book

Recording Analysis

Name: Recording Analysis
Author: William Moylan
ISBN: 9781317207153

by William Moylan

February 2020

Beginner

594 pages

26h 21m

English

Focal Press

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Cover
Half Title
Title
Copyright
Dedication
Contents
List of Figures
List of Tables
List of Praxis Studies
Preface

Introduction
Some Preliminary Definitions: Song, Record, Recording, Tracks and DomainsBook OrganizationSupporting MaterialsEstablishing an Accurate Playback of Tracks
PART ONE
1 Recording Analysis: Domains, Disciplines, Approaches
Records and Recorded MusicAnalyzing the Record's DomainsPopular Music AnalysisLyrics in Popular Music AnalysisAnalyzing the RecordingOutside Disciplines in Popular Music AnalysisSociology and Cultural StudiesPhilosophy and PsychologyEnglish Literature/Poetry Studies and CommunicationsSemiotics and HermeneuticsAffects: Emotion, Energy, ExpressionIncorporating Other Disciplines Within an AnalysisFramework and ProcessFramework's Analysis SequenceFramework Principles and ConceptsClosing Thoughts on Analysis
2 Overview of Framework: Principles and Concepts, Materials and Organization
The Three Domains: Music, Lyrics and RecordingElements of MusicLyrics and TextElements of RecordingThe Languages of DomainsSyntax in Each DomainSyntax of MusicSyntax of RecordingFunctions and Materials of Domains and their ElementsFunctionsInside the Elements and the Materials of the SongForm, Structure and PerspectiveTime Perception and Pattern PerceptionHierarchies and StructureDimensions of StructurePerspectiveForm: Shape and Stilled TimeSong StructureListening with Intention and AttentionListening is PersonalModes of ListeningListening DeeplyListening with IntentionListening Without ExpectationsCultivating Attention
3 Domain and Elements of Music
Rhythm and TimePulse, Rhythmic Layers and Metric GridTonality, Harmony and MelodyTonalityModes and ScalesChords and ProgressionsCharacteristics of HarmonyCharacteristics of MelodyThe Remaining Elements: Dynamics, Timbre and ArrangementDynamicsTimbre and PerformanceArrangement and TextureInterplay of Lead Vocal and AccompanimentFunctions and Relationships of Lead Vocal and AccompanimentConclusion
4 Domain of Lyrics: The Voice of the Song
Lyrics: Message, Story and StructureStructure of LyricsMessage and MeaningDimensions of the StoryPersona: The Messenger, Story Teller, NarratorSounds of LanguageLyrics in Performance: Giving Voice to the SongAlchemy of Lyrics and MelodySound Qualities of Sung LyricsLyrics as Mosaics of Moments and Tone, and Unintelligible LyricsParalanguage and Nonverbal Vocal SoundsVocal StyleExamining Lyrics Within the TrackLyrics in Recorded SongConclusion
5 Observing Elements of Music and Lyrics in Records
The Processes of Recording AnalysisOverview of the FrameworkFirst Step of Process: ObservationsObservation, Interpretation and BiasOutside SourcesListening, Transcription and DescriptionTranscribing LyricsMusic TranscriptionPerilsTools and Devices, and Inventing NotationsDescriptionsLinked to Analysis GoalsCollecting ObservationsConstructing TimelinesAdapting Timelines for Each DimensionIdentifying Sound Sources and MaterialsObservations of Music ElementsMelodyHarmonyArrangement and TextureDynamicsCharacter, Timbre and Performance QualitiesDescribing the Character of Sound QualitiesRecognizing the Content of TimbreRhythm, Gesture and GrooveObservations of Lyrics and Vocal LinesLiterary Analysis of LyricsQualities of Performed Lyrics and the Vocal PerformanceTranscribing Vocal Lines and Performed LyricsObserving the Relationship of Vocal and Lyrics to the Musical FabricClosing Remarks
PART TWO
6 The Recording Domain: Elements, Listening, Notation, Rhythm
The Interconnectedness of Chapter Topics, and IntersubjectivityEngaging the Elements of RecordingThe Elements of RecordingCommon Traits of Timbre and SpacePitch, Dynamics and Rhythm Reframed as Recording ElementsInterdependence of ElementsRecording's Elements and the Multi-Domain TextureRhythm and Time Within Recording ElementsSurface RhythmsMicrorhythmsMacrorhythmsTypology of Rhythm and Rhythmic PatternsData Collection and Transcription of Recording ElementsNotating Recording's ElementsCollecting Information in X-Y GraphsTypology and Syntax of Recording ElementsTypology TablesSyntax, Structure and StyleHearing the Elements of RecordingDescribing Sounds and Sound QualitiesFinding Common Ground: A Shared Vantage for Talking About SoundListening to Records and Recording ElementsAnalysis Goals and Listening to the TrackPlayback Variables: Reproducing the TrackDigital Source FilesLoudspeakers, Amplifiers and Listening Room ConsiderationsHeadphonesHeadphones Conclusion and Consistency Between Listening SessionsPlayback Systems Used by the Author for Observations and Analyses
7 Timbre and Pitch in the Recording Domain
The Linkage of Pitch/Frequency and Timbre as Recording ElementsPitch Becomes Timbre, Timbre Becomes PitchTimbre DefinedComponents of Timbre and Clarifying Related DefinitionsAcousmatic Listening and Timbre as Sound ObjectAcousmatic ListeningPitch/Frequency as an Element of RecordingPitch/Frequency RegistersPitch AreasRepresenting Pitch Areas of Unpitched SoundsPitch Area GraphPitch DensityPitch Density and Timbral Balance GraphTimbral BalanceTimbre in the Recording DomainEveryday TimbreThe Duality of TimbreTimbre as a Recording ElementLarge DimensionSmall DimensionsMiddle DimensionsLinkage with Other Domains and Other ElementsSound Source Timbre as a Recording ElementInherent Sound QualityRecording's Transformation of Sound Source TimbreObserving Timbre and Timbre AnalysisGeneral Issues of Timbre AnalysisCharacter and ContentTimbral Content Analysis ProcessCollecting Observations on Timbral ContentUsing Technology ToolsHearing into TimbreDefining a TimelineDefining the Four Tiers of the Timbre Analysis GraphPitch Definition: Clarity of PitchDynamic ContourSpectral ContentSpectral EnvelopeTimbre Analysis GraphDescribing Timbral ContentDefining, Observing and Describing Timbral CharacterDescription as InterpretationStructural Levels and Time SpansTimbral Signatures and Concluding Remarks
8 The Illusion of Space as an Element of Recording
Hearing Invisible Sounds in Virtual SpaceListener Perspective and Track Playback FormatSpatial Properties and AttributesSpatial Properties and Levels of PerspectiveStereo Location: Angular Direction and Image WidthPerception of Direction and Phantom Image Lateral LocalizationImage WidthSound Sources in MotionObserving Stereo ImagesHearing ImagesUsing the Stereo Image GraphStereo Imaging TypologyDistance and Source Positions in the TrackUnderstanding Distance in the TrackPerception of DistancePersonal Space and ProxemicsDistance Perception in RecordsDevising an Approach for Observing DistanceContextContentCollecting Distance ObservationsEstablishing a Content Reference for Timbral DetailEstablishing a Context Reference of Personal SpaceThe Continuum of Distance ZonesCollecting Observations Using the Distance Location GraphTypology of DistanceSpatial Staging and Source ImagingTrack as PerformanceStaging and Listener InterpretationSound Stage and AnalysisSound Stage Diagrams: Notating Image PositionsTypology of StagingThe Sound of PlaceSound Source Host EnvironmentsEcho and ReverberationHolistic Environment of the TrackMultiple Spaces and a Hierarchy of EnvironmentsThe Duality of Content and Character of SpacesThe Sonic Content of EnvironmentsDirect Sound and Pre-DelayEarly Reflections and Early Time FieldReverberation and Frequency ResponseObserving Acoustic Content of EnvironmentsCharacter of EnvironmentsObserving the Character of EnvironmentsObserving Holistic EnvironmentsConclusion
9 Loudness, the Confluence of Domains and Deep Listening
Loudness as a Recording ElementProminence and LoudnessMeasuring Loudness PerceptionLoudness in the Context of the TrackInterpreting Reference Dynamic Level and Crystallized FormOverall Loudness Level of the TrackLoudness Balance, Musical BalancePerformance IntensityPerformance Intensity and Loudness Balance GraphThe Confluence of All the Track ContainsProminence Emerging from ConfluenceConfluence of Recording ElementsTemporal Graphs for Comparing Recording ElementsNon-Temporal Graphs and Diagrams for Comparing Recording ElementsThe Soundbox and Other Approaches to Observing Multiple Recording ElementsThe Mix as Metaphor: Confluence and Interdependence of DomainsObserving the Confluence of the TrackTimbre as ConfluenceThe Confluence Within Sound Source TimbresThe Continuing Quest to Describe Sound with Shared MeaningTypology of Timbre in ConfluenceThe Timbre of the TrackTimbre of the Track and the Dimensions and Domains of the TrackCrystallized FormIntrinsic Nature of Crystallized FormOrigin of the TermAural Image and MemoryRecognizing Crystallized FormDeep ListeningA Tradition of Deep ListeningDeep Listening for Recording AnalysisDeep Listening and the PresentMemory and ReflectionArresting Anticipation and Minimizing BiasSubjective Vantage of the Analyst ListenerA Knowing of the TrackConclusion
10 Analyzing Recording Elements: Their Contributions to the Record
A General Typology of AnalysisIntention and Recording AnalysisAnalysis Process Overview and Analyzing Recording ElementsSyntax of Recording ElementsThe Evaluation StageEvaluating Observations of Recording ElementsSample Topics of EvaluationsThe Conclusions StageStreams of InquiryFinal Consideration Before Beginning Analysis of Recording ElementsIdentifying Emotion and AffectsTalking About TracksBeginning Stages for Analyzing Recording ElementsStructure and FormTimelines for Recording ElementsThe Context of the Timbre of the TrackAnalyzing and Describing TimbresEvaluating the Timbre of an Individual SoundEvaluating the Timbre of an Instrument Sound SourceEvaluating Timbre and the Voice: Vocal Timbre, Lyrics and PerformanceContextContent: Voice TimbreContent: Timbre of LyricsPerformanceCharacterTimbral Balance and Pitch DensityAnalyzing Loudness of the Track and of Sound SourcesProgram Dynamic Contour, Track Loudness ContourTracks with Compressed, Minimal Program Dynamic ContourLoudness Levels, Loudness Relationships and Performance IntensityLoudness and Performance Intensity as Insight into the MixConflicting Impressions Between Loudness and Timbre of Performance IntensityPerformance Intensity and Distance Position: A Different Reading of the Same PerceptionAnalysis of Spatial ElementsDistance PositionStructural and Dramatic Use of Distance PositioningInterplay of Distance Position and Performance IntensityDistance Positions Within a TextureDistance Positioning of Lead Vocal Providing Shape to an Entire AlbumStereo LocationImage Widths and PositioningInteractions and Interrelations of Stereo Location and Timbral BalanceConfluence and Recording ElementsAnalyzing the Sound StageSound Stage BoundariesIndividual Sound Source Characteristics and Basic-Level RelationshipsSound Stage and LyricsHost Environments, Holistic Environment and Space Within SpaceHost EnvironmentsSpace Within SpaceHolistic EnvironmentSpatial IdentityRecording Elements and the Timbre of the TrackTimbre of the TrackConcluding Remarks: Listening in the First Person
Appendix A: Praxis Studies
Bibliography
Discography
Acknowledgements
Index

Overview

Moylan investigates how the process of recording a song transforms it into a richer experience and articulates how the unique elements of recorded sound provide essential substance and expression to recorded music.

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