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T imbre and N on ‐ radical D idacticism in the S treets ' A G rand D on 't C ome for F ree : a P oetic ‐E cological M odel

T imbre and N on ‐ radical D idacticism in the S treets ' A G rand D on 't C ome for F ree : a P... ABSTRACT This article investigates the status and function of timbre by proposing a poetic‐ecological model, which seeks to encapsulate the intersections between and applications of three theoretical territories: poetics, ecological theory and spectromorphology. The patterned sonic material encountered in the Streets' ‘Blinded by the Lights’, from the 2004 album A Grand Don't Come for Free, is analysed in terms of its capacity to specify a non‐radical didactic identity in line with a didactic impulse inherent in hip‐hop culture, from which this music draws significant influence. Timbre is understood in terms of its capacity to specify identities, both sonic and ‘personic’, as propagated by sound via the specification of sources, however stable or ambiguous. In examining how specific sounds function in this track and what they might mean, the terms ‘proprietary’ and ‘efferent’ are offered to explain the typological groupings of sounds from a range of possible sources (people, objects, technology, records, labels, styles and genres). The establishment of these categorical terms draws upon the ecological paradigm outlined by specification, attunement and contingency (which accounts for the agency of culturally situated producers and perceivers), and the spectromorphological ensemble (which accounts for the detailed characteristics and operations of sounds). http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

T imbre and N on ‐ radical D idacticism in the S treets ' A G rand D on 't C ome for F ree : a P oetic ‐E cological M odel

Music Analysis , Volume 30 (2‐3) – Jul 1, 2011

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References (16)

Publisher
Wiley
Copyright
© 2012 The Author. Music Analysis © 2012 Blackwell Publishing Ltd
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/j.1468-2249.2011.00317.x
Publisher site
See Article on Publisher Site

Abstract

ABSTRACT This article investigates the status and function of timbre by proposing a poetic‐ecological model, which seeks to encapsulate the intersections between and applications of three theoretical territories: poetics, ecological theory and spectromorphology. The patterned sonic material encountered in the Streets' ‘Blinded by the Lights’, from the 2004 album A Grand Don't Come for Free, is analysed in terms of its capacity to specify a non‐radical didactic identity in line with a didactic impulse inherent in hip‐hop culture, from which this music draws significant influence. Timbre is understood in terms of its capacity to specify identities, both sonic and ‘personic’, as propagated by sound via the specification of sources, however stable or ambiguous. In examining how specific sounds function in this track and what they might mean, the terms ‘proprietary’ and ‘efferent’ are offered to explain the typological groupings of sounds from a range of possible sources (people, objects, technology, records, labels, styles and genres). The establishment of these categorical terms draws upon the ecological paradigm outlined by specification, attunement and contingency (which accounts for the agency of culturally situated producers and perceivers), and the spectromorphological ensemble (which accounts for the detailed characteristics and operations of sounds).

Journal

Music AnalysisWiley

Published: Jul 1, 2011

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