For full intro and part one of the series click here. For part two, click here. Our Punk Sound series implicitly argues that sound studies methodologies are better suited to understanding how punk works sonically than existing journalistic and academic conversations about musical genre, chord progressions, and/or genealogies of bands.
For full intro and part one of the series click here. For part two, click here. Our Punk Sound series implicitly argues that sound studies methodologies are better suited to understanding how punk works sonically than existing journalistic and academic conversations about musical genre, chord progressions, and/or genealogies of bands.
“Genres, styles form around places of cohesion, of transport, of passage. Not an instrumental mathematics (though it can be that too), but a speculative one that seeks out locations of collective affect, of resonance between micro and macro spheres.” –Marcus Boon, “One Nation Under a Groove” Yes.
A few weeks ago, I wrote my dissertation’s epilogue on Trump as a ventriloquist’s dummy without a ventriloquist. At that point I was still ignorantly assuming that things wouldn’t go the way they did. I looked back at these words yesterday and was struck by what still resonated and what I got so, so wrong.
“Genres, styles form around places of cohesion, of transport, of passage. Not an instrumental mathematics (though it can be that too), but a speculative one that seeks out locations of collective affect, of resonance between micro and macro spheres.” –Marcus Boon, “One Nation Under a Groove” Yes.
This past August 2016, professional “pick-up artist” Dan Bacon caused a stir with his article “How to Talk to a Woman Who is Wearing Headphones.”
**This post was co-authored by Marit J. MacArthur and Lee M. Miller Like it or not, we are now accustomed to contemporary pop vocalists manipulating their voices using Autotune and other tools or effects for pitch correction.
Each of the essays in our “Medieval Sound” forum focuses on sound as it, according to Steve Goodman’s essay “The Ontology of Vibrational Force,” in The Sound Studies Reader, “comes to the rescue of thought rather than the inverse, forcing it to vibrate, loosening up its organized or petrified body (70). These investigations into medieval sound lend themselves […]
Malcolm Gladwell, who recently wrapped the first season of his podcast Revisionist History , has been on a roll lately. Not a particularly endearing one, though. I’ve been trying to locate his nadir, but it’s not easy with so many options to choose from.
Each of the essays in our “Medieval Sound” forum focuses on sound as it, according to Steve Goodman’s essay “The Ontology of Vibrational Force,” in The Sound Studies Reader, “comes to the rescue of thought rather than the inverse, forcing it to vibrate, loosening up its organized or petrified body (70). These investigations into medieval sound lend themselves to a variety of presentation methods loosening up the
CLICK HERE TO DOWNLOAD: The Meaning of Silence SUBSCRIBE TO THE SERIES VIA ITUNES ADD OUR PODCASTS TO YOUR STITCHER FAVORITES PLAYLIST In this podcast Marcella Ernest discusses the cultural use of sound in Hula and other Native languages with discussants Candace Gala and Nancy Marie Mithlo.