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That Sound in Your Head : = Guitar Tone Values in the Entrepreneurial Age.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
That Sound in Your Head :/
其他題名:
Guitar Tone Values in the Entrepreneurial Age.
作者:
Brounley, David Matthew.
面頁冊數:
1 online resource (196 pages)
附註:
Source: Dissertations Abstracts International, Volume: 84-02, Section: A.
Contained By:
Dissertations Abstracts International84-02A.
標題:
Music history. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29208805click for full text (PQDT)
ISBN:
9798837533563
That Sound in Your Head : = Guitar Tone Values in the Entrepreneurial Age.
Brounley, David Matthew.
That Sound in Your Head :
Guitar Tone Values in the Entrepreneurial Age. - 1 online resource (196 pages)
Source: Dissertations Abstracts International, Volume: 84-02, Section: A.
Thesis (Ph.D.)--State University of New York at Stony Brook, 2022.
Includes bibliographical references
This dissertation investigates the ways that guitar sounds are packaged, valued, and folded into musician subjectivity in the early twenty-first century United States. Based on a multi-year ethnographic project at New York city musical instrument store, I argue that the sonic logics that have emerged in guitarist consumer culture are framed by the entrepreneurial values associated with neoliberal ideology. Through interactions in stores, popular media, and in everyday conversations concerning sound, many guitarists consider it a responsibility to produce unique sounds that represent their personality. These composite sounds, usually described as a player's "Tone," are often likened to sonic fingerprints in both industry literature and casual conversations. Drawing off the importance of this term within guitarist consumer culture, I theorize Tone as a sonic epistemology grounded in the logic and ethics entrepreneurial values.The musical instrument shop is an important fixture in many twenty-first century American musicians' lives, and yet it has been underexamined by scholars interested in music and capitalism. Indeed, many of the musicians I have interviewed claim to attribute their sonic fluency and self-perceived status as musical connoisseurs through interactions in these spaces, therefore I find it important to give them proper attention. As I recount interactions and interview, I investigate the cosmopolitan discourse-network the sales floor engenders. It is an useful space to study long-standing questions in musicology and music theory, for instance the economization of sound, the linguistics of timbral experience, and community building amongst amateur musicians.
Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023
Mode of access: World Wide Web
ISBN: 9798837533563Subjects--Topical Terms:
3342382
Music history.
Subjects--Index Terms:
Guitar toneIndex Terms--Genre/Form:
542853
Electronic books.
That Sound in Your Head : = Guitar Tone Values in the Entrepreneurial Age.
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Source: Dissertations Abstracts International, Volume: 84-02, Section: A.
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Advisor: Tausig, Benjamin.
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This dissertation investigates the ways that guitar sounds are packaged, valued, and folded into musician subjectivity in the early twenty-first century United States. Based on a multi-year ethnographic project at New York city musical instrument store, I argue that the sonic logics that have emerged in guitarist consumer culture are framed by the entrepreneurial values associated with neoliberal ideology. Through interactions in stores, popular media, and in everyday conversations concerning sound, many guitarists consider it a responsibility to produce unique sounds that represent their personality. These composite sounds, usually described as a player's "Tone," are often likened to sonic fingerprints in both industry literature and casual conversations. Drawing off the importance of this term within guitarist consumer culture, I theorize Tone as a sonic epistemology grounded in the logic and ethics entrepreneurial values.The musical instrument shop is an important fixture in many twenty-first century American musicians' lives, and yet it has been underexamined by scholars interested in music and capitalism. Indeed, many of the musicians I have interviewed claim to attribute their sonic fluency and self-perceived status as musical connoisseurs through interactions in these spaces, therefore I find it important to give them proper attention. As I recount interactions and interview, I investigate the cosmopolitan discourse-network the sales floor engenders. It is an useful space to study long-standing questions in musicology and music theory, for instance the economization of sound, the linguistics of timbral experience, and community building amongst amateur musicians.
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