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List of Figures
by William Moylan
Recording Analysis
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
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List of Tables
List of Figures
Figure 2.1 Structural hierarchy and overall shape (form) of "Every Little Thing" by the Beatles.
Figure 3.1 Underlying metric grid, surface rhythmic pattern, hypermeter and phrase structure.
Figure 3.2 Blues, pentatonic and pentatonic minor scales commonly found in rock and popular music.
Figure 3.3 Chords built on the scale degrees of Dorian, Mixolydian, Aeolian and major modes, with designations of chord qualities and scale degrees.
Figure 3.4 A typical twelve-bar blues pattern indicating harmonies, harmonic rhythm and four-bar hypermeter.
Figure 4.1 Scansion notating the chorus and first verse of the Beatles' "Strawberry Fields Forever" (1967).
Figure 4.2 Phonetic symbols for English vowel and consonant sounds.
Figure 4.3 Listing of diacritical and suprasegmental IPA symbols. Adapted from the IPA Chart,
http://www.internationalphoneticassociation.org/content/ipa-chart
,
available under a Creative Commons Attribution-Sharealike 3.0 Unported License. Copyright © 2015 International Phonetic Association.
Figure 4.4 Song titles transferred into the International Phonetic Alphabet.
Figure 5.1 Large dimension timeline of "While My Guitar Gently Weeps" (1968).
Figure 5.2 Middle dimension timeline containing select elements of music and lyrics; beginning sections of "Here Comes the Sun" (1969).
Figure 5.3 Timeline of the opening sections of "Let It Be" (
1,
2000 version) with sound sources identified in each section.
Figure 5.4 Melodic gestures illustrated as general melodic shapes and contours. John Lennon's lead vocal from the first chorus and first verse of "Strawberry Fields Forever" (1967).
Figure 5.5 Pitch density graph of all instruments present within the musical fabric in the opening sections of "Let It Be" (
1,
2000).
Figure 5.6 Basic groove in "Cold Sweat" (1967) by James Brown (standard pattern indicated in circles). Figure from
Presence and Pleasure: The Funk Grooves of James Brown and Parliament
© 2006 by Anne Danielsen. Published by Wesleyan University Press. Used by permission.
Figure 5.7 Select observations of lyrics incorporated into timeline, within "While My Guitar Gently Weeps" Verse 1 and Bridge 1.
Figure 5.8 Quartertone notation demonstrating enharmonic spellings using one- and three-quartertone symbols.
Figure 5.9 Notation for an indeterminate notation for microtone and microrhythm deviations from conventional notation values, and for speech-singing.
Figure 5.10 The line "Nothing is real" from "Strawberry Fields Forever" (1967) as it appears in each chorus.
Figure 6.1 X-Y multi-tier graph, with separate tiers for loudness balance, stereo imaging and distance position.
Figure 6.2 Direct-field loudspeaker relationships to the listening room and the listener location.
Figure 7.1 Harmonic vibrations of a string through the 8th harmonic.
Figure 7.2 Harmonic series through 16 harmonics, with pitch names and frequencies identified.
Figure 7.3 Dynamic envelope general shape and parts.
Figure 7.4 Pitch/frequency registers in relation to keyboard with pitches, octave designations and equivalent frequencies.
Figure 7.5 Pitch area graph of individual drum sounds from "The End" (1969, 1987).
Figure 7.6 Pitch density and timbral balance (including all instruments in the texture) from the beginning through the second verse of "Let It Be" (1, 2000).
Figure 7.7 Timbre analysis graph.
Figure 7.8 Timbre analysis graph of Moog synthesizer sound from "Maxwell's Silver Hammer" (1969, 1987) at 51.1 seconds.
Figure 8.1 Left-right stereo loudspeaker configuration imbedded within the 5.1 surround sound layout recommended by the ITU (International Telecommunications Union); mono reproduced by center speaker or L/R stereo speakers.
Figure 8.2 Sound sources positioned by lateral (stereo) location and distance from the listener, grouped into a single area or sound stage, which is contained within the track's holistic environment.
Figure 8.3 Stereo field: area of sound source localization in stereo.
Figure 8.4 Calculating degree increments for stereo image source positions, and the vertical axis of the Stereo Location X-Y Graph.
Figure 8.5 Stereo imaging graph of "A Day in the Life" (1967, 1987). Graph contains two tiers of sources against the timeline.
Figure 8.6 Distance location graph, divided into five distance zones, each divided into halves.
Figure 8.7 Distance location graph of the initial sections of the Beatles' "A Day in the Life" (1967, 1987).
Figure 8.8 Proximate sound stage, for generalized image placements.
Figure 8.9 Scaled sound stage diagram for precise localization of images.
Figure 8.10 Host Environments (sources and their spaces) on a sound stage; simultaneous spaces, overlapping spaces, spaces within space (host environments embedded within the holistic environment).
Figure 8.11 Unfolding time segments of environments, and types of reflections within environments.
Figure 8.12 Simple paths of reflected sound within an enclosed space.
Figure 9.1 VU (volume unit) meter.
Figure 9.2 Program dynamic contour (track loudness contour) graph of the Beatles' "Here Comes the Sun,"
Abbey Road
(1969, 1987).
Figure 9.3 Loudness balance graph of the Beatles' "Lucy in the Sky with Diamonds" from
Sgt. Pepper's Lonely Hearts Club Band
(1967, 1987).
Figure 9.4 Generalized loudness balance graphs of three versions of the Beatles' "Let It Be."
Figure 9.5 Performance intensity and loudness balance graph of the Beatles' "Lucy in the Sky with Diamonds,"
Yellow Submarine
(1999).
Figure 9.6 Temporal X-Y graph comparing pitch density and stereo imaging against a common timeline; from the Beatles' "Lucy in the Sky with Diamonds,"
Yellow Submarine
(1999).
Figure 9.7 Non-temporal X-Y graph comparing pitch density and stereo imaging; the Beatles' "Lucy in the Sky with Diamonds,"
Yellow Submarine
(1999), 0:00-0:31.
Figure 9.8 Proximate sound stage of "Let It Be"
(Past Masters, Volume Two,
1988) 0:00-1:01. Diagram illustrates sound source image positions and size, outlined by the widths and depths of their host environments.
Figure 9.9 Confluence of domains and performance, within the context, character, affects and interpretation of the track.
Figure 9.10 Master chart of element activities and of materials within the three domains, qualities added by performance, and of interpretation, context, affects, character and characteristics of the track.
Figure 10.1 Palindromic shape of "While My Guitar Gently Weeps" (1968, 1987).
Figure 10.2 Structure of "Here Comes the Sun" (1969, 1987).
Figure 10.3 Annotated timeline of "Here Comes the Sun" (1969, 1987).
Figure 10.4 Moog synthesizer glissando at 0:12 in "Here Comes the Sun" (1969, 1987).
Figure 10.5 Strong and weak stresses, phonetic sounds, and the lyrics as sung by John Lennon, "Strawberry Fields Forever" (1967, 1987).
Figure 10.6 Pitch density and timbral balance graph of the beginning through Verse 1 of "Here Comes the Sun" (1969, 1987).
Figure 10.7 Program dynamic contour of "Strawberry Fields Forever" (1967, 1987).
Figure 10.8 Performance intensity and loudness balance of "Strawberry Fields Forever" (1967, 1987).
Figure 10.9 Distance location graph of vocal lines from "Not Ready to Make Nice" (2006) by the Dixie Chicks.
Figure 10.10 Distance location graph of "Here Comes the Sun" (1969, 1987), beginning through Verse 1.
Figure 10.11 Lead vocal distance positions by track throughout
Time Out of Mind
(1997) by Bob Dylan.
Figure 10.12 Stereo location graph of two versions of "Let It Be," the
Past Masters, Volume Two
(original single release) and Let It Be (1970); through Verse 2 (the first 24 measures).
Figure 10.13 Stereo location and timbral balance graph of two versions of "Let It Be," the
Past Masters, Volume Two
(original single release) and
Let It Be
(1970); through Verse 2 (the first 24 measures).
Figure 10.14 Scaled sound stage for "While My Guitar Gently Weeps,"
LOVE
(2006) version.
Figure 10.15 Scaled sound stage for "While My Guitar Gently Weeps,"
The Beatles
(1968, 1987) "White Album" version.
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