Winner of the ARSC’s Award for Best Research (History) in Folk, Ethnic, or World Music ()When Jamaican recording engineers Osbourne. Michael E. Veal, Dub: Soundscapes and Shattered Songs in Jamaican Reggae. Middletown, CT: Wesleyan University Press, x + pp., 24 b&w photos. Dub: Soundscapes and Shattered Songs in Jamaican Reggae. MICHAEL. E. VEAL. Middletown CT: Wesleyan University Press, x + pp. (Paper US$ .
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Soundscapes and Shattered Songs in Jamaican Reggae. Wesleyan Shaytered Press, Recommended listening appendix, notes, bibliography, index of songs and recordings, index of general subjects.
Michael Veal’s Dub is an informative and welcome contribution to the reggae literature, to studies of Caribbean, Afrodiasporic, and Afro- American music and culture more generally, and to the growing field of writings dongs Page ] concerned with recording technologies and the social as well as musical dynamics of recording studios MeintjesKatzGreen and Porcello Dub is a multifarious phenomenon: Accordingly, Veal soundsccapes dub in shattred, rich context, explaining its significance for Jamaican society and Jamaican music and making a strong if familiar argument for dub’s impact on music production the world over, in popular and experimental spheres alike.
In the process, Veal articulates dub’s symbolic connections to such notions as diaspora and modernity, engaging with the discourses of Afro-futurism and the post-human as well as with postcolonial studies and the emerging literature concerned with sonic or audio culture SterneBull and Back Veal’s attention to both sonic and social matters—and, in particular, their intersections—makes Dub an especially important and distinctive addition to extant writings on reggae, which shattwred often focus on biographical details and record-collector minutiae at the expense of historically and culturally grounded musical-technical exegesis.
Although a smattering of articles and chapter-length treatments of dub can be found across the disparate reggae and electronic music literature, Dkb study is the first extended work to approach what he calls the “sonic, procedural, and conceptual aspects” of dub in substantial depth.
Dub: Soundscapes and Shattered Songs in Jamaican Reggae by Michael E. Veal
One way that Veal gets at the myriad intersections of the sonic and the social is through the term “soundscape,” originally coined by Canadian composer, theorist, and environmentalist Murray Schafer to describe the soundsvapes profiles or acoustical environments of the physical spaces we inhabit see, e.
In what seems like a useful if, to my knowledge, unprecedented and ultimately confusing application of Schafer’s term, Veal often uses soundscape as a verb e. Although Veal’s frequent use of soundscape appears to muddle the term, at least in the sense that Schafer first proposed it and subsequent scholars and theorists have employed it, the mis use appears to be an attempt on Veal’s part to show how imbricated songs, sounds, and abd social environments often are—not to mention to emphasize the role that engineers and producers play in sculpting sounds and songs.
A more explicit discussion of this resignification of Schafer’s term would have made Veal’s innovative application of it far less confusing and also would have strengthened the book’s theoretical framework.
Dub: Soundscapes and Shattered Songs in Jamaican Reggae – Michael Veal – Google Books
Putting questions of under theorization aside shwttered the moment, songw crowning achievement of Veal’s study is without a doubt the way he brings to light the distinctive technical-musical efforts and accomplishments of reggae’s most influential producers and engineers, from well-known and heralded producers such as King Tubby, Lee “Scratch” Perry, King Jammy, [End Page ] and Scientist to such relatively unsung heroes as Errol Thompson and Sylvan Morris, the longtime engineer at Coxsone Dodd’s groundbreaking, pacesetting Studio One.
Moreover, Veal’s emphasis on the people using the technology and the social contexts of such use, rather than on the technology or the music itself, is one of the book’s defining attributes. As the author puts it:. All the talk of circuits, knobs, and switches can distract one from the fundamental reality that what these musicians were doing was synthesizing a new popular art form, creating a space where people could come together joyously despite the harshness that surrounded them.
They created a music as roughly textured as the physical reality of the place, but with the power sngs transport their listeners If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click ‘Authenticate’. View freely available titles: Book titles OR Journal titles.
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Dub: Soundscapes and Shattered Songs in Jamaican Reggae
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