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Sonic World Without End: Foregroundi...

Crosson, Dylan Nathaniel,

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Sonic World Without End: Foregrounding Reverb in Contemporary Worship Music /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Sonic World Without End: Foregrounding Reverb in Contemporary Worship Music // Dylan Nathaniel Crosson.
Author:	Crosson, Dylan Nathaniel,
Description:	1 electronic resource (284 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 86-11, Section: A.
Contained By:	Dissertations Abstracts International86-11A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=32112223
ISBN:	9798314894347

Sonic World Without End: Foregrounding Reverb in Contemporary Worship Music /
Crosson, Dylan Nathaniel,

Sonic World Without End: Foregrounding Reverb in Contemporary Worship Music /Dylan Nathaniel Crosson. - 1 electronic resource (284 pages)

Source: Dissertations Abstracts International, Volume: 86-11, Section: A.

In the past decade, academic and public interest in American evangelicalism has increased thanks largely to the political activity of its self-identified members. Eager to frame this political activity by focusing on a readily identified evangelical tradition - Contemporary Worship Music (CWM) - ethnomusicologists undertook fieldwork in local congregations, conferences, and worship concerts to make sense of the interplay between the musical habits, congregational life, piety, and values of evangelicals. But what can be said of the music this tradition produces? How do evangelical values and philosophies regarding music influence the decisions of those responsible for producing and reproducing CWM? With a commitment to CWM's musical objects, my dissertation seeks to answer these questions.More specifically, it highlights the sonic ramifications of evangelical values by foregrounding reverb-a musical parameter of particular importance to CWM-as a sonic phenomenon, topic of discourse among practitioners, and tool for the creation of sonic space. By combining musical analysis, fieldwork, interviews, historical research, and the author's personal experience within CWM, this dissertation demonstrates the role and importance of reverb in the construction of "that worship sound" which has, for many, become inseparable from the concept of evangelical worship itself. Additionally, this dissertation shows that the ways in which practitioners discuss reverberation often resemble, draw from, and influence broader Christian imagery thus impacting evangelical piety.To accomplish these goals, Chapter 2 notes the multifaceted importance of the live worship experience to CWM before identifying sonic characteristics of these experiences, many of which are reverb dependent. So central are these audible elements, I contend, that they become stylistic elements that CWM audiences expect to hear if a recording is to be understood as "worshipful." Catering to this expectation, CWM recordists will not only capture and accentuate these sounds in live recordings, but also artificially recreate these elements in studio recordings. Chapter 3 demonstrates this trend by presenting comparative musical analyses between live and studio versions of songs as well as their "acoustic" versions when available. Beyond confirming the similarities between live and studio recordings in CWM, this chapter unpacks what work the signifiers "live," "studio," and "acoustic" do within CWM circles.Chapter 4 approaches reverb in CWM from a different perspective: that of the electric guitarist, who-because of the style's unique reliance on reverb-applies reverb to their guitar signal through the activation of reverb effects pedals. This reliance is not without consequences, as this chapter argues that the iconography on reverb pedals and the conceptual metaphors for sound which they depict, reflect, and inform how evangelicals conceptualize music and their faith. Continuing with this focus on conceptual metaphor, Chapter 5 investigates the metaphor usage of CWM audio engineers as they describe the outcomes of appropriate reverb employment such as the promoting of an interpersonal connection between worshippers and the mediation of the relationships between a recording's individual tracks.

English

ISBN: 9798314894347Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Worship

Sonic World Without End: Foregrounding Reverb in Contemporary Worship Music /
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520 $a In the past decade, academic and public interest in American evangelicalism has increased thanks largely to the political activity of its self-identified members. Eager to frame this political activity by focusing on a readily identified evangelical tradition - Contemporary Worship Music (CWM) - ethnomusicologists undertook fieldwork in local congregations, conferences, and worship concerts to make sense of the interplay between the musical habits, congregational life, piety, and values of evangelicals. But what can be said of the music this tradition produces? How do evangelical values and philosophies regarding music influence the decisions of those responsible for producing and reproducing CWM? With a commitment to CWM's musical objects, my dissertation seeks to answer these questions.More specifically, it highlights the sonic ramifications of evangelical values by foregrounding reverb-a musical parameter of particular importance to CWM-as a sonic phenomenon, topic of discourse among practitioners, and tool for the creation of sonic space. By combining musical analysis, fieldwork, interviews, historical research, and the author's personal experience within CWM, this dissertation demonstrates the role and importance of reverb in the construction of "that worship sound" which has, for many, become inseparable from the concept of evangelical worship itself. Additionally, this dissertation shows that the ways in which practitioners discuss reverberation often resemble, draw from, and influence broader Christian imagery thus impacting evangelical piety.To accomplish these goals, Chapter 2 notes the multifaceted importance of the live worship experience to CWM before identifying sonic characteristics of these experiences, many of which are reverb dependent. So central are these audible elements, I contend, that they become stylistic elements that CWM audiences expect to hear if a recording is to be understood as "worshipful." Catering to this expectation, CWM recordists will not only capture and accentuate these sounds in live recordings, but also artificially recreate these elements in studio recordings. Chapter 3 demonstrates this trend by presenting comparative musical analyses between live and studio versions of songs as well as their "acoustic" versions when available. Beyond confirming the similarities between live and studio recordings in CWM, this chapter unpacks what work the signifiers "live," "studio," and "acoustic" do within CWM circles.Chapter 4 approaches reverb in CWM from a different perspective: that of the electric guitarist, who-because of the style's unique reliance on reverb-applies reverb to their guitar signal through the activation of reverb effects pedals. This reliance is not without consequences, as this chapter argues that the iconography on reverb pedals and the conceptual metaphors for sound which they depict, reflect, and inform how evangelicals conceptualize music and their faith. Continuing with this focus on conceptual metaphor, Chapter 5 investigates the metaphor usage of CWM audio engineers as they describe the outcomes of appropriate reverb employment such as the promoting of an interpersonal connection between worshippers and the mediation of the relationships between a recording's individual tracks.
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