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UCLA Electronic Theses and Dissertations UCLA UCLA Electronic Theses and Dissertations Title Appraising Timbre: Embodiment and Affect at the Threshold of Music and Noise Permalink https://escholarship.org/uc/item/99t2t939 Author Wallmark, Zachary Thomas Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Appraising Timbre: Embodiment and Affect at the Threshold of Music and Noise A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Zachary Thomas Wallmark 2014 © Copyright by Zachary Thomas Wallmark 2014 ABSTRACT OF THE DISSERTATION Appraising Timbre: Embodiment and Affect at the Threshold of Music and Noise by Zachary Thomas Wallmark Doctor of Philosophy in Musicology University of California, Los Angeles, 2014 Professor Robert Fink, Co-Chair Professor Nina Sun Eidsheim, Co-Chair Timbre is crucial to the generation of musical affect and meaning. But despite its well- acknowledged importance, musicology remains largely “tone deaf”—timbre is in the peculiar position of being both vital to ordinary experience and invisible to analysis. In approaching tim- bre through the lens of embodied cognition, this dissertation aims to loosen the analytical im- passe by advancing a flexible and dynamic model for understanding the material and affective dimensions of sound. I explore how timbral reactions and appraisals work in connection with the embodied mind to shape musical experience, particularly in the context of American popular music and jazz. Methodologically situated between the “two cultures” of the humanities and sci- ences—and drawing on results from original empirical studies using behavioral psychology, cog- nitive linguistic, and neuroimaging methods—I claim that timbre perception is a motor mimetic ii process; we covertly mirror the bodily actions implied in the production of timbre when we listen. The larger implication of this finding is that cognition of timbre is a fundamentally social act. The dissertation is concerned, then, with the perceptual, social, and symbolic dynamics of timbre as experienced, and to best exemplify this linkage, I focus on contexts in which “musical” timbres bleed into “noise,” both acoustically and epistemologically. As case studies, the dissertation con- siders musical contexts with visceral, polarized reception histories: the screaming saxophone in mid-1960s free jazz (as exemplified by “late” John Coltrane), and the highly distorted electric gui- tar and vocal timbres of contemporary extreme heavy metal. iii The dissertation of Zachary Thomas Wallmark is approved. Marco Iacoboni Mark Johnson Roger A. Kendall Mitchell Morris Robert Fink, Committee Co-Chair Nina Sun Eidsheim, Committee Co-Chair University of California, Los Angeles 2014 iv In loving memory of Anne Dhu McLucas. v TABLE OF CONTENTS List of Figures, Tables, and Equations ……………………………………………………………….. ix Acknowledgements ………………………………………………………………………………… xiii Vita ……………………………………………………………………………………………... xix Introduction: The Problem of Timbre .............................................................1 Framing the Project ...............................................................................................5 Methodology.........................................................................................................10 ASPECS: Towards an Analytical Model for (Noisy) Timbre...............................16 Overview of Chapters ..........................................................................................19 PART I: Theoretical and Empirical Framework for Embodied Timbre Cognition Chapter 1 The Bodily Basis of Timbral Reactions and Appraisals .................. 23 Introduction..........................................................................................................23 Affect and the Body ..............................................................................................28 Sounding (E)motion: The Vocal Grounding of Timbral Affect ..........................32 The Sound of Arousal: Physiology, Acoustics, and Psychoacoustics of Exertion .............................................................40 Shared Perceptual Mechanisms for Vocal and Instrumental Timbre ..............................................................................46 Components of Noisy Timbre .............................................................................56 Brightness ...................................................................................................56 Noise..........................................................................................................60 Roughness...................................................................................................63 Hearing is Doing: Act–Sound Coupling ..............................................................65 Conclusion ............................................................................................................77 Chapter 2 Behavioral and Neuroimaging Evidence for Embodied Timbre Cognition .................................................................... 79 Introduction..........................................................................................................79 Variables: Bodily Exertion, Affective Valence, Semantics, and “Emotion Conveyed” ..............................................................................................84 Experiment 1: Perceptions of Embodiment and Affect in Isolated Timbres......................................................................................87 Experiment 2: Perceptions of Embodiment and Affect in Brief Popular Music Excerpts ................................................................95 Experiment 3: Timbre and Motor Resonance: An fMRI Study .......................102 Conclusion .........................................................................................................119 Chapter 3 Conceptualizing Timbre ......................................................... 125 Introduction........................................................................................................125 vi Experiential Structures of Timbral-Corporeal Events ......................................127 Is Timbre a Metaphor? ......................................................................................142 Noise and the Tactility of Sound .......................................................................152 Conclusion ..........................................................................................................162 PART II: Case Studies Chapter 4 The Most Powerful Human Sound Ever Created? Theorizing the Saxophonic Scream in Free Jazz .......................... 165 Introduction........................................................................................................165 Escaping from Notes to Sounds: John Coltrane’s Timbral Turn ......................168 “The Father and the Son and the Holy Ghost” .................................................178 Saxophonic Screaming ......................................................................................186 Gender and Race in Coltrane Reception...........................................................196 Conclusion ..........................................................................................................209 Chapter 5 The Sound of Evil: Timbre, Body, and Sacred Violence in Death Metal........................................................................ 213 Introduction........................................................................................................213 Florida Sound / Swedish Sound.........................................................................217 Volume, Distortion, EQ, and (De-)Tuning ........................................................222 Growls, Grunts, and Gutturals: Death Vocals in Theory and in Practice ......................................................................................232 Timbral Teleology..............................................................................................240 Death Metal as Ritual Sonic Sacrifice................................................................244 Mutilation by Proxy: Real and Imaginary Bodies at the Death Metal Concert ............................................................................253 Conclusion ..........................................................................................................258 Epilogue .................................................................................................. 263 Glossary .................................................................................................. 269 Introduction: Statistical Significance vs. Musicological Relevance.....................269 Neuroimaging Primer.........................................................................................274 Glossary of Empirical Concepts .........................................................................276 Appendix 1 Perceptions of Embodiment and Affect in Isolated Timbres (Experiment 1) ....................................................................... 278 Hypotheses..........................................................................................................278 Stimuli.................................................................................................................279 Subjects...............................................................................................................283
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