Sonic utopia and social dystopia in the music of Hendrix, Reznor and Deadmau5

Twentieth-century popular music is fundamentally associated with electronics in its creation and recording, consumption, modes of dissemination, and playback. Traditional musical analysis, placing primacy on notated music, generally focuses on harmony, melody, and form, with issues of timbre and postproduction effects remaining largely unstudied. Interdisciplinary methodological practices address these limitations and can help broaden the analytical scope of popular idioms. Grounded in Jacques Attali's critical theories about the political economy of music, this dissertation investigates how the subversive noise of electronic sound challenges a controlling order and predicts broad cultural realignment. This study demonstrates how electronic noise, as an extra-musical element, creates modern soundscapes that require a new mapping of musical form and social intent. I further argue that the use of electronics in popular music signifies a technologically-obsessed postwar American culture moving rapidly towards an online digital revolution. I examine how electronic music technology introduces new sounds concurrent with generational shifts, projects imagined utopian and dystopian futures, and engages the tension between automated modern life and emotionally validating musical communities in real and virtual spaces. Chapter One synthesizes this interdisciplinary American studies project with the growing scholarship of sound studies in order to construct theoretical models for popular music analysis drawn from the fields of musicology, history, and science and technology studies. Chapter Two traces the emergence of the electronic synthesizer as a new sound that facilitated the transition of a technological postwar American culture into the politicized counterculture of the 1960s. The following three chapters provide case studies of individual popular artists' use of electronic music technology to express societal and political discontent: 1) Jimi Hendrix's application of distortion and stereo effects to narrate an Afrofuturist consciousness in the 1960s; 2) Trent Reznor's aggressive industrial rejection of Conservatism in the 1980s; and 3) Deadmau5's mediation of online life through computer-based production and performance in the 2000s. Lastly, this study extends existing discussions within sound studies to consider the cultural implications of music technology, noise politics, electronic timbre, multitrack audio, digital analytical techniques and online communities built through social media

16th Sound and Music Computing Conference SMC 2019 (28–31 May 2019, Malaga, Spain)

The 16th Sound and Music Computing Conference (SMC 2019) took place in Malaga, Spain, 28-31 May 2019 and it was organized by the Application of Information and Communication Technologies Research group (ATIC) of the University of Malaga (UMA). The SMC 2019 associated Summer School took place 25-28 May 2019. The First International Day of Women in Inclusive Engineering, Sound and Music Computing Research (WiSMC 2019) took place on 28 May 2019. The SMC 2019 TOPICS OF INTEREST included a wide selection of topics related to acoustics, psychoacoustics, music, technology for music, audio analysis, musicology, sonification, music games, machine learning, serious games, immersive audio, sound synthesis, etc

Electronic musical instruments as interactive exhibits in museums

Whilst recent museum exhibitions have explored electronic musical instruments, the interpretational focus has been on materiality rather than sounds produced. Similarly, whilst authors have ‘followed the instruments’ to find the people who used and designed them, those who create and shape their sounds remain comparatively hidden. To address this problem, this thesis introduces sound genealogy – a methodology towards following the evolution of a sound through material networks and people - as an interpretational framework to support exhibition teams in explicitly connecting sounds to instrument interfaces using multi-sensory interactive exhibits. Adopting this methodology will improve visitors’ experiences of music and sound content, helping them connect sounds from their lived experiences to the instruments associated with them: demonstrating how material networks can influence a sound’s popularity and musical value over time, whilst drawing attention to the people involved in the design and use of both sounds and instruments. Chapter one positions this research within contemporary exhibition practices and analyses the methodologies and literature that define the scope for upcoming discussions. The involvement of the UK’s Science Museum Group institutions is also highlighted. Chapters two to four present three case-study insights based on observations of objects and their sounds, and the use of representative exhibits, in North American, European, and British museums. These case studies were chosen so as to represent a range of instrument categories (synthesizers, samplers, drum machines) and interpretational foci (interface, sound, function). Interview data obtained from exhibition team members highlights the strategies and challenges in co-creating positive exhibit experiences for diverse audiences. Evidence from these case studies also supports the analyses of theories and concepts from museum studies, science and technology studies, and sound studies in chapters five and six. This helps to position - and advocate for - the adoption of a sound genealogy methodology in demonstrating the value of sound through interactivity. Additionally, the anticipation and management of visitor behaviours is considered in the context of successfully attaining learning and entertainment goals. Finally, chapters seven and eight document the creation and evaluation of an original interactive exhibit by the author, supported by the sound genealogy methodology

The Electroacoustic and its Double: Duality and Dramaturgy in Live Performance

Live electroacoustic performance juxtaposes and superimposes two main elements: the real, present and physical, against the simulated and disembodied. In this sense, it is a liminal form which negotiates two different worlds on stage. In this dissertation I will address some central aspects of performance that have been reshaped and problematised by the use of the electroacoustic medium in a live context. I will investigate in particular three main dualities: the performer's body / electroacoustic sound; physical space / electroacoustic space; and performance / audience. I will also discuss a generalised duality common to all three: presence / absence. Rather than regarding these dualities as indicators of discontinuity, I will suggest that they can help develop a continuum of connections and relationships between performance elements. These connections can be designed as part of the composition process. By investigating these dualities, this research addresses the main elements of the live event. The central guiding principle here is that the live electroacoustic mode is a performance discipline, and therefore requires a dramaturgical approach that takes into consideration the elements of the live event: performer, audience and use of space. I will suggest that such an approach should guide the creative process, starting at the initial composition stages, through rehearsal and the actual performance

The Forbidden Zone, Escaping Earth and Tonality: An Examination of Jerry Goldsmith's Twelve-Tone Score for Planet of the Apes

Jerry Goldsmiths twelve-tone score for Planet of the Apes (1968) stands apart in Hollywoods long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the film. Goldsmiths formative years prior to 1967his training and day to day experience of writing music for dramatic situationswere critical factors in preparing him to meet this challenge. A review of the research on music and emotion, together with an analysis of Goldsmiths methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the film. The score for Planet of the Apes marks a pivotal moment in an industry with a long-standing bias toward modernist music

The electroacoustic and its double : duality and dramaturgy in live performance

Live electroacoustic performance juxtaposes and superimposes two main elements: the real, present and physical, against the simulated and disembodied. In this sense, it is a liminal form which negotiates two different worlds on stage. In this dissertation I will address some central aspects of performance that have been reshaped and problematised by the use of the electroacoustic medium in a live context. I will investigate in particular three main dualities: the performer's body/electroacoustic sound; physical space/electroacoustic space; and performance/audience. I will also discuss a generalised duality common to all three: presence/absence. Rather than regarding these dualities as indicators of discontinuity, I will suggest that they can help develop a continuum of connections and relationships between performance elements. These connections can be designed as part of the composition process. By investigating these dualities, this research addresses the main elements of the live event. The central guiding principle here is that the live electroacoustic mode is a performance discipline, and therefore requires a dramaturgical approach that takes into consideration the elements of the live event: performer, audience and use of space. I will suggest that such an approach should guide the creative process, starting at the initial composition stages, through rehearsal and the actual performance.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

The Sounds of the Dystopian Future: Music for Science Fiction Films of the New Hollywood Era, 1966-1976

From 1966 to1976, science fiction films tended to depict civilizations of the future that had become intrinsically antagonistic to their inhabitants as a result of some internal or external cataclysm. This dystopian turn in science fiction films, following a similar move in science fiction literature, reflected concerns about social and ecological changes occurring during the late 1960s and early 1970s and their future implications. In these films, "dystopian" conditions are indicated as such by music incorporating distinctly modernist sounds and techniques reminiscent of twentieth-century concert works that abandon the common practice. In contrast, music associated with the protagonists is generally more accessible, often using common practice harmonies and traditional instrumentation. These films appeared during a period referred to as the "New Hollywood," which saw younger American filmmakers responding to developments in European cinema, notably the French New Wave. New Hollywood filmmakers treated their films as cinematic "statements" reflecting the filmmaker's artistic vision. Often, this encouraged an idiosyncratic use of music to enhance the perceived artistic nature of their films. This study examines the scores of ten science fiction films produced between 1966 and 1976: Fahrenheit 451, Planet of the Apes, 2001: A Space Odyssey, THX-1138, A Clockwork Orange, Silent Running, Soylent Green, Zardoz, Rollerball, and Logan's Run. Each is set in a dystopian environment of the future and each reflects the New Hollywood's aspirations to artistic seriousness and social relevance. The music accompanying these films connoted an image of technological and human progress at odds with the critical notions informing similar music for the concert hall. These film scores emphasized the extrapolated consequences of developments occurring during the 1950s and 1960s that social activists, science fiction writers, and even filmmakers regarded as worrisome trends. Filmmakers drew on the popular perceptions of these musical sounds to reinforce pessimistic visions of the future, thereby imbuing these sounds with new meanings for listeners of the contemporaneous present