Index

Note: Page numbers followed by “f” or “t” refer to figures and tables, respectively.

Affordances, 15–16

Altiverb 7 plug-in, 155n13

AMS RMX-16, 54

Analog sound synthesis, 44, 47, 48

Analog tape delay, 13, 30

Auditory Scene Analysis (Bregman), 89

Auner, Joseph, 61, 68, 77–78, 159n8

Auto-Tune, 117–124, 126–127, 131–132, 138–139, 145

Bon Iver and, 121–124, 126, 131, 132, 138

controversies and disputes regarding, 117, 129, 132, 145–146

criticism of, 117, 121, 129, 131

Lady Gaga and, 129–131

Melodyne and, 165n4

overview, 118–119

pitch correction as vocal effect, 118–121

Vocoder and, 118–119

“Bang Out” (Snoop Dogg), 106, 110, 110f, 111, 113, 115, 138, 145

Bell Laboratories, 45

Benjamin, Walter, 147–148

Björk, 99, 126

Bolter, Jay David, 153n6, 154n11, 160n17

Bon Iver, 123

Auto-Tune and, 121–124, 126, 131, 132, 138

“Woods,” 121–126, 122f, 123f, 131, 138–139

Bregman, Albert S., 89

Brøvig-Andersen, Ragnhild, 70, 156n21

Brøvig-Hanssen, Ragnhild, 5, 149, 153–154nn6–7, 154n13, 156n21, 158n14, 158n19, 167n3

Buena Vista Social Club, 162n11

Burgess, Richard J., 50–51, 103, 145–146, 163n4

Bush, Kate, 21, 27–29, 34

”Get Out of My House,” 22, 27–41, 134

Butler, Judith, 129, 165n10

Cage, John, 79, 81

“Can I Get a Flicc Witchu” (Snoop Dogg), 106–111, 113–115, 137–138, 144–145, 164n16

Carlsen, Kristoffer, 106, 163n5, 164n7

Cher, 119

Cher effect, 138

Collins, Phil, 132

“In the Air Tonight,” 32

Compact disc (CD), 65–67, 82

Compositional palette, a new, 139–140

Computer Musical Instrument (CMI), 11, 47, 49

Concrete sound objects, 47

Cuban music, 84, 85, 88

Cunningham, Mark, 32

Cut-and-paste techniques, 81–99

in analog era, 108, 133, 136–137, 139, 141, 145, 148

in “La Vida es Llena de Cables,” 83–89, 98

in “My Red Hot Car,” 90–96, 98

Danielsen, Anne, 95, 101, 155n6, 163n14, 166n12

David Z, 52–58, 135, 158nn16–18

DAWs (digital audio workstations), 1, 9, 12–13, 51, 104, 111–115, 154n12

Death Proof (film), 161n18

Decay time. See Reverb

Delay. See also Digital delay; Echo

defined, 21, 23

reverb and, 21, 25, 27, 29, 39–41, 54, 134, 146

Delay units, 47, 52–54, 157n12

Deleuze, Gilles, 112

Denaturalization, 129

Derrida, Jacques, 129–130

Descargas (Los Sampler’s), 83, 84, 88. See also “La Vida es Llena de Cables (Son Disco Duro)”

Destroyed Music (Knížák), 90

Dibben, Nicola, 99, 126

Digital audio workstations. See DAWs

Digital delay, 21–23, 25, 27, 29–31, 40–41, 47. See also Delay

vs. analog delay, 134, 156n16

in “Get Out of My House,” 29–31, 34, 35, 39–41, 134

Digital dropouts. See Dropouts, signal

Digital signatures, 2, 133, 139, 149. See also specific topics

defined, 2

nature of, 2, 6

opaque mediation and, 5–8

Digital sound synthesis, 44–46, 51

Digital-to-analog (DA) converter, 45

“Don’t Tell Me” (Madonna), 95

Double meaning of aestheticized malfunctions, 89–97, 136–137

Doyle, Peter, 40

Dreaming, The (Bush), 28. See also “Get Out of My House”

Dropouts, signal, 95–98

defined, 86

digital vs. analog, 162n10

in “La Vida es Llena de Cables,” 86–89, 96, 98

in “My Red Hot Car,” 91–96, 98

nature of, 86, 96–98

in “Strangers,” 78

Drum loops, 71, 73

Dummy (Portishead), 71, 72, 160n12. See also “Strangers”

Echo, 21, 23, 31, 40. See also Delay

defined, 21, 23, 154n3

vs. reverb, 23, 26, 154n3

slapback, 35, 36

Echo chambers, 24

Edison, Thomas, 62, 65, 67

Edison Diamond Disc, 62

Electrolatin music, 84, 162n8. See also Latin American music

Electronic dance music (EDM), 14, 58, 102, 112, 113

Electronic pop stars, 90

Emulator (E-MU), 47

Eno, Brian, 78

Evans, Daniel, 117

Fairlight Computer Musical Instrument (CMI), 11, 47, 49

Fixed-waveform synthesis, 157n5

Frequency modulation (FM) algorithm, 46

Frequency modulation (FM) synthesis, 11, 45–46

Frith, Simon, 127, 150

Gated reverb, 31–32, 63, 156nn17–19

Gender parody, 129

Gestural language, 109, 114–115

“Get Out of My House” (Bush), 22, 27–41, 134. See also Dreaming

Gibson, James J., 15–16, 148

Glitches, 81–91, 94–99, 126, 133, 136–137, 139, 145, 147, 149

digital, 90, 97, 133, 139

double meaning and double function (see Double meaning of aestheticized malfunctions)

natural, 83, 95–97

Glitch music, 81–99, 162n12

ways of manufacturing, 82–83

Glitch plug-ins, 162n7

Goodwin, Andrew, 68

Grint, Keith, 15

Groove

computerizing the, 57–59

digital, 52–57

inner dynamics of a, 111–114

Groove-based music, 57, 102, 105, 112, 114, 144

Grooves, computer-based, 46

Grusin, Richard, 153n6, 154n11, 160n17

Guffey, Elizabeth, 76, 78

Halberstam, J. Jack, 129

“Half Day Closing” (Portishead), 156n21

Hall, Edward, 29–30

Hawkins, Stan, 127

High fidelity (hi-fi), 159n1

digital silence and the holy grail of, 62–66

Hi-hat, 52–53, 59, 106, 110, 135, 159

Hildebrand, Andy, 118

Hutchby, Ian, 15, 16

Hutcheon, Linda, 89, 96, 147

Hypernature and hypernatural, 121–131

Inglis, Sam, 158n21

“In the Air Tonight” (Collins), 32

James, Robin, 121

Jameson, Fredric, 75

Katz, Mark, 8

Kelly, Caleb, 82, 95

“Kiss” (Prince), 51–59, 54f, 55f, 56t, 158nn17–18

Knížák, Milan, 90

Kvifte, Tellef, 143, 154n14, 156n3

Lacasse, Serge, 34

Lady Gaga, 127, 131, 148

“Starstruck,” 126–131, 128f, 139

Latin American music, 83–85, 162n8

“La Vida es Llena de Cables (Son Disco Duro)” (Los Sampler’s), 83–89, 95, 96, 98, 136, 137, 145, 148

Link, Stan, 69, 79

Linn 9000, 49, 51–53

LinnDrum 9000, 157n11

LM-1, 49

Loops, 14, 73, 108

drum, 71, 73

tape, 25, 47–48, 105

Los Sampler’s, 2, 18, 81, 83–87, 89, 133, 136, 145, 148, 149. See also “La Vida es Llena de Cables (Son Disco Duro)”

Low fidelity (lo-fi), 17, 61, 69–71, 78, 79

Low fidelity (lo-fi) movement, 62, 68, 136

Low-frequency oscillator (LFO), 44

Maasø, Arnt, 95, 163n14

Machine-aided vs. machine-generated, 115

Madonna, 95

Magnetic tape, 81, 103

Magnetic tape recorders, 9, 25, 64, 140–141

Marclay, Christian, 90

Marin, Louis, 77, 153n6

McLuhan, Marshall, 15

Mediation. See also Opaque mediation; Transparent mediation

significance to popular music, 149–151

Medium signatures revisited, past, 66–69

Medium silence vs. textual silence, 163n14

Melismas, 123, 123f, 126

Melodyne, 120, 165n4

Microphones, 24, 32

Microrhythms, 53, 101–103, 105–115, 142, 144, 149

Microrhythmic manipulation, 104, 111, 112, 131, 133, 138

in Snoop Dogg’s music, 105–111

MIDI (Musical Instrument Digital Interface), 11, 44

historical perspective on, 11–12, 44, 49, 50

“Kiss” and, 57–59

Linn 9000 and, 49, 51, 52

quantization and, 51

MIDI code and standardizing communication, 49–51

MIDI protocol, 44, 46, 51, 58, 135

MIDI sequencer, 51, 52, 103, 104

Millard, Andre, 12, 66

Moore, Allan F., 23–24

Moylan, William, 33

Musical gestures, 95, 99, 145

Musical space, production alternatives for creating, 26–27

Musical spatiality, 21–27, 29, 34–36, 40, 41

defined, 21

Music within the music, 83–89

“My Red Hot Car” (Squarepusher), 83, 90–96, 98, 136–137, 145, 148

“My Red Hot Car (Girl)” (Squarepusher), 90–91

Naturalist vs. interventionist work, 7–8

Naturalization, 7, 131, 133, 147–149. See also Denaturalization

vs. surreality, 40–41

Noise, 43, 61–62, 67, 75, 135

background, 56, 61, 63, 64, 67

digital void of sound and, 43, 78

high fidelity and, 63–65

mingling of digital silence and analog, 75–79

retro revivalism and, 76–79

vinyl, 68, 69, 71, 75, 78

Noise gate, 31–32, 52

Opaque mediation, 41, 136

digital signatures and, 5–8

and the significance of mediation to popular music, 149–151

vs. transparent mediation, 5–8, 68 (see also Transparent mediation)

Padgham, Hugh, 32, 156n17

Phonograph effects, 8, 9. See also Vinyl noise

Phonographs, 24, 63–64, 67, 140, 141

Pitch correction (as vocal effect). See Auto-Tune

Plate reverb, 13, 25, 26, 134, 155n12

principle behind, 25

Portishead, 68, 69, 133, 160n17

Dummy, 71, 72, 160n12

“Half Day Closing,” 156n21

juxtaposition of old and new, 70–79

“Strangers,” 71–75, 78, 136, 145, 148, 149

“Undenied,” 75, 77–78

Portishead (Portishead), 75, 76

Postmodern art, 89, 166n11

Predecay time, 23, 25, 26, 37

Primitive integration, 89

Prince, 49, 135

“Kiss,” 51–59, 54f, 55f, 56t, 158nn17–18

Prior, Nick, 14–15, 127, 143

Pulse-code modulation (PCM), 9

Quantec QRS room simulator, 29

Quantization, 44, 51

Reflections, sound, 23–26, 37, 38, 154n3. See also Delay; Echo; Reverb

Remediation, 154n11

Retro, defined, 76

Retrochic, 77

Retro revivalism, 76–79. See also Portishead

Reverb (reverberation), 23–27, 29, 33–40, 54, 56, 155nn12–13

analog vs. digital, 25, 32, 134

artificial, 25

delay and, 21, 25, 27, 29, 39–41, 54, 134, 146

vs. digital reverb, 26f, 155n12

vs. echo, 23, 26, 154n3

“echo chambers” and, 24

gated, 31–32, 63, 156nn17–19

in “Get Out of My House,” 29–41, 134

historical perspective on, 24–27

in “My Red Hot Car,” 92–94

natural, 25–26

overview and nature of, 23, 25–26

plate, 13, 25, 26, 134, 155n12

reverse, 32, 37, 41, 54, 55f, 134

spring, 25

Reverse reverb, 37, 41, 54, 55f, 134

defined, 32

R&G (Rhythm & Gangsta): The Masterpiece (Snoop Dogg), 106, 108, 111, 114, 115, 137–138, 144–145, 148, 149

Rhythm & Gangsta. See R&G (Rhythm & Gangsta)

Rhythmicon, 48

Rhythmic tolerance, 111

Roads, Curtis, 45, 47

Room simulator, Quantec QRS, 29

Rose, Tricia, 160n13

Sampler instruments, digital, 9–11, 14, 43, 44, 47–48, 52, 73

Sampling and sample-based instruments, 46–49

Sampling synthesis, digital, 44, 48, 51

Samuel, Raphael, 76, 77

Schaeffer, Pierre, 47

Schafer, R. Murray, 140, 148, 166n1

Schema-based integration, 89

Schizophonia, 62, 97, 160n1

a new era of, 140–143

Schloss, Joseph, 160n14

Schmidt, Uwe, 83–84

Seasick rhythms, 3, 101, 105–108, 110, 113, 115, 137, 144–145

Selective deafness, 68

Sensorimotor system, 164n16

Sequencer programs, computer-based, 11–14, 71

Shining, The (King), 34–35

Sideman, 157n6

Signal dropouts. See Dropouts, signal

Silence, digital, 77, 145, 162n10. See also Dropouts, signal

and the holy grail of “high fidelity,” 62–66

mingling of analog noise and, 75–79

in Portishead, 75, 76

silence in digital vs. analog technology, 61–62

in “Strangers,” 72, 74, 74f, 136, 149

textual silence vs. medium silence, 163n14

in “Undenied,” 77–78

Simius, Kid (José Antonio García Soler), 81, 161n1

Slapback echo/slapback delay, 35, 36

Smalley, Denis, 7–8, 22, 156n15

Smith, Oberlin, 64

Snoop Dogg, 133

“Bang Out,” 106, 110, 110f, 111, 113, 115, 138, 145

“Can I Get a Flicc Witchu,” 106–111, 113–115, 137–138, 164n16

microrhythms, 105–111

R&G (Rhythm & Gangsta): The Masterpiece, 106, 108, 111, 114, 115, 137–138, 144–145, 148, 149

Son Cubano, 85, 88

Sound box, defined, 29

Sound box model, 23–24

Sound synthesis, 44–45

Source bonding, 22

Spatiality in music. See Musical spatiality

Spatial simultaneity, 33

Spring reverb, 25

Squarepusher, 90, 149. See also “My Red Hot Car”

“Starstruck” (Lady Gaga), 126–131, 128f, 139

Sterne, Jonathan, 67, 153n4

Stockham, Thomas Greenway, 66

Stone, Faith, 67

“Strangers” (Portishead), 71–75, 78, 136, 145, 148, 149

Surreal virtual spaces, 27–34, 40–41

Tape recorders. See Magnetic tape recorders

Tarantino, Quentin, 161n18

Textual silence vs. medium silence, 163n14

Théberge, Paul, 1, 153n1, 153n4

Thomson, Phil, 97–99

Thoreau, Henry David, 125–126

Transparent mediation, 5–8, 68, 89, 150, 151

Trip hop, 62, 70, 160nn10–11

Truax, Barry, 94

Tuning of the ear, 150

historical listening constraints and the, 147–149

“Undenied” (Portishead), 75, 77–78

Utley, Adrian, 70, 71, 73

Vinyl noise, 68, 69, 71, 75, 78

Virtual spatial environments, 21, 23, 24, 26–27, 29, 31, 33, 35, 39–41, 154n2

Waveform, 9, 44–45, 85, 157n5

examples of, 54f, 85f–87f, 92f–94f, 107f, 109f, 110f, 122f, 123f, 128f

Weather Report, 71, 72

West, Kanye, 120, 124

Williams, Juliet, 129

Williams Mix (Cage), 81

“Woods” (Bon Iver), 121–126, 122f, 123f, 131, 138–139

Woolgar, Steve, 15

Yamaha DX7, 45, 46

Young, Neil, 67

Z, David, 52–58, 135, 158nn16–18

Zak, Albin J., III, 31, 66

Zeiner-Henriksen, Hans T., 58, 113, 158n15

Zoned spaces, 33