Automatic Identification of the Sung Language in Popular Music Recordings

In popular music reaction videos, performers on YouTube—called “creators”—record their reactions to popular music, filming themselves as they listen to music recordings and watch music videos. The profitability and appeal of popular music reaction videos can be explained by a quality I call reactivity. Reactivity describes the approach that creators take to listening, as they heighten and exaggerate their affective experience of music media. Reactivity also describes their goals for creating these reaction videos, which they hope will provoke subsequent reactions among viewers. Reactions among their viewers translate into more views, shares, and ultimately more power for the creators. By drawing on observations and interviews with nine creators, I demonstrate how reactivity can enable creators of color and queer creators to counter problematic and dominant forms of listening to popular music, while also enabling privileged creators to treat exploitative listening as a kind of virtuosic act of consumption.

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Analysing Technology and Process in Popular Music Recordings: A Tech-Processual Methodology

Modern Records, Maverick Methods ◽

10.5040/9781501344138.ch-008 ◽

2019 ◽

Keyword(s):

Popular Music ◽

Music Recordings

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The Establishment of the Virtual Performance Space in Rock

twentieth century music ◽

10.1017/s1478572209990065 ◽

2008 ◽

Vol 5 (2) ◽

pp. 219-241 ◽

Cited By ~ 9

Author(s):

ALLAN F. MOORE ◽

RUTH DOCKWRAY

Keyword(s):

Popular Music ◽

Academic Discourse ◽

Research Project ◽

Sound Sources ◽

Four Dimensions ◽

Performance Space ◽

Temporal Continuity ◽

Music Recordings ◽

Geographical Locations ◽

The Way

AbstractAnalysis of the spatial elements of popular music recordings can be made by way of the ‘sound-box’, a concept that acknowledges the way sound sources are perceived to exist in four dimensions: laterality, register, prominence, and temporal continuity. By late 1972 producers working across a range of styles and in different geographical locations had adopted a normative positioning of sound sources across these dimensions. In 1965 no such norm existed. This article contextualizes the notion of the sound-box within academic discourse on popular music and explores the methodology employed by a research project that addressed the gradual coming-into-existence of the norm, which the project defined as the diagonal mix. A taxonomy of types of mix is offered, and a chronology of the adoption of the diagonal mix in rock is presented.

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Shaping popular music

10.1093/oso/9780199351411.003.0017 ◽

2017 ◽

Author(s):

Alinka E. Greasley ◽

Helen M. Prior

Keyword(s):

Popular Music ◽

Survey Research ◽

Final Section ◽

Classical Music ◽

Recent Survey ◽

Live Performance ◽

Recording Studio ◽

Music Recordings ◽

Western Classical Music

Much of the research on musical shaping in performance focuses on western classical music. This chapter explores musical shaping from the perspectives of popular musicians. First, we examine the performer’s role in shaping music in live performance, drawing on recent survey research and existing work. Second, the roles of performer, producer and technology in shaping music in the recording studio are examined, including an investigation of how popular music recordings are shaped by technological practices. Third, we discuss ways in which popular music recordings may be used in performance, with a focus on DJs using the idea of musical shaping in their work. A final section summarizes the varied notions of musical shaping that arise from these perspectives and explores their implications, as well as the limitations of studying a flexible and widely applicable metaphor such as shape in a genre as diverse as popular music.

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