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The relentless pursuit of tone: timbre in popular music

Bibliographic Details
Authors and Corporations: Fink, Robert (Author), Latour, Melinda (Author), Wallmark, Zachary (Author)
Title: The relentless pursuit of tone: timbre in popular music/ Robert Fink, Melinda Latour, and Zachary Wallmark
Language: English
published:
New York, NY Oxford University Press 2018
Item Description: 1 Online-Ressource (xviii, 386 Seiten)
ISBN: 9780190908027
DOI: 10.1093/oso/9780199985227.001.0001
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520 |a The Relentless Pursuit of Tone: Timbre in Popular Music assembles a wide spectrum of contemporary perspectives on how sound functions in an equally wide array of popular music. With subjects ranging from the twang of country banjos and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume attempts to bridge the gap between timbre, the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. The book’s chapters engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. The chapters in Part I, “Genre,” ask how sonic signatures define musical identities and publics; Part II, “Voice,” considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; Part III, “Instrument,” tells stories of the way some iconic pop music machines—guitars, strings, synthesizers—got (or lost) their distinctive sounds; and Part IV, “Production,” puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons, rockist authenticity, empty space?), and what it all might mean. The book includes a general theoretical introduction by the editors and an afterword by noted popular music scholar Simon Frith. 
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contents The Relentless Pursuit of Tone: Timbre in Popular Music assembles a wide spectrum of contemporary perspectives on how sound functions in an equally wide array of popular music. With subjects ranging from the twang of country banjos and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume attempts to bridge the gap between timbre, the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. The book’s chapters engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. The chapters in Part I, “Genre,” ask how sonic signatures define musical identities and publics; Part II, “Voice,” considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; Part III, “Instrument,” tells stories of the way some iconic pop music machines—guitars, strings, synthesizers—got (or lost) their distinctive sounds; and Part IV, “Production,” puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons, rockist authenticity, empty space?), and what it all might mean. The book includes a general theoretical introduction by the editors and an afterword by noted popular music scholar Simon Frith.
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spelling Fink, Robert 1961- VerfasserIn (DE-588)1029543569 (DE-627)733747078 (DE-576)377406511 aut, The relentless pursuit of tone timbre in popular music Robert Fink, Melinda Latour, and Zachary Wallmark, New York, NY Oxford University Press 2018, 1 Online-Ressource (xviii, 386 Seiten), Text txt rdacontent, Computermedien c rdamedia, Online-Ressource cr rdacarrier, The Relentless Pursuit of Tone: Timbre in Popular Music assembles a wide spectrum of contemporary perspectives on how sound functions in an equally wide array of popular music. With subjects ranging from the twang of country banjos and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume attempts to bridge the gap between timbre, the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. The book’s chapters engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. The chapters in Part I, “Genre,” ask how sonic signatures define musical identities and publics; Part II, “Voice,” considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; Part III, “Instrument,” tells stories of the way some iconic pop music machines—guitars, strings, synthesizers—got (or lost) their distinctive sounds; and Part IV, “Production,” puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons, rockist authenticity, empty space?), and what it all might mean. The book includes a general theoretical introduction by the editors and an afterword by noted popular music scholar Simon Frith., Popular music History and criticism, Popular music Production and direction History, Tone color (Music), s (DE-588)4061916-3 (DE-627)106133985 (DE-576)209141859 Unterhaltungsmusik gnd, s (DE-588)4164006-8 (DE-627)105450634 (DE-576)20988536X Klangfarbe gnd, s (DE-588)4052020-1 (DE-627)10617407X (DE-576)20909639X Schallaufzeichnung gnd, s (DE-588)4235850-4 (DE-627)10489878X (DE-576)210391995 Musikproduktion gnd, z gnd Geschichte 1930-, (DE-627), Latour, Melinda 1980- VerfasserIn (DE-588)1076985858 (DE-627)835512789 (DE-576)445818255 aut, Wallmark, Zachary 1981- VerfasserIn (DE-588)117174711X (DE-627)1040687733 (DE-576)513831819 aut, 9780199985227, https://doi.org/10.1093/oso/9780199985227.001.0001 Resolving-System Volltext, https://doi.org/10.1093/oso/9780199985227.001.0001 ILN: 736, ILN: 736 epn:350740060X 2021-04-05T13:01:15Z, DE-Bn3 finc ba, DE-Brt1 finc ba, DE-D161 finc ba, DE-Gla1 finc ba, DE-L229 finc ba, DE-Rs1 finc ba, DE-Pl11 finc ba, DE-D275 finc ba, https://doi.org/10.1093/oso/9780199985227.001.0001 DE-14, DE-14 epn:3399111231 2018-12-12T08:04:49Z, https://doi.org/10.1093/oso/9780199985227.001.0001 Online-Zugriff DE-15, DE-15 epn:3399111282 2018-12-11T09:50:28Z, https://doi.org/10.1093/oso/9780199985227.001.0001 DE-Ch1, DE-Ch1 epn:3399111363 2019-01-15T08:25:52Z, DE-105 epn:339911141X 2019-01-29T15:09:41Z, https://doi.org/10.1093/oso/9780199985227.001.0001 DE-Zwi2, DE-Zwi2 epn:3526889708 2019-10-24T11:50:23Z, https://doi.org/10.1093/oso/9780199985227.001.0001 Zum Online-Dokument DE-Zi4, DE-Zi4 epn:3399111525 2018-12-11T15:47:50Z, https://doi.org/10.1093/oso/9780199985227.001.0001 DE-520, DE-520 epn:3399111584 2018-12-11T16:30:17Z, https://doi.org/10.1093/oso/9780199985227.001.0001 DE-540, DE-540 epn:3399111649 2018-12-13T13:39:24Z, https://doi.org/10.1093/oso/9780199985227.001.0001 DE-L242, DE-L242 epn:3399111711 2019-01-15T15:53:35Z, https://doi.org/10.1093/oso/9780199985227.001.0001 Volltext-Zugang für registrierte Benutzer der Bibliothek DE-D117, DE-D117 epn:3399111754 2023-01-13T13:37:35Z, https://doi.org/10.1093/oso/9780199985227.001.0001 Login für Zugang außerhalb des Hochschulnetzes DE-L152, DE-L152 epn:3399111800 2021-05-28T13:17:21Z
spellingShingle Fink, Robert, Latour, Melinda, Wallmark, Zachary, The relentless pursuit of tone: timbre in popular music, The Relentless Pursuit of Tone: Timbre in Popular Music assembles a wide spectrum of contemporary perspectives on how sound functions in an equally wide array of popular music. With subjects ranging from the twang of country banjos and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume attempts to bridge the gap between timbre, the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. The book’s chapters engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. The chapters in Part I, “Genre,” ask how sonic signatures define musical identities and publics; Part II, “Voice,” considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; Part III, “Instrument,” tells stories of the way some iconic pop music machines—guitars, strings, synthesizers—got (or lost) their distinctive sounds; and Part IV, “Production,” puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons, rockist authenticity, empty space?), and what it all might mean. The book includes a general theoretical introduction by the editors and an afterword by noted popular music scholar Simon Frith., Popular music History and criticism, Popular music Production and direction History, Tone color (Music), Unterhaltungsmusik, Klangfarbe, Schallaufzeichnung, Musikproduktion, z Geschichte 1930-
swb_id_str 515046876
title The relentless pursuit of tone: timbre in popular music
title_auth The relentless pursuit of tone timbre in popular music
title_full The relentless pursuit of tone timbre in popular music Robert Fink, Melinda Latour, and Zachary Wallmark
title_fullStr The relentless pursuit of tone timbre in popular music Robert Fink, Melinda Latour, and Zachary Wallmark
title_full_unstemmed The relentless pursuit of tone timbre in popular music Robert Fink, Melinda Latour, and Zachary Wallmark
title_short The relentless pursuit of tone
title_sort the relentless pursuit of tone timbre in popular music
title_sub timbre in popular music
title_unstemmed The relentless pursuit of tone: timbre in popular music
topic Popular music History and criticism, Popular music Production and direction History, Tone color (Music), Unterhaltungsmusik, Klangfarbe, Schallaufzeichnung, Musikproduktion, z Geschichte 1930-
topic_facet Popular music, Tone color (Music), History and criticism, Production and direction, History, Unterhaltungsmusik, Klangfarbe, Schallaufzeichnung, Musikproduktion, z, Geschichte 1930-
url https://doi.org/10.1093/oso/9780199985227.001.0001
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