect of media's pre-existing music: the crucial role of music technology in how media portray, and make, history and culture. Magnetic tape, digital samplers, and voice manipulation software, with their ability to fragment and recombine pop music, irrevocably altered how humans could remix and defy forms of representation in visual media with pre-existing pop songs. New waves of visualizing recorded voice, sound, and music in postwar music technology, I argue, reveal shifting depictions of what it means to be human.Each chapter follows a two-part structure to oscillate between sonic and visual culture. First, I show how the historical and economic origins of music recording technologies shape the new sounds that pop artists make to express themselves and their societies. Second, I examine how the visual imagery paired with found pop songs in avant-garde films and contemporary music videos reflects attitudes toward gender, sexuality, race, and more. Throughout, I reveal an audio-visual feedback loop between music and screen technologies, which mutually influence how people express aspects of identity in certain decades. Chapter 1 explores how the avant-garde filmmakers Barbara Rubin and Kenneth Anger appropriated pop songs from transistor radios in their 1963 films. Their queer imagery subverts the typical heterosexual meanings of pop for spectators. Chapter 2 tracks how Karen Carpenter and Yoko Ono used magnetic tape overdubbing to amplify women's embodied experiences. By multiplying the emotional effects of their voices, they contest male-dominated walls of sound (e.g., the Beach Boys and the Beatles). Chapter 3 analyzes the Fairlight Computer Musical Instrument-the first digital sampler with a computer screen-to chart an alternate history of '80s MTV. When Kate Bush, Herbie Hancock, and others drew music with the Fairlight's light pen, they transformed not only sampling in pop music but also the visual style of early music videos. Chapter 4 revises Auto-Tune from an inauthentic gimmick to a distinctly audiovisual tool for creating pop music personas. Cher and her Auto-Tune heirs expand the sound and look of female pop stars. Across these chapters, I show how music technologies shape trends and countercultures in visual culture, and how experimental and mainstream art impact one another.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Film studies. $3 2122736
650 4 $a Music. $3 516178
650 4 $a Performing arts. $3 523119
653 $a Audiovisual media
653 $a Film soundtracks
653 $a Music technology
653 $a Music videos
653 $a Visual cultures
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0900
690 $a 0413
690 $a 0641
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a The University of Chicago. $b Cinema and Media Studies. $3 1677490
773 0 $t Dissertations Abstracts International $g 83-12A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29065185 $z click for full text (PQDT)