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Who is Beck? Sonic markers as a compositional tool in pop production

Published online by Cambridge University Press:  14 September 2016

Eirik Askeroi
Eirik Askeroi*
Affiliation:
Arnes vei 2, 0488 Oslo, Norway email: eirik.askeroi@hihm.no
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Abstract

Throughout the history of music recording, the use of certain technologies and instruments has left distinctive marks on recordings – marks that imply an intrinsic relationship between an era and a sound. At the same time, producers and artists have taken advantage of this relationship, constructing and otherwise exploiting what I have elsewhere conceptualised as sonic markers. This study explores how Beck's use of sound as a compositional tool constructs sonic markers that have in turn contributed profoundly to the formation of his musical identity. First, I take into account Beck's use of various pop aesthetics to explore how sonic markers are constructed through appropriation. Second, I offer an assessment of the ways in which Beck's musical identity has been formed from his play with the sonic markers of other eras. Third, I provide an analytical account of ‘Sexx Laws’ (1999) to illustrate how Beck's play with sonic markers of time also informs individual song structure and composition.

Type
Articles
Information
Popular Music , Volume 35 , Issue 3 , October 2016 , pp. 380 - 395
Copyright
Copyright © Cambridge University Press 2016 

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