Masteroppgave Torgeir Kristiansen
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Forside laget av Robert Høyem, 2011 Forord Prosessen med å ferdigstille denne oppgaven har vært en veldig fin, morsom og lærerik tid. Først og fremst vil jeg takke min veileder Anne Danielsen for uvurderlig hjelp, inspirerende veiledningsmøter og grundige tilbakemeldinger. Jeg vil også rette en stor takk til Institutt for musikkvitenskap for fem fantastiske studieår. Undervisningskvaliteten og det sosiale miljøet har overskredet alle mine forventninger. Til slutt vil jeg takke Ola Håmpland og Kai Robøle for mange berikende samtaler om popmusikk, min kjære samboer Hanne Solveig Kvislen for inspirasjon, grundig språkvask og korrektur, og min familie og mine venner for støtte og oppmuntring. Oslo, 25. april 2011 Torgeir Kristiansen i ii Innhold KAPITTEL 1: INTRODUKSJON....................................................................................................................................1 Bakgrunn for valg av oppgave....................................................................................................................................1 Problemstilling, mål og avgrensning..........................................................................................................................4 TEORI OG METODE.......................................................................................................................................................6 Oppgavens gang.....................................................................................................................................................................6 Om å analysere innspilt musikk..............................................................................................................................................7 Metode...................................................................................................................................................................................8 Valg av analyseobjekter........................................................................................................................................................10 Språklige utfordringer og begrepsavklaring..........................................................................................................................11 Sound...................................................................................................................................................................................12 OM DEN MODERNE POP-PRODUSENT...................................................................................................................13 Utvidelse av produsentrollen....................................................................................................................................13 Om låtskrivingsprosessen.........................................................................................................................................16 Lyder ........................................................................................................................................................................18 Valg av interessante lyder.....................................................................................................................................................19 Oppsummering..........................................................................................................................................................21 KAPITTEL 2: OPPMERKSOMHET............................................................................................................................23 TEORI...............................................................................................................................................................................24 Noen sentrale begreper og perspektiver...................................................................................................................24 Schema ................................................................................................................................................................................24 Habituering...........................................................................................................................................................................24 Saliens..................................................................................................................................................................................25 Mønster- og stimulusdrevet oppmerksomhet........................................................................................................................26 Perseptuell og konseptuell saliens.........................................................................................................................................28 Fanging av oppmerksomheten..............................................................................................................................................28 Kontekst...............................................................................................................................................................................30 Oppsummering..........................................................................................................................................................32 ANALYSE..........................................................................................................................................................................33 «I Kissed A Girl» .....................................................................................................................................................33 Funksjon i arrangementet.........................................................................................................................................35 Harmonisk kontekst..............................................................................................................................................................35 Synthbassens plass i grooven................................................................................................................................................36 Kontrast fra vers til refreng...................................................................................................................................................39 Saliente kvaliteter ved synthbasslyden......................................................................................................................42 Synthbassens klanglige utforming........................................................................................................................................43 Romlig kontekst...................................................................................................................................................................45 Stilistisk kontekst.......................................................................................................................................................47 Oppsummering..........................................................................................................................................................48 iii KAPITTEL 3: SPENNING..............................................................................................................................................50 TEORI...............................................................................................................................................................................51 Spenning - avspenning..............................................................................................................................................51 «The groove», «to groove», rytme og puls...............................................................................................................53 Puls.......................................................................................................................................................................................53 Rytme og schema..................................................................................................................................................................53 «Groove» og «å groove»......................................................................................................................................................54 Spenning på strukturnivå..........................................................................................................................................56 Metrisk spenning..................................................................................................................................................................56 Konflikterende puls-schema og metrisk spenning og avspenning.........................................................................................57 «Forstyrrelse» av puls og underdeling.....................................................................................................................59 Hendelsers tidsmessige utstrekning..........................................................................................................................60 Utstrekking av hendelsers varighet.......................................................................................................................................60 Innsnevring av hendelsers varighet.......................................................................................................................................61