Hostname: page-component-cd9895bd7-lnqnp Total loading time: 0 Render date: 2024-12-25T18:22:22.600Z Has data issue: false hasContentIssue false
  • English
  • Français

A Hermeneutics of Spatialization for Recorded Song

Published online by Cambridge University Press:  19 January 2011

ALLAN F. MOORE ,
PATRICIA SCHMIDT  and
RUTH DOCKWRAY
Get access Rights & Permissions [Opens in a new window]

Abstract

This article is one of a series exploring the spatialization of sound sources in recorded songs and how they may be understood (see also ‘The Virtual Performance Space in Rock’, twentieth-century music 5/2). Its theoretical basis is multi-faceted, utilizing notions of ecological perception, of the sound-box, of the singer's persona, and of interpersonal distance in communication, as well as further concepts from cognitive science. It focuses particularly on image schemata and proxemics, exemplifying them across a range of genres, while also addressing them critically, for instance from a feminist perspective. Finally, it explores how this theoretical basis helps us not only to understand the contribution of spatialization to the interpretation of songs and their meanings, but also to shed light on the role of other musical domains.

Type
Articles
Information
Twentieth-Century Music , Volume 6 , Issue 1 , March 2009 , pp. 83 - 114
Copyright
Copyright © Cambridge University Press 2011

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bibliography

Biocca, Frank, David, Prabu, Tang, Arthur, and Lim, Lynette. ‘Does Virtual Space Come Precoded with Meaning? Location around the Body in Virtual Space Affects the Meaning of Objects and Agents’. Paper presented at annual meeting of International Communication AssociationNew Orleans,May 2004. <http://www.allacademic.com/meta/p_mla_apa_research_citation/1/1/2/6/8/pages112683/p112683-1.php> (accessed 18 November 2008).+(accessed+18+November+2008).>Google Scholar
Bordo, Susan. Unbearable Weight: Feminism, Western Culture, and the Body. Berkeley: University of California Press, 1995.Google Scholar
Bregman, Albert S. Auditory Scene Analysis: the Perceptual Organization of Sound. London: MIT Press, 1990.CrossRefGoogle Scholar
Bregman, Albert S. ‘Auditory Scene Analysis: Hearing in Complex Environments’, in Thinking in Sound: the Cognitive Psychology of Human Audition, ed. McAdams, Stephen and Bigand, Emmanuel. Oxford: Clarendon Press, 1993. 10–36.CrossRefGoogle Scholar
Butler, Judith. Bodies that Matter: on the Discursive Limits of Sex. New York: Routledge, 1993.Google Scholar
Clarke, Eric F. Ways of Listening. New York: Oxford University Press, 2005.CrossRefGoogle Scholar
Damasio, Antonio. The Feeling of What Happens: Body and Emotion in the Making of Consciousness. New York: Harcourt Brace, 1999.Google Scholar
Dockwray, Ruth, and Moore, Allan F.. ‘Configuring the Sound-Box, 1965–72’. Popular Music 29/2 (2010), 181–197.CrossRefGoogle Scholar
Echard, William. ‘An Analysis of Neil Young's “Powderfinger” Based on Mark Johnson's Image Schemata’. Popular Music 18/1 (1999), 133–144.CrossRefGoogle Scholar
Fast, Susan. In the Houses of the Holy: Led Zeppelin and the Power of Rock Music. New York: Oxford University Press, 2001.CrossRefGoogle Scholar
Fauconnier, Gilles. Mappings in Thought and Language. Cambridge: Cambridge University Press, 1997.CrossRefGoogle Scholar
Fauconnier, Gilles and Turner, Mark. The Way We Think: Conceptual Blending and the Mind's Hidden Complexities. New York: Basic Books, 2002.
Gibbs, Raymond W. Jr.Embodiment and Cognitive Science. Cambridge: Cambridge University Press, 2006.Google Scholar
Grosz, Elizabeth. Volatile Bodies: toward a Corporeal Feminism. Bloomington: Indiana University Press, 1994.Google Scholar
Hall, Edward T. ‘A System for the Notation of Proxemic Behaviour’. American Anthropologist 65/5 (1963), 1003–1026.CrossRefGoogle Scholar
Hall, Edward T. The Hidden Dimension. London: The Bodley Head, 1969.Google Scholar
Henking, Susan E. Review of The Body in the Mind (1987) by Mark Johnson. Journal of the American Academy of Religion 58/3 (1990), 503–506.Google Scholar
Johnson, Mark. The Body in the Mind. Chicago: Chicago University Press, 1987.CrossRefGoogle Scholar
Johnson, Mark. The Meaning of the Body. Chicago: Chicago University Press, 2007.CrossRefGoogle Scholar
Johnson, Mark and Larson, Steve. ‘“Something in the Way She Moves”: Metaphors of Musical Motion’. Metaphor and Symbol 18/2 (2003), 63–84.CrossRefGoogle Scholar
Kendall, Gary S., and Ardila, Mauricio. ‘The Artistic Play of Spatial Organization: Spatial Attributes, Scene Analysis and Auditory Spatial Schema’. Lecture Notes in Computer Science 4969 (2008), 125–138.CrossRefGoogle Scholar
Kövecses, Zoltán. Metaphor in Culture: Universality and Variation. Cambridge: Cambridge University Press, 2005.CrossRefGoogle Scholar
Lakoff, George. Women, Fire, and Dangerous Things. Chicago: Chicago University Press, 1987.CrossRefGoogle Scholar
Lakoff, George. Philosophy in the Flesh. New York: Basic Books, 1999.Google Scholar
Lakoff, George and Johnson, Mark. Metaphors We Live By. Chicago: Chicago University Press, 1980.Google Scholar
Levitin, Daniel J. This Is Your Brain on Music. London: Plume, 2006.Google Scholar
Meyrowitz, Joshua. ‘Television and Interpersonal Behaviour: Codes of Perception and Response’, in Inter/Media: Interpersonal Communication in a Media World, ed. Gumpert, Gary and Cathcart, Robert. Oxford: Oxford University Press, 1982. 221–241.Google Scholar
Middleton, Richard. ‘Popular Music Analysis and Musicology: Bridging the Gap’, in Reading Pop, ed. Middleton, . Oxford: Oxford University Press, 2000. 104–121.CrossRefGoogle Scholar
Moore, Allan F. ‘The So-Called Flattened Seventh in Rock’. Popular Music 14 (1995), 185–202.CrossRefGoogle Scholar
Moore, Allan F. Rock: the Primary Text, 2nd edn. Aldershot: Ashgate 2002.Google Scholar
Moore, Allan F. ‘The Persona/Environment Relation in Recorded Song’. Music Theory Online 11/4 (2005).CrossRefGoogle Scholar
Moore, Allan F. ‘Interpretation: So What?’, in Ashgate Research Companion to Popular Musicology, ed. Scott, Derek B.. Aldershot: Ashgate, 2009. 411–425.Google Scholar
Moore, Allan F. ‘The Track’, in Recorded Music: Society, Technology and Performance, ed. Bayley, Amanda. Cambridge: Cambridge University Press, 2010. 252–267.Google Scholar
Moore, Allan F. ‘Where is Here? An Issue of Deictic Projection in Recorded Song’. Journal of the Royal Musical Association 135/1 (2010), 145–182.CrossRefGoogle Scholar
Moore, Allan F. ‘Beyond a Musicology of Production’, in The Art of Record Production: an Introductory Reader for a New Academic Field, ed. Frith, Simon and Zagorski-Thomas, Simon. Farnham: Ashgate, forthcoming.Google Scholar
Moore, Allan F. ‘One Way of Feeling: Contextualising a Hermeneutics of Spatialization’, in Festschrift for Derek Scott, ed. Stan Hawkins (Farnham: Ashgate, forthcoming).Google Scholar
Moore, Allan F. Song Means (Farnham: Ashgate, forthcoming).Google Scholar
Moore, Allan F, and Ruth Dockwray. ‘The Establishment of the Virtual Performance Space in Rock’. twentieth-century music 5/2 (2009), 63–85.Google Scholar
Rumsey, Francis. ‘Spatial Quality Evaluation for Reproduced Sound: Terminology, Meaning, and a Scene-based Paradigm’. Journal of the Audio Engineering Society 50/9 (2002), 651–666.Google Scholar
Saslaw, Janna. ‘Forces, Containers, and Paths: the Role of Body-Derived Image Schemas in the Conceptualization of Music’. Journal of Music Theory 40/2 (1996), 217–243.CrossRefGoogle Scholar
Schmidt, Christopher. ‘Metaphor and Cognition: a Cross-Cultural Study of Indigenous and Universal Constructs in Stock Exchange Reports’. Intercultural Communication 5 (2002) <http://www.immi.se/intercultural/> (accessed 22 April 2008).Google Scholar
Sommer, Robert. Personal Space. New Jersey: Prentice-Hall, 1969.Google Scholar
Tagg, Philip. Introductory Notes to the Semiotics of Music. <http://www.tagg.org/xpdfs/semiotug.pdf> (accessed 17 April 2008).+(accessed+17+April+2008).>Google Scholar
Walser, Robert. Running with the Devil: Power, Gender and Madness in Heavy Metal Music. Middletown, CT: Wesleyan University Press. 1993.Google Scholar
Zbikowski, Lawrence. Conceptualizing Music: Cognitive Structure, Theory, and Analysis. New York: Oxford University Press, 2002.CrossRefGoogle Scholar

Videography

Melanie [Safka]. Interview, c1970 <http://www.youtube.com/watch?v=MmfD-P1iX6k> (accessed 27 November 2009).+(accessed+27+November+2009).>Google Scholar

Discography

Amos, Tori. Boys for Pele. CD, Atlantic 7567-80696-2. 1996.Google Scholar
Dylan, Bob. John Wesley Harding (1967). CD, Columbia 463359 2. 1990.Google Scholar
Elbow. Asleep in the Back. CD, V2 EVERCD175. 2001.Google Scholar
Elliott, Missy. This Is Not a Test! CD, Goldmind/Elektra 62905-2. 2003.Google Scholar
Foo Fighters. One by One. CD, RCA 82876 50523 2. 2002.Google Scholar
Gossip, The. Standing in the Way of Control. CD, Back Yard BACK19DJC1. 2006.Google Scholar
Havens, Richie. Grace of the Sun. CD, Stormy Forest SF2022. 2004.Google Scholar
Hendrix. The Jimi Hendrix Experience. Electric Ladyland (1968). CD, MCA, MCA11600. 1997.Google Scholar
Lakeman, Seth. Freedom Fields. CD, iScream ISCD007. 2006.Google Scholar
Lewis, Leona. Spirit, deluxe edn. CD, J Records 88697 46016-2. 2008.Google Scholar
Mansun. Attack of the Grey Lantern. CD, Epic EK67935. 1997.Google Scholar
Melanie [Safka]. Candles in the Rain (1970). CD, Edsel EDSD2001. 2007.Google Scholar
Minogue, Kylie. Body Language. CD, Capitol CDP 7243 595645 0 0. 2003.Google Scholar
Pallot, Nerina. Dear Frustrated Superstar. CD, Polydor 589 179-2. 2001.Google Scholar
Pulp. Different Class. CD, Island CID 8041. 1995.Google Scholar
Real Thing, The. Can You Feel the Force? LP, Pye 200 302-320. 1979.Google Scholar
Rolling Stones. Hot Rocks 1964–1971 (1971). CD, ABKCO 844 475-2. 1986.Google Scholar
Rolling Stones. Jump Back: the Best of the Rolling Stones '71–'93. CD, Virgin CDV2726. 1993.Google Scholar
Simian. Chemistry Is What We Are. CD, Source CDSOUR021. 2001.Google Scholar
Skunk Anansie. Post-Orgasmic Chill. CD, Virgin CDV2881. 1999.Google Scholar
Slade. Rogue's Gallery. CD, RCA DCM698-122. 1986.CrossRefGoogle Scholar
Snow Patrol. Final Straw. CD, Polydor 9866089. 2004.Google Scholar
Steeleye Span. Time. CD, Park PRKCD34. 1996.Google Scholar
t.A.T.u. 200 Km/H in the Wrong Lane. CD, Interscope 064107. 2002.Google Scholar
U2. Rattle and Hum. CD, Island CIDU 27. 1988.Google Scholar
Young, Will. Keep On. CD, Sony/BMG 82876 74954 2. 2005.Google Scholar
Zutons. Tired of Hanging Around. CD, Deltasonic DLTCD040. 2006.Google Scholar