Recording Analysis: How the Record Shapes the Song

Cover
Half Title
Title
Copyright
Dedication
Contents
List of Figures
List of Tables
List of Praxis Studies
Preface
Introduction
	Some Preliminary Definitions: Song, Record, Recording, Tracks and Domains
	Book Organization
	Supporting Materials
	Establishing an Accurate Playback of Tracks
PART ONE
	1 Recording Analysis: Domains, Disciplines, Approaches
		Records and Recorded Music
		Analyzing the Record\'s Domains
			Popular Music Analysis
			Lyrics in Popular Music Analysis
			Analyzing the Recording
		Outside Disciplines in Popular Music Analysis
			Sociology and Cultural Studies
			Philosophy and Psychology
			English Literature/Poetry Studies and Communications
			Semiotics and Hermeneutics
			Affects: Emotion, Energy, Expression
			Incorporating Other Disciplines Within an Analysis
		Framework and Process
			Framework\'s Analysis Sequence
			Framework Principles and Concepts
		Closing Thoughts on Analysis
	2 Overview of Framework: Principles and Concepts, Materials and Organization
		The Three Domains: Music, Lyrics and Recording
			Elements of Music
			Lyrics and Text
			Elements of Recording
		The Languages of Domains
			Syntax in Each Domain
			Syntax of Music
			Syntax of Recording
		Functions and Materials of Domains and their Elements
			Functions
			Inside the Elements and the Materials of the Song
		Form, Structure and Perspective
			Time Perception and Pattern Perception
			Hierarchies and Structure
			Dimensions of Structure
			Perspective
			Form: Shape and Stilled Time
			Song Structure
		Listening with Intention and Attention
			Listening is Personal
			Modes of Listening
			Listening Deeply
			Listening with Intention
			Listening Without Expectations
			Cultivating Attention
	3 Domain and Elements of Music
		Rhythm and Time
			Pulse, Rhythmic Layers and Metric Grid
		Tonality, Harmony and Melody
			Tonality
			Modes and Scales
			Chords and Progressions
			Characteristics of Harmony
			Characteristics of Melody
		The Remaining Elements: Dynamics, Timbre and Arrangement
			Dynamics
			Timbre and Performance
			Arrangement and Texture
		Interplay of Lead Vocal and Accompaniment
		Functions and Relationships of Lead Vocal and Accompaniment
		Conclusion
	4 Domain of Lyrics: The Voice of the Song
		Lyrics: Message, Story and Structure
			Structure of Lyrics
			Message and Meaning
			Dimensions of the Story
			Persona: The Messenger, Story Teller, Narrator
			Sounds of Language
		Lyrics in Performance: Giving Voice to the Song
			Alchemy of Lyrics and Melody
			Sound Qualities of Sung Lyrics
			Lyrics as Mosaics of Moments and Tone, and Unintelligible Lyrics
			Paralanguage and Nonverbal Vocal Sounds
			Vocal Style
			Examining Lyrics Within the Track
		Lyrics in Recorded Song
		Conclusion
	5 Observing Elements of Music and Lyrics in Records
		The Processes of Recording Analysis
			Overview of the Framework
			First Step of Process: Observations
				Observation, Interpretation and Bias
				Outside Sources
		Listening, Transcription and Description
			Transcribing Lyrics
			Music Transcription
			Perils
			Tools and Devices, and Inventing Notations
			Descriptions
			Linked to Analysis Goals
		Collecting Observations
			Constructing Timelines
			Adapting Timelines for Each Dimension
			Identifying Sound Sources and Materials
		Observations of Music Elements
			Melody
			Harmony
			Arrangement and Texture
			Dynamics
			Character, Timbre and Performance Qualities
				Describing the Character of Sound Qualities
				Recognizing the Content of Timbre
			Rhythm, Gesture and Groove
		Observations of Lyrics and Vocal Lines
			Literary Analysis of Lyrics
			Qualities of Performed Lyrics and the Vocal Performance
			Transcribing Vocal Lines and Performed Lyrics
			Observing the Relationship of Vocal and Lyrics to the Musical Fabric
		Closing Remarks
PART TWO
	6 The Recording Domain: Elements, Listening, Notation, Rhythm
		The Interconnectedness of Chapter Topics, and Intersubjectivity
		Engaging the Elements of Recording
			The Elements of Recording
				Common Traits of Timbre and Space
				Pitch, Dynamics and Rhythm Reframed as Recording Elements
				Interdependence of Elements
			Recording\'s Elements and the Multi-Domain Texture
		Rhythm and Time Within Recording Elements
			Surface Rhythms
			Microrhythms
			Macrorhythms
			Typology of Rhythm and Rhythmic Patterns
		Data Collection and Transcription of Recording Elements
			Notating Recording\'s Elements
			Collecting Information in X-Y Graphs
		Typology and Syntax of Recording Elements
			Typology Tables
			Syntax, Structure and Style
		Hearing the Elements of Recording
			Describing Sounds and Sound Qualities
			Finding Common Ground: A Shared Vantage for Talking About Sound
		Listening to Records and Recording Elements
			Analysis Goals and Listening to the Track
			Playback Variables: Reproducing the Track
				Digital Source Files
				Loudspeakers, Amplifiers and Listening Room Considerations
				Headphones
				Headphones Conclusion and Consistency Between Listening Sessions
			Playback Systems Used by the Author for Observations and Analyses
	7 Timbre and Pitch in the Recording Domain
		The Linkage of Pitch/Frequency and Timbre as Recording Elements
			Pitch Becomes Timbre, Timbre Becomes Pitch
			Timbre Defined
			Components of Timbre and Clarifying Related Definitions
			Acousmatic Listening and Timbre as Sound Object
				Acousmatic Listening
		Pitch/Frequency as an Element of Recording
			Pitch/Frequency Registers
			Pitch Areas
				Representing Pitch Areas of Unpitched Sounds
				Pitch Area Graph
			Pitch Density
				Pitch Density and Timbral Balance Graph
			Timbral Balance
		Timbre in the Recording Domain
			Everyday Timbre
			The Duality of Timbre
			Timbre as a Recording Element
				Large Dimension
				Small Dimensions
				Middle Dimensions
				Linkage with Other Domains and Other Elements
			Sound Source Timbre as a Recording Element
				Inherent Sound Quality
				Recording\'s Transformation of Sound Source Timbre
		Observing Timbre and Timbre Analysis
			General Issues of Timbre Analysis
			Character and Content
			Timbral Content Analysis Process
				Collecting Observations on Timbral Content
				Using Technology Tools
				Hearing into Timbre
				Defining a Timeline
			Defining the Four Tiers of the Timbre Analysis Graph
				Pitch Definition: Clarity of Pitch
				Dynamic Contour
				Spectral Content
				Spectral Envelope
			Timbre Analysis Graph
				Describing Timbral Content
			Defining, Observing and Describing Timbral Character
				Description as Interpretation
				Structural Levels and Time Spans
		Timbral Signatures and Concluding Remarks
	8 The Illusion of Space as an Element of Recording
		Hearing Invisible Sounds in Virtual Space
			Listener Perspective and Track Playback Format
		Spatial Properties and Attributes
			Spatial Properties and Levels of Perspective
		Stereo Location: Angular Direction and Image Width
			Perception of Direction and Phantom Image Lateral Localization
			Image Width
			Sound Sources in Motion
			Observing Stereo Images
			Hearing Images
			Using the Stereo Image Graph
			Stereo Imaging Typology
		Distance and Source Positions in the Track
			Understanding Distance in the Track
			Perception of Distance
			Personal Space and Proxemics
			Distance Perception in Records
			Devising an Approach for Observing Distance
				Context
				Content
		Collecting Distance Observations
			Establishing a Content Reference for Timbral Detail
			Establishing a Context Reference of Personal Space
			The Continuum of Distance Zones
			Collecting Observations Using the Distance Location Graph
			Typology of Distance
		Spatial Staging and Source Imaging
			Track as Performance
			Staging and Listener Interpretation
			Sound Stage and Analysis
			Sound Stage Diagrams: Notating Image Positions
			Typology of Staging
		The Sound of Place
			Sound Source Host Environments
			Echo and Reverberation
			Holistic Environment of the Track
			Multiple Spaces and a Hierarchy of Environments
			The Duality of Content and Character of Spaces
			The Sonic Content of Environments
				Direct Sound and Pre-Delay
				Early Reflections and Early Time Field
				Reverberation and Frequency Response
			Observing Acoustic Content of Environments
			Character of Environments
			Observing the Character of Environments
			Observing Holistic Environments
		Conclusion
	9 Loudness, the Confluence of Domains and Deep Listening
		Loudness as a Recording Element
			Prominence and Loudness
			Measuring Loudness Perception
			Loudness in the Context of the Track
			Interpreting Reference Dynamic Level and Crystallized Form
			Overall Loudness Level of the Track
			Loudness Balance, Musical Balance
			Performance Intensity
			Performance Intensity and Loudness Balance Graph
		The Confluence of All the Track Contains
			Prominence Emerging from Confluence
			Confluence of Recording Elements
				Temporal Graphs for Comparing Recording Elements
				Non-Temporal Graphs and Diagrams for Comparing Recording Elements
				The Soundbox and Other Approaches to Observing Multiple Recording Elements
			The Mix as Metaphor: Confluence and Interdependence of Domains
				Observing the Confluence of the Track
		Timbre as Confluence
			The Confluence Within Sound Source Timbres
				The Continuing Quest to Describe Sound with Shared Meaning
				Typology of Timbre in Confluence
			The Timbre of the Track
			Timbre of the Track and the Dimensions and Domains of the Track
			Crystallized Form
				Intrinsic Nature of Crystallized Form
				Origin of the Term
				Aural Image and Memory
				Recognizing Crystallized Form
		Deep Listening
			A Tradition of Deep Listening
			Deep Listening for Recording Analysis
				Deep Listening and the Present
				Memory and Reflection
				Arresting Anticipation and Minimizing Bias
				Subjective Vantage of the Analyst Listener
			A Knowing of the Track
		Conclusion
	10 Analyzing Recording Elements: Their Contributions to the Record
		A General Typology of Analysis
			Intention and Recording Analysis
		Analysis Process Overview and Analyzing Recording Elements
			Syntax of Recording Elements
			The Evaluation Stage
				Evaluating Observations of Recording Elements
				Sample Topics of Evaluations
			The Conclusions Stage
				Streams of Inquiry
			Final Consideration Before Beginning Analysis of Recording Elements
				Identifying Emotion and Affects
				Talking About Tracks
		Beginning Stages for Analyzing Recording Elements
			Structure and Form
			Timelines for Recording Elements
			The Context of the Timbre of the Track
		Analyzing and Describing Timbres
			Evaluating the Timbre of an Individual Sound
			Evaluating the Timbre of an Instrument Sound Source
			Evaluating Timbre and the Voice: Vocal Timbre, Lyrics and Performance
				Context
				Content: Voice Timbre
				Content: Timbre of Lyrics
				Performance
				Character
		Timbral Balance and Pitch Density
		Analyzing Loudness of the Track and of Sound Sources
			Program Dynamic Contour, Track Loudness Contour
				Tracks with Compressed, Minimal Program Dynamic Contour
			Loudness Levels, Loudness Relationships and Performance Intensity
				Loudness and Performance Intensity as Insight into the Mix
				Conflicting Impressions Between Loudness and Timbre of Performance Intensity
				Performance Intensity and Distance Position: A Different Reading of the Same Perception
		Analysis of Spatial Elements
			Distance Position
				Structural and Dramatic Use of Distance Positioning
				Interplay of Distance Position and Performance Intensity
				Distance Positions Within a Texture
				Distance Positioning of Lead Vocal Providing Shape to an Entire Album
			Stereo Location
				Image Widths and Positioning
			Interactions and Interrelations of Stereo Location and Timbral Balance
				Confluence and Recording Elements
			Analyzing the Sound Stage
				Sound Stage Boundaries
				Individual Sound Source Characteristics and Basic-Level Relationships
			Sound Stage and Lyrics
			Host Environments, Holistic Environment and Space Within Space
				Host Environments
				Space Within Space
				Holistic Environment
			Spatial Identity
		Recording Elements and the Timbre of the Track
			Timbre of the Track
		Concluding Remarks: Listening in the First Person
Appendix A: Praxis Studies
Bibliography
Discography
Acknowledgements
Index