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Genre Experience Maps and Their Role...

Seguin, Abigail.

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Genre Experience Maps and Their Role in the Analysis of Post-2000s Popular Music.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Genre Experience Maps and Their Role in the Analysis of Post-2000s Popular Music./
作者:	Seguin, Abigail.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2023,
面頁冊數:	328 p.
附註:	Source: Dissertations Abstracts International, Volume: 85-07, Section: A.
Contained By:	Dissertations Abstracts International85-07A.
標題:	Music. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31067702
ISBN:	9798381400977

Genre Experience Maps and Their Role in the Analysis of Post-2000s Popular Music.
Seguin, Abigail.

Genre Experience Maps and Their Role in the Analysis of Post-2000s Popular Music. - Ann Arbor : ProQuest Dissertations & Theses, 2023 - 328 p.

Source: Dissertations Abstracts International, Volume: 85-07, Section: A.

Thesis (Ph.D.)--University of Cincinnati, 2023.

Genres in popular music, particularly post-2000s popular music, are constellations of components that may or may not be active on any given track. In addition to this, recording techniques and technology also significantly impact the concept of genre because as they grow and evolve, so do the genres they are employed in. This creates a musical repertoire that is constantly changing and that is dependent on the technology and trends around it for its definition. Because of the evolutionary history of genres in popular music and because of their fluidity, there will always be some degree of component overlap between genres. This overlap of components between genres is of particular importance when the music is examined from the listener's perspective because each individual listener brings their own background knowledge to hearing a song. As a result, different musical connections may arise for different listeners based on what music they typically listen to. The presence of these two characteristics suggests that analysts may want to examine this repertoire from the listener's perspective.To carry out this type of examination, I have created a two-pronged analytical tool comprised of Meta-Categorical Frameworks and Genre Experience Maps that approaches the music from the listener's perspective. The tool allows the listener to track not only what components they hear as propagating the genre of the song, but also allows them to visually depict musical associations they uncover. The first step, Meta-Categorical Frameworks, are charts that help the analyst break a track down into its genre components and gather their thoughts. The second step, Genre Experience Maps, are visual webs that place the components from the Meta-Categorical Framework into nodes so associational lines can be added to connect related components, emphasizing relationships the listener hears in the music.To demonstrate the wide range of analytical applications for Meta-Categorical Frameworks and Genre Experience Maps, this dissertation provides three case studies that each utilize a different approach to the deployment of Meta-Categorical Frameworks and Genre Experience Maps. First, the Bloomian relationship between the punk and emo genres is explored to show how emo tends to use the opposite components of its punk parent predecessor in an attempt to break free and carve out its own space in the musical world. Next, a number of anime openings are examined to show how sonic conflict between rock and classical genre components is leveraged in the music to convey different types of narrative conflict present within the show. Finally, NateWantsToBattle's rock opera Songs of Time is explored to show how he effectively composes with genre components, utilizing musical concepts and excerpts from the video game The Legend of Zelda: Ocarina of Time to reinforce the narrative of the album.

ISBN: 9798381400977Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Genre

Genre Experience Maps and Their Role in the Analysis of Post-2000s Popular Music.
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520 $a Genres in popular music, particularly post-2000s popular music, are constellations of components that may or may not be active on any given track. In addition to this, recording techniques and technology also significantly impact the concept of genre because as they grow and evolve, so do the genres they are employed in. This creates a musical repertoire that is constantly changing and that is dependent on the technology and trends around it for its definition. Because of the evolutionary history of genres in popular music and because of their fluidity, there will always be some degree of component overlap between genres. This overlap of components between genres is of particular importance when the music is examined from the listener's perspective because each individual listener brings their own background knowledge to hearing a song. As a result, different musical connections may arise for different listeners based on what music they typically listen to. The presence of these two characteristics suggests that analysts may want to examine this repertoire from the listener's perspective.To carry out this type of examination, I have created a two-pronged analytical tool comprised of Meta-Categorical Frameworks and Genre Experience Maps that approaches the music from the listener's perspective. The tool allows the listener to track not only what components they hear as propagating the genre of the song, but also allows them to visually depict musical associations they uncover. The first step, Meta-Categorical Frameworks, are charts that help the analyst break a track down into its genre components and gather their thoughts. The second step, Genre Experience Maps, are visual webs that place the components from the Meta-Categorical Framework into nodes so associational lines can be added to connect related components, emphasizing relationships the listener hears in the music.To demonstrate the wide range of analytical applications for Meta-Categorical Frameworks and Genre Experience Maps, this dissertation provides three case studies that each utilize a different approach to the deployment of Meta-Categorical Frameworks and Genre Experience Maps. First, the Bloomian relationship between the punk and emo genres is explored to show how emo tends to use the opposite components of its punk parent predecessor in an attempt to break free and carve out its own space in the musical world. Next, a number of anime openings are examined to show how sonic conflict between rock and classical genre components is leveraged in the music to convey different types of narrative conflict present within the show. Finally, NateWantsToBattle's rock opera Songs of Time is explored to show how he effectively composes with genre components, utilizing musical concepts and excerpts from the video game The Legend of Zelda: Ocarina of Time to reinforce the narrative of the album.
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650 4 $a Musical composition. $3 3289630
650 4 $a Music theory. $3 547155
653 $a Genre
653 $a Popular music
653 $a Recording effects
653 $a Video game music
653 $a Anime openings
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690 $a 0214
690 $a 0221
710 2 $a University of Cincinnati. $b College-Conservatory of Music: Theory. $3 3186350
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