Uploaded June 2019 | Updated September 2026, 2 days ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
The Construction of a Retro Flying Saucer Take Off
Claudia Azevedo
/// ABSTRACT
This paper presents an analysis of musical meaning in the 61-second-long coda of “Espaço, Tempo, Lugar” [Space, Time, Place], a song by Brazilian underground pop band Coquetel Havana (Disco Voador, 2017) [Flying saucer]. The intention was to understand how the notion of heaviness/weight in addition to progressive rock’s aesthetic of the previous sections of the song are combined in order to refer to Science Fiction. It considers aspects of traditional musical analysis and music production supported by the responses to reception tests (Tagg and Clarida, 2003) by individuals of three age groups (15-20, 45-55 and 70-80) from the same socio-cultural background in Rio de Janeiro. The song was presented to the respondents in two steps: the coda, then the whole song with lyrics. The tests were followed by a short semi-structured interview. No information about the song was provided. The aim was to verify if and how the contrasting sections and the lyrics would affect the attribution of meaning to the coda. In addition, the band and the sound technician were consulted about their musical intentions with emphasis on the use of plug-ins to create the 1970´s references. The main theoretical sources are Gibson’s theory of Ecological Perception as presented by Clarke (2005) and ZagorskiThomas (2014), the theory of Metaphor by Lakoff and Johnson as presented by Moore (2012) and the Semiotics of Music as presented by Tagg (2015) [2012].
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
The Construction of a Retro Flying Saucer Take Off
Claudia Azevedo
/// ABSTRACT
This paper presents an analysis of musical meaning in the 61-second-long coda of “Espaço, Tempo, Lugar” [Space, Time, Place], a song by Brazilian underground pop band Coquetel Havana (Disco Voador, 2017) [Flying saucer]. The intention was to understand how the notion of heaviness/weight in addition to progressive rock’s aesthetic of the previous sections of the song are combined in order to refer to Science Fiction. It considers aspects of traditional musical analysis and music production supported by the responses to reception tests (Tagg and Clarida, 2003) by individuals of three age groups (15-20, 45-55 and 70-80) from the same socio-cultural background in Rio de Janeiro. The song was presented to the respondents in two steps: the coda, then the whole song with lyrics. The tests were followed by a short semi-structured interview. No information about the song was provided. The aim was to verify if and how the contrasting sections and the lyrics would affect the attribution of meaning to the coda. In addition, the band and the sound technician were consulted about their musical intentions with emphasis on the use of plug-ins to create the 1970´s references. The main theoretical sources are Gibson’s theory of Ecological Perception as presented by Clarke (2005) and ZagorskiThomas (2014), the theory of Metaphor by Lakoff and Johnson as presented by Moore (2012) and the Semiotics of Music as presented by Tagg (2015) [2012].
