The establishment of the virtual performance space in rock

Ruth Dockwray; F. Moore Allan

doi:10.1017/S1478572209990065

The establishment of the virtual performance space in rock

Ruth Dockwray, F. Moore Allan

Research output: Contribution to journal › Article › peer-review

Abstract

Analysis 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.

Original language	English
Pages (from-to)	219-241
Number of pages	23
Journal	Twentieth-Century Music
Volume	5
Issue number	2
DOIs	https://doi.org/10.1017/S1478572209990065
Publication status	Published - Sep 2008
Externally published	Yes

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title = "The establishment of the virtual performance space in rock",

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AB - Analysis 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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The establishment of the virtual performance space in rock

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