"我只是跟着感觉走"金属音乐混音实践中的差异与共性

IF 0.3 0 MUSIC
Jan Herbst, M. Mynett
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引用次数: 1

摘要

金属音乐是一种以越轨为特征的音乐类型,通常具有沉重的音乐追求。有趣的是,这一公认的流派定义标准可以被视为涉及进步,与最近的说法相冲突,即金属音乐的制作越来越标准化,可能会阻碍金属音乐的音乐发展。基于对八家领先金属生产商的采访,本研究调查了专业人士的混合方法,以确定它们是否符合假定的标准化。该研究发现了常见的混音方法,这些方法源于工程快速、复杂和声音密集音乐的技术要求。然而,在生产者选择实现所需美学结果之间,存在着重要的替代方案。一个多方面的流派,如金属及其不同的亚流派,需要不止一种制作方法,而这些方法的独特组合和细致入微的实施有助于获得原创结果。考虑到这一点,各种制作方法、过程和技术似乎随着子流派和音乐风格的发展而发展,支持了该流派对越轨和沉重的追求。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“I Just Go with What Feels Right”. Variance and Commonality in Metal Music Mixing Practice
Metal music is a genre defined by transgression, usually with the musical pursuit of heaviness. Interestingly, this commonly accepted genre-defining criterion, which can be considered as involving progress, conflicts with recent suggestions that the production of metal music is becoming more and more standardized, potentially hindering metal music’s musical evolution. Based on interviews with eight leading metal producers, this study investigates the professionals’ mixing approaches to determine whether they match the presumed standardization. The study finds common mixing approaches that result from the technical requirements of engineering fast, complex, and sonically dense music. However, there are significant alternatives between which producers choose to achieve the desired aesthetic outcomes. A multifaceted genre like metal with its diverse subgenres requires more than one production approach, and the unique combination and nuanced implementation of these approaches facilitate original results. With this in mind, the various production approaches, processes, and techniques appear to be evolving alongside the sub-genres and musical styles, supporting the genre’s quest for transgression and heaviness.
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来源期刊
Oido Pensante
Oido Pensante MUSIC-
CiteScore
0.40
自引率
0.00%
发文量
18
审稿时长
12 weeks
期刊介绍: The aim of El oído pensante is to promote the discussion of theoretical, methodological and epistemological dilemmas faced by different kinds of music research. Unpublished articles in Spanish, Portuguese and English dealing with ethnomusicology, anthropology, sociology of music, popular music studies, musicology, and cultural studies, among other disciplines, are received. Papers should be original and those which produce criticism of theoretical paradigms, methodology, transdisciplinarity, knowledge validation, research ideologies, representation resources, narrative strategies, ethic and esthetic research perspectives, relationships during the fieldwork experience, social and political research significance, the researcher’s perceptive and conceptual baggage, new technologies and their ways of spreading and sharing knowledge, etc., will be welcome. Since the intention of the journal is to promote critical thought aimed to dismantle usual concepts and to open new approaches, papers restricted to analyzing particular cases will not be accepted. However, it is expected that authors bring some cases into the text in order to support their main ideas. Articles and reviews are received.
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