Musik og design: Phil Spector og lydfladens medialisering
Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › fagfællebedømt
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Musik og design : Phil Spector og lydfladens medialisering. / Schmidt, Ulrik.
I: K og K, Bind 111, 2011, s. 127-150.Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › fagfællebedømt
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TY - JOUR
T1 - Musik og design
T2 - Phil Spector og lydfladens medialisering
AU - Schmidt, Ulrik
PY - 2011
Y1 - 2011
N2 - Phil Spector is often referred to as one of history's first true music producers, and his famed ’Wall of Sound’ has been the model for many future musical productions. However, Spector's productions can also be seen as an early manifestation, among others, of a much more general change in the auditory popular culture around 1960 away from the conventional approach to musical sound as something that depends on a musical performance and, secondary, its technical reproduction and towards a conception of music as a form of design. Hence, Spector's productions make a favorable material for a more general investigation of the relationship between music and design.Despite the rather extensive literature on Spector and his music, and on sound recording and sound production in general, so far the different aspects of Spector’s design have not yet been subject of a broader phenomenological and aesthetic investigation. ”Music and Design” explores the key elements in Spector's musical project through an analysis of his use of repetition, accumulation and synthetizised sound in hit recordings such as He's a Rebel (1962) and Be My Baby (1963). It is argued that Spector’s productions are basically characterized by a displacement of the auditory focus from media external conditions to the musical sound as simultaneously a more synthetic and mediatized and a more massive and ‘massified’ soundscape. This mediatization of the soundscape would later constitute a predominant aesthetic model not only in current music production, but in modern sound design in general.
AB - Phil Spector is often referred to as one of history's first true music producers, and his famed ’Wall of Sound’ has been the model for many future musical productions. However, Spector's productions can also be seen as an early manifestation, among others, of a much more general change in the auditory popular culture around 1960 away from the conventional approach to musical sound as something that depends on a musical performance and, secondary, its technical reproduction and towards a conception of music as a form of design. Hence, Spector's productions make a favorable material for a more general investigation of the relationship between music and design.Despite the rather extensive literature on Spector and his music, and on sound recording and sound production in general, so far the different aspects of Spector’s design have not yet been subject of a broader phenomenological and aesthetic investigation. ”Music and Design” explores the key elements in Spector's musical project through an analysis of his use of repetition, accumulation and synthetizised sound in hit recordings such as He's a Rebel (1962) and Be My Baby (1963). It is argued that Spector’s productions are basically characterized by a displacement of the auditory focus from media external conditions to the musical sound as simultaneously a more synthetic and mediatized and a more massive and ‘massified’ soundscape. This mediatization of the soundscape would later constitute a predominant aesthetic model not only in current music production, but in modern sound design in general.
KW - Det Humanistiske Fakultet
KW - lyddesign
KW - musikproduktion
KW - æstetik
KW - musikfilosofi
KW - pop
KW - 1960'erne
KW - sound design
KW - music production
KW - Aesthetics
KW - philosophy of music
KW - Popular Music Studies
KW - 1960s
M3 - Tidsskriftartikel
VL - 111
SP - 127
EP - 150
JO - K & K
JF - K & K
SN - 0905-6998
ER -
ID: 35359421