Timbre as Differentiation in Indie Music

Author:

Blake David K.1

Affiliation:

1. SUNY-Stony Brook

Abstract

The divide between “independent” and “mainstream” crucial to popular music discourses of the past twenty years has garnered scholarly attention from cultural studies and sociology, but not from music theorists. This paper argues that timbre, more than any other musical parameter, musically expresses differentiation from mainstream sounds in indie music. Phenomenological theories of Merleau-Ponty and Edward Casey are used to proffer a methodology of timbral analysis premised on contextually meaningful, complementarily perceived adjectives. Three case studies examining music of My Bloody Valentine, Neutral Milk Hotel, and the Shins exemplify this analytic framework.

Publisher

Society for Music Theory

Subject

Music

Reference72 articles.

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2. Bayton, Mavis. 1997. “Women and the Electric Guitar.” InSexing the Groove: Popular Music and Gender, ed. Sheila Whiteley. 37–49. New York: Routledge, 1997.

3. Biamonte, Nicole. 2010. “Triadic Modal and Pentatonic Patterns in Rock Music.”Music Theory Spectrum32, no. 2: 95–110.

4. Biamonte, Nicole. 2011. “Introduction.” Music Theory Online 17, no. 3. http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.biamonte.html.

5. Blake, David K. 2009. “Internet Music Criticism as Archive: Pitchfork Media and Neutral Milk Hotel’sIn the Aeroplane over the Sea.” Paper delivered at the International Association for the Study of Popular Music–US Chapter, San Diego, CA.

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