Metaphor as a communication strategy within a pop music recording setting:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
Kristiansand
University of Agder, Faculty of Fine Arts
2013
|
| Schriftenreihe: | Doctoral dissertations at University of Agder
58 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 202 S. Ill. |
| ISBN: | 9788271177225 |
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Datensatz im Suchindex
| _version_ | 1804152070236798976 |
|---|---|
| adam_text | Table
of
Contents
Abstract
.................................................................................... 5
Acknowledgements
...................................................................... 6
Table of Contents
........................................................................ 7
Bibliography
.............................................................................. 195
Introduction
11
I. Area of Research
.................................................................. 14
II. The World of Music Recording: Speaking abott Sound
.................... 16
III. Delimitation and Claims
......................................................... 19
IV. The Challenge of Terminology
—
Some Key Concepts
...................... 20
V. Design of Dissertation
........................................................... 24
Chapter
1:
Sources, Methodology, Action Research:
Elaborations on Issues in Question
25
1.1
Source Literature
—
The Present Research Field
.............................. 25
1.2
Methodology
....................................................................... 30
1.2.1
Data Collection Methods
................................................ 31
1.2.2
Recording Log
............................................................ 32
1.2.3
The Artistic Part of the PhD
............................................ 33
1.3
Processing and Structuring Research Data
.................................... 34
1.4
Action Research
.................................................................. 36
1.4.1
Self-Ethnography: Coping with the Double-Role
................... 38
1.4.2
Peer-Ethnography: Some Ethical Concerns
........................... 40
Chapter
2:
The Participants Backgrounds,
Ethnographic Settings
42
2.1
Signature Features of Popular Music Production
............................ 42
2.2
Background Information on the Participants
................................. 44
2.2.1
Artist
...................................................................... 44
2.2.2
Artist and Musicians Educational Background
..................... 46
2.2.3
Producer
.................................................................. 46
2.2.4
Sound Engineers
......................................................... 47
2.3
Role Clarifications
............................................................... 47
2.4
Ethnographic Settings and Structure of Recording
........................... 48
2.4.1 Ethnographie
Settings
................................................... 48
2.4.2
Structure
of Recording Sessions
....................................... 51
2.5
Enculturation on a Micro-Level
................................................. 53
Chapter
3:
Figurative Language, Conceptual Metaphor, and
Musicians Codes: Definitions and Clarifications
56
3.1
Figurative Language
............................................................. 56
3.2
Conceptual Metaphor (CM)
..................................................... 57
3.3
Metaphors: Something We Live By?
........................................... 58
3.3.1
Do Metaphors Govern Our Thinking?
................................. 59
3.3.2
Cross-Domain Mapping
................................................. 60
3.3.3
The Logic of Conceptual Metaphor
................................... 60
3.4
Conceptual Metaphor Theory (CMT) and Blending Theory
(ВТ)
......... 61
3.5
Why Are Metaphors Important in a Studio Recording Setting?
............ 63
3.6
Metaphors in Musical Settings: The Codes
.................................... 64
3.6.1
Traditional Codes (Western Classical Music Vocabulary)
......... 65
3.6.2
Technical Codes
......................................................... 66
3.6.3
Referential Codes
........................................................ 66
3.6.4
Creative Codes (MLE)
.................................................. 66
Chapter
4:
Conceptual Metaphor in Discussing Visions and
Ambitions for Vocal Expression and the Album as a Whole
68
4.1
Preparing the Album Recording: Visions and Ambitions
.................. 69
4.2
Conceptual Metaphor in Discussions about Vocal Expression
............ 69
4.2.1
Singing as Sports, Objects to Manipulate, Chameleons
............ 69
4.2.2
The Old Vocal Style versus The New Vocal Style
.................. 71
4.2.3
The Quest for Magic in the Mysterious
............................... 74
4.2.4
Vocal Expression: Yes List and No List
.............................. 75
4.3
Singing as Storytelling
........................................................... 76
4.4
Discussing Some Artist References
............................................ 77
4.5
Making Choices about the Album as a Whole
................................ 79
Chapter
5:
Making Ghost Music: Conceptual Metaphor Theory and
Blending Theory in Dialogue Analysis of the Track
I Stood In Your Courtyard
81
5.1
Introduction
....................................................................... 81
5.2
Making Ghost Pop
............................................................... 83
5.3
Sound is a Ghost
.................................................................. 85
5.3.1
KEYBOARD SOUND TS A GHOST
........................................ 86
5.3.2
GUITAR SOUND IS A GHOST
............................................. 87
5.3.3
DRUM SOUND IS A GHOST
............................................... 89
8
5.3.4
VOCAL
EXPRESSION
IS A GHOST
....................................... 92
5.4
Summing up the Ghost Image Framework and MLE-Codes
............... 94
5.5
Staging Sound in IStood In Your Courtyard
............................... 98
Chapter
6:
Framework Images and Personification
101
6.1
Personification as a Communication Strategy
................................ 101
6.2
Crying Desperately in the Department of Sparse?
........................... 102
6.3
Framework Images and Overall Mood
........................................ 103
6.3.
і
Forest Ogress
............................................................ 104
6.3.2
Haiku Song and Monster
................................................ 104
6.3.3
Veiled in a Star Fog
...................................................... 105
6.4
Personification of Songs
......................................................... 107
6.4.1
Track
8:
Lady With Black Sheep
-
Flirting with Jazz
............... 108
6.4.2
Track
4:
Lift Your Anchor
-
The Sensitive Kind
..................... 109
6.4.3
Track
2:
Poetry
-
Dancing or Dying
................................... 109
6.4.4
Track
3:
Ride Into Dawn-Four Ways of Using Personification...
110
6.4.4.1
SONGS ARE BOLD TRAVELLERS
.................................
Ill
6.4.4.2
SONGS ARE OPTIMISTIC
..........................................
HI
6.4.4.3
SONGS ARE NEEDY AND SCREAMING
........................... 112
6.4.4.4
BORING SONGS ARE TOOTHLESS
................................ 112
6.5
Personification of Musical Parameters, Collectively and Individually.
... 113
6.5.1
Dynamics of the Band Personified
-
Taking a Leap over the Cliff
113
6.5.2
Song Arrangement Personified
-
Pretty, Styled, and on a Diet.
... 115
6.5.3
Keyboards Personified
-
Cruising and Busy
......................... 116
6.5.4
Drums Personified
-
Tiptoeing or Craving Attention
............... 118
6.5.5
Guitars Personified
-
Showered but Longhaired.
.................... 119
6.5.6
Bass Personified
-
Entering the Scene with Panache
............... 120
6.6
Portraying Songs and Playing Style: The Case
oí
Ride Into Dawn
...... 120
Chapter
7:
Source Domains and Communicable Metaphor Concepts
124
7.1
Source Domains and Communicability
....................................... 124
7.2
Fluids in a Container, Construction Work
.................................... 125
7.3
Gunfire and Explosives
......................................................... 128
7.4
Animals as Source Domain
...................................................... 131
7.5
Physical Space (Directionality and Spatiality)
................................ 134
7.5.1
High, Low, Bright, Dark
................................................ 135
7.5.2
Upward, Downward, High Terrain, Deep Terrain
................... 136
7.5.3
Horizontality and Verticality: Across, Around
...................... 137
7.5.4
Bottom and Top, Layer by Layer
....................................... 137
7.5.5
Organization in Sound Design
.......................................... 138
7.6
A Mess That Needs Cleaning
.................................................... 140
7.7
Nature as Source Domain
......................................................... 141
7.7.1
Weather
..................................................................... 142
7.7.2
Landscapes
................................................................. 143
7.7.3
Countries
................................................................... 144
7.7.4
Elements, Fauna, Organisms
........................................... 144
7.7.5
Human Anatomy: Skeletons and Balls
................................. 146
7.8
Attitude as Parameter
............................................................. 147
7.9
Sports and Kamikaze
............................................................. 148
7.10
Means of Communication, Journeys, Traffic
................................. 149
7.11
What goes on in the Kitchen?
................................................... 151
7.12
The Underwater Train is about to leave
....................................... 153
Chapter
8:
Conceptual Metaphor and Vocal Expression,
Vocal Staging in the Recording Studio
155
8.1
Introduction
........................................................................ 155
8.2
Staging as Visualization and Role Play
........................................ 156
8.3
The Voice
........................................................................... 159
8.4
Pitch
................................................................................. 160
8.5
Voice Range and Singing Technique
........................................... 163
8.6
Role Play and Presence as Parameters
.......................................... 164
8.6.1
My Honesty: The Case of Presence and
Pavarotti.................... 164
8.6.2
Shivas Blow In Cages: Playing the Ice Queen
........................ 165
8.6.3
Lift Your Anchor: Naked, Delicate, and Mysterious
................. 166
8.6.4
Early Winter Snow: Sore, Motherly, and Sexy
........................ 168
8.6.5
Ride Into Dawn: Long Worms and Upward Leaps
................... 169
8.7
Storytelling as a Performance Parameter
....................................... 170
8.8
Recurring Source Domains in Vocal Staging
...................................171
8.8.1
Physical Space, Weight, and Things
.....................................172
8.8.2
Chesty and Whispering (Technique)
.................................... 172
8.8.3
Hungry Killers Living Their Own Life (Personification)
............ 173
8.8.4
Spices, Food, and Explosives
............................................ 174
8.8.5
Delicate Paws, Waves, and Summits (Sound
&
Dynamics)
...........174
Chapter
9:
Claims and Conclusions
177
9.1
Metaphoric Intelligence and Code Formation Mechanisms
..................... 177
9.2
Metaphor in Real Life Musicspeak
............................................................ 179
9.3
Figurative Creativity
&
Metaphor Theory
................................................. 182
9.4
Non-Musical Source Domains -Establishing Some Logic
....................... 184
9.5
Which Communication Strategies are used?
............................................ 186
9.6
Testing the Claims
...................................................................................... 189
9.7
Challenges and Weaknesses
....................................................................... 192
9.8
Closing Words
............................................................................................ 194
10
|
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| spelling | Bråthen, Elin Synnøve 1969- Verfasser (DE-588)1051994187 aut Metaphor as a communication strategy within a pop music recording setting Elin Synnøve Bråthen Kristiansand University of Agder, Faculty of Fine Arts 2013 202 S. Ill. txt rdacontent n rdamedia nc rdacarrier Doctoral dissertations at University of Agder 58 Zugl.: Kristiansand, Univ., Diss., 2013 Sprachgebrauch (DE-588)4191506-9 gnd rswk-swf Produzent (DE-588)4175820-1 gnd rswk-swf Tonstudio (DE-588)4417153-5 gnd rswk-swf Schallaufzeichnung (DE-588)4052020-1 gnd rswk-swf Musiker (DE-588)4040841-3 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Tonstudio (DE-588)4417153-5 s Schallaufzeichnung (DE-588)4052020-1 s Musiker (DE-588)4040841-3 s Produzent (DE-588)4175820-1 s Sprachgebrauch (DE-588)4191506-9 s DE-604 Doctoral dissertations at University of Agder 58 (DE-604)BV036435420 58 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027210434&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Bråthen, Elin Synnøve 1969- Metaphor as a communication strategy within a pop music recording setting Doctoral dissertations at University of Agder Sprachgebrauch (DE-588)4191506-9 gnd Produzent (DE-588)4175820-1 gnd Tonstudio (DE-588)4417153-5 gnd Schallaufzeichnung (DE-588)4052020-1 gnd Musiker (DE-588)4040841-3 gnd |
| subject_GND | (DE-588)4191506-9 (DE-588)4175820-1 (DE-588)4417153-5 (DE-588)4052020-1 (DE-588)4040841-3 (DE-588)4113937-9 |
| title | Metaphor as a communication strategy within a pop music recording setting |
| title_auth | Metaphor as a communication strategy within a pop music recording setting |
| title_exact_search | Metaphor as a communication strategy within a pop music recording setting |
| title_full | Metaphor as a communication strategy within a pop music recording setting Elin Synnøve Bråthen |
| title_fullStr | Metaphor as a communication strategy within a pop music recording setting Elin Synnøve Bråthen |
| title_full_unstemmed | Metaphor as a communication strategy within a pop music recording setting Elin Synnøve Bråthen |
| title_short | Metaphor as a communication strategy within a pop music recording setting |
| title_sort | metaphor as a communication strategy within a pop music recording setting |
| topic | Sprachgebrauch (DE-588)4191506-9 gnd Produzent (DE-588)4175820-1 gnd Tonstudio (DE-588)4417153-5 gnd Schallaufzeichnung (DE-588)4052020-1 gnd Musiker (DE-588)4040841-3 gnd |
| topic_facet | Sprachgebrauch Produzent Tonstudio Schallaufzeichnung Musiker Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027210434&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV036435420 |
| work_keys_str_mv | AT brathenelinsynnøve metaphorasacommunicationstrategywithinapopmusicrecordingsetting |