Hope everyone has made it safely to Vancouver!
As Ed Klorman posted last month, this year’s SMT/AMS conference program features an unusually rich selection of offerings for those of us engaged in questions of performance and analysis. Today there are three full sessions devoted to performance, including PAIG’s own sponsored session, “Musical Performers, Musical Works” (8:00 – 10:00 pm, Pavilion Ballroom D).
But first, from 3:30 – 5:00 pm in Pavilion Ballroom C, is a session called “Positional Listening/Positional Analysis” that explores pop music from a performer’s point of view—which will certainly interest many PAIG members.
The organizer of the session, John Covach, has graciously allowed us to post its abstract below. The abstracts and handouts for the individual papers can be found at the SMT conference guide.
Positional Listening/Positional Analysis
As analysts, we typically approach a piece of music from the conductor’s (classical) or producer’s (pop) point of view, attending to the entire texture and attempting to keep it all in our ear, even while we are simultaneously focusing on certain specific elements. There are certainly textures that challenge our ability to hear everything, such as complex orchestral scores or intricate contrapuntal pieces. But even in such cases, we still strive to hear all parts, and this helps define the Ideal Listening Position as a kind of balanced, objective, or even distanced view of the complete texture.
But what happens to this Ideal Listening Position for a musician playing inside a texture? How might one’s experience of and focus within the music provide a different perspective? If it does differ, what factors account for this? Is such a listening position a negative one—a kind of pragmatic practice required by performance but one that ultimately distorts the music—or does it offer fresh insight, a new way of hearing that enriches and augments our experience and understanding?
To explore these issues, this session will focus mostly on pop music. Four speakers will explore “positional listening/positional analysis” from distinct positions inside of the standard rock combo. This ninety-minute session will feature four fifteen-minute talks, followed by a ten-minute response and ending with twenty minutes for questions and discussion.