Noise and Timbre
Michael Denning discusses the idea of musical interpretation through a ‘musical ear’, stating, ’the history of the musical ear is the fundamental labour of cultural revolutions - upheavals in the habits, manners, jokes, sounds and smells of daily life that accompany the struggle between modes of production, regimes of labour, technological grids, economies of sexuality, structures of domination and representation and modes of emancipation and exploitation.’ (Michael Denning, 2015: 171). Denning highlights the influences behind cultural interpretations of noise and presents the idea that questions surrounding recordings could be framed as, ‘what did they sound like?’, when it should possibly ask, ‘how were they heard?’ which it should really ask, ‘what did people say they sounded like?’ (2015), showing that it is not necessarily about the sound of a specific noise but the connotations to this noise enforced by listeners with motives of some kind. A person may say that popular music is noise, but to understand why they are saying this, one would want to look at the motives behind this. What are they hearing specifically that encourages them to use this political term of abuse? This ties into the idea that the prominence of a particular musical feature within a genre, that appears as a sonic and social threat to the dominant ideal,
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. . if we understand the circumstance in which they are made - and what they are made for... the general point is that value judgements only make sense as part of an argument, and arguments are always socialevents . . . in the world of popular music, ideological and social discourses are invariably put together generically. It is genre rules which determine how musical forms are taken to convey meaning and value, which determine the aptness of different sorts of judgement, which determine the competence of different people to make assessments.’ (Simon Frith, 1996:
Music’s role on society has changed drastically through the course of its history as it has become ever so increasingly expansive. Many of the previous musical movements were only for the wealthy as entertainment
There is one universal language: the language of music. Music has a special quality and ability to bridge both social and cultural divides. A proposed theory by Dr. Gray, Founder and Director of National Musical Arts’ BioMusic Program; describes music has been around longer than human-beings have. Music is the one thing human beings from various backgrounds can relate to. Every living creature would agree. Music is heard everywhere not just among humans, but in nature as well, through the twitting of birds, winds blowing, the soft sound of raindrops against a windowpane, the ocean waves moving back and forth and the hum of the ocean rushing in a sea shell. There is no escaping it; music lives in and surrounds us steadily. While there are countless songs which confer social or cultural consciousness, this paper will analyze and address the dynamics of M.I.A.’s “Paper Planes”, video. Stylistically, the paper will examine the artist point of view, the unique use of lyrical analysis and sound description in relation to its historical, social, political and/or cultural context. This essay will also trace the lyrical analysis and sound description of song and discuss how the elements (visually, sonically, and lyrically) interplay with the theme of immigration and/or violence.
Although the style of ‘Rock music’ is easily adaptable to many different sounds, it is still thoroughly identified by its definingly amplified rhythm. The sudden worldwide popularity of rock and roll resulted in an unparalleled social impact. Rock ‘n’ Roll influenced lifestyles, fashion, attitudes, and language in a way few other social developments have equaled. The social impact is so large that rock stars are worshipped worldwide. In its early years, many adults condemned the style of music, placing a stigma on its name, and forbid their children from listening and following its ways.
“Together the matrices of race and music occupied similar position and shared the same spaces in the works of some of the most lasting texts of Enlightenment thought..., by the end of the eighteenth century, music could embody differences and exhibit race…. Just as nature gave birth and form to race, so music exhibited remarkable affinities to nature” (Radano and Bohlman 2000: 14). Radano and Bohlman pointed out that nature is a source of differences that give rise to the different racial identities. As music embodies the physical differences of human, racial differences are not only confined to the differences in physical appearances, but also the differences in many musical features, including language, tonality and vocal expression. Nonetheless, music is the common ground of different racial identities. “In the racial imagination, music also occupies a position that bridges or overlaps with racial differences. Music fills in the spaces between racial distinctiveness….” (Radano and Bohlman 2000:8) Even though music serves as a medium through which different racial identities are voiced and celebrated individually, it establishes the common ground and glues the differences
Music is an art form and source of power. Many forms of music reflect culture and society, as well as, containing political content and social message. Music as social change has been highlighted throughout the 20th century. In the 1960s the United States saw political and socially oriented folk music discussing the Vietnam War and other social issues. In Jamaica during the 1970s and 1980s reggae developed out of the Ghetto’s of Trench town and expressed the social unrest of the poor and the need to over-through the oppressors. The 1980’s brought the newest development in social and political music, the emergence of hip-hop and rap. This urban musical art form that was developed in New York City has now taken over the mainstream, but originated as an empowering art form for urban youth and emerging working class.
In the Bryan Dik’s persuasive essay Career Choice: Easy for Superheroes, Hard for Us: Spider-Man and the Power of Person-Environment Fit, he attempts to make the claim that superheroes have an easier time falling into an occupation that fits their unique characteristics and specific superpowers. In addition, it may be more difficult for those of us who do not have superpowers to find a rewarding career that both compliments and fits our values, and the strengths of our personality. A person may spend years in a career that does not line up with who they are; being that their personality is contradictory to the interests and values of the company or corporation. Although they may have some relative success, it may lead a person to develop a feeling of dissatisfaction, or even a moral opposition to the goals that their employer are trying to achieve.
Crystal Castles are a goth-rave and electro-thrash duo from Toronto, Ontario made up of Ethan Kath (on synth) and Alice Glass (on vocals). The duo brings a destructive and devouring abyss of pain, regret, nihilism and noise to synth pop music. In this paper, through a focused analysis of its lyrics, its musical elements, as well as its accompanying video, I will argue that Crystal Castles’ 2010 song “Baptism” creates a nuanced musical space in which dark emotions such as revenge are juxtaposed with a bright, digital and danceable beat. Although, Alice Glass’ voice is heavily distorted and almost inaudible, I propose that the band’s decision to distort Alice’s voice aids in evoking a drowning feeling which matches the lyrics’ theme. The drowning out of Alice’s voice through electronic distortion, recalls moments of metaphorical drowning and emotional chaos that so often accompany betrayal, horror, violence and desolation.
Rytell, David. “Music Worthy of a Riot.” David Rytell’s Home Page. 1989. Web. 17 September 2011.
Music has always been a basic form of expression. From Antonin Dvorak, to Eminem, to even ancient, tribal music, it has been a medium through which individuals convey their thoughts and expressions. Today this medium is under attack. Everywhere we turn, everything we do and say is being scrutinized. We are being told what to say. We are being spoon-fed our emotions. No longer are we allowed to think freely, openly. All the censors out there are on the prowl for another piece to rip to shreds because it doesn't fit their description of what is decent and moral. What they fail to realize is that we don't make the music for them... We do it for release.
This essay will be discussing Theodor W. Adorno’s critiques of popular music and examine the extent of whether or not his criticisms are accurate to contemporary music. A range of issues will be discussed in the essay to explore the subject matter. Through research, there will be relevant quotes and theories to support the views of this particular topic.
Paxton, Tom. (2011). "Music as a Tool of Social Protest." Squidoo: Welcome to Squidoo. Retrieved November 13, 2011, from .
Perhaps the most formative years for rock and roll were from 1945 to 1964. It is evident that the social climate of the time period shaped music. However, the music also shaped the social climate. The musical meaning of the songs of the era is vital to an understanding of the social implications of the music. On a primitive level, the lyrics of a song give some insight into its musical meaning. Often, however, the lyrics paint an incomplete picture of a song’s true social significance. By studying other factors, such as the instruments, the melody, and the artists themselves, one can gain much more insight into a song’s musical meaning. Through this analysis, common themes of sex, drugs, and race relations are usually found.
Music has become substantial for attentive ears. Rhythmic melodies assist the concentration of peers for educational, athletic, and personal purposes. Following the lyrical meaning provides fabrications, initiating deliberate responses. For instance, the words alleged by dominating artists through published music tracks reflect the absence of truth. Then, minds accumulate originality from them, overseeing the ruination.
The Web. The Web. 17 May 2010. http://www.noisebetweenstations.com/personal/essays/music_censorship.html>. In another essay on the censorship of music, Lombardi argues that the listener should be able to decide for himself whether or not the music is suitable for his ears.
The story of subcultures in and through modern music has to start in the 1920’s America. In the wake of prohibition, popular nightclubs were closing down and music fell by the wayside. However, a strong underground scene reared its head during that time as well. Well-dressed men and flapper girls swarmed speakeasies in search of music, liquor and a good time. Mainstream America looked down on these rebels. They were often thought of as no good young people with loose morals and no respect for authority. Little did mainstream America know, however, exactly how important those few rebels were during the roaring Twenties and how their actions helped mold musical societies for the rest of the millennium.