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Author:   Robert Fink (Professor of Musicology, Professor of Musicology, University of California Los Angeles) ,  Melinda Latour (Rumsey Family Assistant Professor of Musicology, Rumsey Family Assistant Professor of Musicology, Tufts University) ,  Zachary Wallmark (Assistant Professor and Chair of Musicology, Assistant Professor and Chair of Musicology, Southern Methodist University Meadows School of the Arts)
Publisher:   Oxford University Press Inc
Imprint:   Oxford University Press Inc
Dimensions:   Width: 23.60cm , Height: 3.10cm , Length: 16.00cm
Weight:   0.828kg
ISBN:  

9780199985227

ISBN 10:   0199985227
Pages:   408
Publication Date:   25 October 2018
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   To order  
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Table of Contents

"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 Théberge Chapter 15 The Spectromorphology of Recorded Popular Music: The Shaping of Sonic Cartoons Through Record Production Simon Zagorski-Thomas Afterword Simon Frith"

Reviews

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. 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 *

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. -- Jonathan Sterne, author of MP3: The Meaning of a Format and The Audible Past: Cultural Origins of Sound Reproduction

Author Information

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 École 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).

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