The Relentless Pursuit of Tone
Timbre in Popular Music
Published on 25. October 2018
Book
Hardback
408 pages
978-0-19-998522-7 (ISBN)
Description
The Relentless Pursuit of Tone: Timbre in Popular Music assembles a broad spectrum of contemporary perspectives on how "sound" functions in an equally wide array of popular music. Ranging from the twang of country banjoes and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume bridges the gap between timbre, our name for the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. Essays engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. "Genre" asks how sonic signatures define musical identities and publics; "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; "Instrument" tells stories of the way some iconic pop music machines-guitars, strings, synthesizers-got (or lost) their distinctive sounds; "Production" then 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.
Reviews / Votes
All in all, the contributions of this groundbreaking volume are extremely inspiring. Because of its variety of topics and historical information as well as approaches and concepts, it is likely that the book will be used as a compendium to the study of tone, timbre and sound in popular music that, at the same time, will stimulate manifold new research. * Martin Pfleiderer, Transposition * This wide-ranging and ear-opening collection explores the often rich and dynamic space between tone and timbre. Engaging diverse repertories from a variety of interpretive angles, this volume provides a wonderful survey that demonstrates how "pursuing the tone" can be crucial to understanding popular music. * John Covach, Director, University of Rochester Institute for Popular Music, Professor of Theory, Eastman School of Music * The Relentless Pursuit of Tone assembles a kaleidoscope of methods for studying timbre in popular music. Its chapters offer new approaches to the study of instruments, voices and technologies; studio production; listening practices and audience reception; music making - whether composed or improvised; performance; aesthetics; and music law. If you are interested in the relationship between sound and music, this collection is essential reading.More details
Language
English
Place of publication
New York
United States
Target group
Professional and scholarly
Illustrations
12 line, 29 halftone
Dimensions
Height: 240 mm
Width: 161 mm
Thickness: 26 mm
Weight
775 gr
ISBN-13
978-0-19-998522-7 (9780199985227)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Robert Fink | Melinda Latour | Zachary Wallmark
The Relentless Pursuit of Tone
Timbre in Popular Music
Book
11/2018
Oxford University Press Inc
€52.50
Shipment within 15-20 days
Robert Fink | Melinda Latour | Zachary Wallmark
The Relentless Pursuit of Tone
Timbre in Popular Music
E-Book
09/2018
OUP eBook
€19.99
Available for download
Robert Fink | Melinda Latour | Zachary Wallmark
The Relentless Pursuit of Tone
Timbre in Popular Music
E-Book
09/2018
OUP eBook
€25.49
Available for download
Persons
Robert Fink is Professor of Musicology at UCLA and a past President of IASPM-US. He focuses on music after 1965, with special interests in minimalism, popular music, and the intersection of cultural and music-analytical theory. He has published widely in musicological journals, and is the author of Repeating Ourselves (2005), a book-length study of the minimal music of Steve Reich, Philip Glass, and others as a cultural reflection of American consumer society in the mass-media age.
Melinda Latour is Rumsey Family Assistant Professor of Musicology at Tufts University. She has received numerous awards, including the Mellon/ACLS Dissertation Completion Fellowship, and the Newberry Library Ecole nationale des chartes Exchange Fellowship. Her work appears in the Journal of Musicology (2015), the Revue de musicologie (2016), and the Cambridge History of Sixteenth-Century Music (forthcoming).
Zachary Wallmark is Assistant Professor of Musicology at SMU Meadows School of the Arts.
His research explores the contribution of timbre to affective response, aesthetic judgment, and empathy in popular music and jazz, using methods from musicology and the cognitive sciences.
He is currently at work on a monograph tentatively titled Nothing but Noise: Timbre and Musical Meaning at the Edge (Oxford). Wallmark is the recipient of an NEH Fellowship (2017-18).
Melinda Latour is Rumsey Family Assistant Professor of Musicology at Tufts University. She has received numerous awards, including the Mellon/ACLS Dissertation Completion Fellowship, and the Newberry Library Ecole nationale des chartes Exchange Fellowship. Her work appears in the Journal of Musicology (2015), the Revue de musicologie (2016), and the Cambridge History of Sixteenth-Century Music (forthcoming).
Zachary Wallmark is Assistant Professor of Musicology at SMU Meadows School of the Arts.
His research explores the contribution of timbre to affective response, aesthetic judgment, and empathy in popular music and jazz, using methods from musicology and the cognitive sciences.
He is currently at work on a monograph tentatively titled Nothing but Noise: Timbre and Musical Meaning at the Edge (Oxford). Wallmark is the recipient of an NEH Fellowship (2017-18).
Editor
Professor of MusicologyProfessor of Musicology, University of California Los Angeles
Rumsey Family Assistant Professor of MusicologyRumsey Family Assistant Professor of Musicology, Tufts University
Assistant Professor and Chair of MusicologyAssistant Professor and Chair of Musicology, Southern Methodist University Meadows School of the Arts
Content
Introduction
Chasing the Dragon: In Search of Tone in Popular Music
Robert Fink, Zachary Wallmark, and Melinda Latour
I. Genre
Chapter 1
Hearing Timbre: Perceptual Learning Among Early Bay Area Ravers
Cornelia Fales
Chapter 2
The Twang Factor in Country Music
Jocelyn R. Neal
Chapter 3
The Sound of Evil: Timbre, Body, and Sacred Violence in Death Metal
Zachary Wallmark
Chapter 4
Below 100 Hz: Toward a Musicology of Subbass
Robert Fink
II. Voice
Chapter 5
Timbre and Legal Likeness: The Case of Tom Waits
Mark C. Samples
Chapter 6
"The Triumph of Jimmy Scott": A Voice Beyond Category
Nina Sun Eidsheim
Chapter 7
Auto-tune, Labor, and the Pop Music Voice
Catherine Provenzano
III. Instrument
Chapter 8
Hearing Luxe Pop: Jay Z, Isaac Hayes, and the Six Degrees of Symphonic Soul
John Howland
Chapter 9
Santana and the Metaphysics of Tone: Feedback Loops, Volume Knobs and the
Quest for Transcendence
Melinda Latour
Chapter 10
Synthesizers as Social Protest in Early 1970s Funk
Griffin Woodworth
Chapter 11
Crossing the Electronic Divide: Guitars, Synthesizers, and the Shifting
Sound Field of Fusion
Steve Waksman
IV. Production
Chapter 12
Clash of the Timbres: Recording Authenticity in the California Rock Scene, 1966-68
Jan Butler
Chapter 13
The Death Rattle of a Laughing Hyena: The Sound of Musical Democracy
Albin J. Zak III
Chapter 14
The Sound of Nowhere: Reverb and the Construction of Sonic Space
Paul Theberge
Chapter 15
The Spectromorphology of Recorded Popular Music:
The Shaping of Sonic Cartoons Through Record Production
Simon Zagorski-Thomas
Afterword
Simon Frith
Chasing the Dragon: In Search of Tone in Popular Music
Robert Fink, Zachary Wallmark, and Melinda Latour
I. Genre
Chapter 1
Hearing Timbre: Perceptual Learning Among Early Bay Area Ravers
Cornelia Fales
Chapter 2
The Twang Factor in Country Music
Jocelyn R. Neal
Chapter 3
The Sound of Evil: Timbre, Body, and Sacred Violence in Death Metal
Zachary Wallmark
Chapter 4
Below 100 Hz: Toward a Musicology of Subbass
Robert Fink
II. Voice
Chapter 5
Timbre and Legal Likeness: The Case of Tom Waits
Mark C. Samples
Chapter 6
"The Triumph of Jimmy Scott": A Voice Beyond Category
Nina Sun Eidsheim
Chapter 7
Auto-tune, Labor, and the Pop Music Voice
Catherine Provenzano
III. Instrument
Chapter 8
Hearing Luxe Pop: Jay Z, Isaac Hayes, and the Six Degrees of Symphonic Soul
John Howland
Chapter 9
Santana and the Metaphysics of Tone: Feedback Loops, Volume Knobs and the
Quest for Transcendence
Melinda Latour
Chapter 10
Synthesizers as Social Protest in Early 1970s Funk
Griffin Woodworth
Chapter 11
Crossing the Electronic Divide: Guitars, Synthesizers, and the Shifting
Sound Field of Fusion
Steve Waksman
IV. Production
Chapter 12
Clash of the Timbres: Recording Authenticity in the California Rock Scene, 1966-68
Jan Butler
Chapter 13
The Death Rattle of a Laughing Hyena: The Sound of Musical Democracy
Albin J. Zak III
Chapter 14
The Sound of Nowhere: Reverb and the Construction of Sonic Space
Paul Theberge
Chapter 15
The Spectromorphology of Recorded Popular Music:
The Shaping of Sonic Cartoons Through Record Production
Simon Zagorski-Thomas
Afterword
Simon Frith