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Table Of Contents

0.1. Presentation
0.1.1. Make-‘Believe’
0.1.2. Definitions
0.1.3. Scope
0.2. Background
0.3. Theoretical Issues and Problems
0.3.1. Vocal Staging Effects as Technological Musical Parameters
0.4.2. Preliminary Epistemological Considerations
0.4.3. Listening Conditions
0.4.4. Notation
0.5. Content
1.0. Introduction
1.1. Practices in Western Cultures38
1.1.1. Prehistory
1.1.2. Antiquity
1.1.3. Western Acoustic Music
1.2.1. Mirlitons
1.2.2. Resonators
1.2.3. Self-Distortion of the Voice95
1.3. Summary
2.0. Introduction
2.0.1. Staging the Voice in the Age of Electricity
2.0.2. The Microphone
2.1. Radio
2.1.0. Introduction
2.1.1. Radio Drama
2.1.2. Sound Poetry and Musique concrète
2.2. Theatre
2.3. Cinema
2.3.0. Introduction
2.3.1. Voice Configurations in Cinema
Table 2.3-1: Châteauvert’s Voice General Categorisation
2.3.2. Subjective, Expressionistic and Poetical Effects
2.4. Summary
3.0. Introduction: Aesthetics of Recorded Music167
3.1. Vocal Staging Practices
3.1.1. Artificial Reverberation and Echo
Figure 3.1-1: Introductory measures of Patti Page’s ‘Confess’ (1948)
3.1.2. Overdubbing
3.1.3. Phasing Effects
Figure 3.1-2: Flanging Effects in Miss Toni Fisher’s ‘The Big Hurt’ (1959)
3.1.4. Speed Modification
3.2. The Advent of Stereophony
3.2.1. Historical Overview
3.2.2. Impact on Spatial Acoustic Imagery
3.3. Summary
4.0. Introduction
4.0.1. Presentation
4.0.2. Issues and Method
4.1. Instrument Construction
4.1.1. Selection of Concepts
4.1.2. Selection of Scales
4.2. Sample and Procedure
4.2.1. Sample Description
Figure 4.2-1: Subjects’ Profile
4.2.2. Test Procedure
4.3. Results and Discussion
4.3.1. Overall Results
Table 4.3-1: Overall Results
4.3.2. Factor Analysis
Table 4.3-2: Factor Analysis Solution
4.3.3. Final Results
Table 4.3-3: Final Results
5.0.1. Issues and Method
Table 5.0-1: General Categorisation of Vocal Staging Effects
5.0.2. Aesthetic Considerations
5.1. Proskênion: Spatialisation of Recorded Voice
5.1.0. Introduction
5.1.1. Environment
5.1.2. Stereophonic Location
5.1.3. Distance
5.2. Prôsôpon: Electric Alteration of Voice Timbre
5.2.0. Introduction
5.2.1. Phasing
5.2.2. Saturation
5.2.3. Other Types of Alteration
5.3. Chronos: Manipulation of Voice in Time
5.3.0. Introduction
5.3.1. Long Echo323
Figure 5.3-1: Peter Gabriel’s original and remixed versions of ‘Kiss That Frog’
5.3.2. Reiteration
5.4. Analysis of Alanis Morissette’s ‘Front Row’ (1998)
5.4.0. Introduction
5.4.1. General Considerations
Figure 5.4-1: Alanis Morissette’s ‘Front Row’ (1998)
5.4.2. Discussion
Figure 5.4-2: Stereo Movement (Alanis Morissette’s ‘Front Row’)
5.5. Summary
6.1. General Summary
6.2. General Observations
6.2.1. All Too Human
6.2.2. Extramusical Significations (Connotations)
6.2.3. Intramusical Relations
6.3. Further Research
6.3.1. Toward a Semiotic Model
6.3.2. Extension of the Notion of Staging
6.3.3. Reception Tests
6.4. Le mot de la fin
A. Writings
B. Audio Recordings, Films and Printed Music374
Appendix 1: Cover Page of ‘99 Out of a Hundred Wanna Be Loved’ (1931)
Appendix 2: Reception Test Sample Form
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81134695 Thesis Lacasse

81134695 Thesis Lacasse

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Published by: petmix on Dec 18, 2012
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