Robert Fink is Professor of Musicology at UCLA and a past President of IASPM-US. He focuses on music after 1965, with special interests in minimalism, popular music, and the intersection of cultural and music-analytical theory. He has published widely in musicological journals, and is the author of Repeating Ourselves (2005), a book-length study of the minimal music of Steve Reich, Philip Glass, and others as a cultural reflection of American consumer society in the mass-media age.Melinda Latour is Rumsey Family Assistant Professor of Musicology at Tufts University. She has received numerous awards, including the Mellon/ACLS Dissertation Completion Fellowship, and the Newberry Library École nationale des chartes Exchange Fellowship. Her work appears in the Journal of Musicology (2015), the Revue de musicologie (2016), and the Cambridge History of Sixteenth-Century Music (forthcoming). Zachary Wallmark is Assistant Professor of Musicology at SMU Meadows School of the Arts.His research explores the contribution of timbre to affective response, aesthetic judgment, and empathy in popular music and jazz, using methods from musicology and the cognitive sciences. He is currently at work on a monograph tentatively titled Nothing but Noise: Timbre and Musical Meaning at the Edge (Oxford). Wallmark is the recipient of an NEH Fellowship (2017-18).

All in all, the contributions of this groundbreaking volume are extremely inspiring. Because of its variety of topics and historical information as well as approaches and concepts, it is likely that the book will be used as a compendium to the study of tone, timbre and sound in popular music that, at the same time, will stimulate manifold new research.

• IntroductionChasing the Dragon: In Search of Tone in Popular MusicRobert Fink, Zachary Wallmark, and Melinda Latour I. GenreChapter 1Hearing Timbre: Perceptual Learning Among Early Bay Area RaversCornelia FalesChapter 2The Twang Factor in Country MusicJocelyn R. NealChapter 3The Sound of Evil: Timbre, Body, and Sacred Violence in Death MetalZachary Wallmark Chapter 4Below 100 Hz: Toward a Musicology of SubbassRobert Fink II. VoiceChapter 5Timbre and Legal Likeness: The Case of Tom WaitsMark C. Samples Chapter 6"The Triumph of Jimmy Scott": A Voice Beyond CategoryNina Sun Eidsheim Chapter 7Auto-tune, Labor, and the Pop Music VoiceCatherine Provenzano III. InstrumentChapter 8Hearing Luxe Pop: Jay Z, Isaac Hayes, and the Six Degrees of Symphonic SoulJohn Howland Chapter 9Santana and the Metaphysics of Tone: Feedback Loops, Volume Knobs and the Quest for TranscendenceMelinda LatourChapter 10Synthesizers as Social Protest in Early 1970s FunkGriffin Woodworth Chapter 11Crossing the Electronic Divide: Guitars, Synthesizers, and the Shifting Sound Field of FusionSteve Waksman IV. ProductionChapter 12Clash of the Timbres: Recording Authenticity in the California Rock Scene, 1966-68Jan Butler Chapter 13The Death Rattle of a Laughing Hyena: The Sound of Musical DemocracyAlbin J. Zak III Chapter 14The Sound of Nowhere: Reverb and the Construction of Sonic Space Paul ThébergeChapter 15The Spectromorphology of Recorded Popular Music: The Shaping of Sonic Cartoons Through Record ProductionSimon Zagorski-Thomas AfterwordSimon Frith

Robert Fink is Professor of Musicology at UCLA and a past President of IASPM-US. He focuses on music after 1965, with special interests in minimalism, popular music, and the intersection of cultural and music-analytical theory. He has published widely in musicological journals, and is the author of Repeating Ourselves (2005), a book-length study of the minimal music of Steve Reich, Philip Glass, and others as a cultural reflection of American consumer society in the mass-media age.Melinda Latour is Rumsey Family Assistant Professor of Musicology at Tufts University. She has received numerous awards, including the Mellon/ACLS Dissertation Completion Fellowship, and the Newberry Library École nationale des chartes Exchange Fellowship. Her work appears in the Journal of Musicology (2015), the Revue de musicologie (2016), and the Cambridge History of Sixteenth-Century Music (forthcoming). Zachary Wallmark is Assistant Professor of Musicology at SMU Meadows School of the Arts.His research explores the contribution of timbre to affective response, aesthetic judgment, and empathy in popular music and jazz, using methods from musicology and the cognitive sciences. He is currently at work on a monograph tentatively titled Nothing but Noise: Timbre and Musical Meaning at the Edge (Oxford). Wallmark is the recipient of an NEH Fellowship (2017-18).

All in all, the contributions of this groundbreaking volume are extremely inspiring. Because of its variety of topics and historical information as well as approaches and concepts, it is likely that the book will be used as a compendium to the study of tone, timbre and sound in popular music that, at the same time, will stimulate manifold new research.

• IntroductionChasing the Dragon: In Search of Tone in Popular MusicRobert Fink, Zachary Wallmark, and Melinda Latour I. GenreChapter 1Hearing Timbre: Perceptual Learning Among Early Bay Area RaversCornelia FalesChapter 2The Twang Factor in Country MusicJocelyn R. NealChapter 3The Sound of Evil: Timbre, Body, and Sacred Violence in Death MetalZachary Wallmark Chapter 4Below 100 Hz: Toward a Musicology of SubbassRobert Fink II. VoiceChapter 5Timbre and Legal Likeness: The Case of Tom WaitsMark C. Samples Chapter 6"The Triumph of Jimmy Scott": A Voice Beyond CategoryNina Sun Eidsheim Chapter 7Auto-tune, Labor, and the Pop Music VoiceCatherine Provenzano III. InstrumentChapter 8Hearing Luxe Pop: Jay Z, Isaac Hayes, and the Six Degrees of Symphonic SoulJohn Howland Chapter 9Santana and the Metaphysics of Tone: Feedback Loops, Volume Knobs and the Quest for TranscendenceMelinda LatourChapter 10Synthesizers as Social Protest in Early 1970s FunkGriffin Woodworth Chapter 11Crossing the Electronic Divide: Guitars, Synthesizers, and the Shifting Sound Field of FusionSteve Waksman IV. ProductionChapter 12Clash of the Timbres: Recording Authenticity in the California Rock Scene, 1966-68Jan Butler Chapter 13The Death Rattle of a Laughing Hyena: The Sound of Musical DemocracyAlbin J. Zak III Chapter 14The Sound of Nowhere: Reverb and the Construction of Sonic Space Paul ThébergeChapter 15The Spectromorphology of Recorded Popular Music: The Shaping of Sonic Cartoons Through Record ProductionSimon Zagorski-Thomas AfterwordSimon Frith

Robert Fink is Professor of Musicology at UCLA and a past President of IASPM-US. He focuses on music after 1965, with special interests in minimalism, popular music, and the intersection of cultural and music-analytical theory. He has published widely in musicological journals, and is the author of Repeating Ourselves (2005), a book-length study of the minimal music of Steve Reich, Philip Glass, and others as a cultural reflection of American consumer society in the mass-media age.Melinda Latour is Rumsey Family Assistant Professor of Musicology at Tufts University. She has received numerous awards, including the Mellon/ACLS Dissertation Completion Fellowship, and the Newberry Library École nationale des chartes Exchange Fellowship. Her work appears in the Journal of Musicology (2015), the Revue de musicologie (2016), and the Cambridge History of Sixteenth-Century Music (forthcoming). Zachary Wallmark is Assistant Professor of Musicology at SMU Meadows School of the Arts.His research explores the contribution of timbre to affective response, aesthetic judgment, and empathy in popular music and jazz, using methods from musicology and the cognitive sciences. He is currently at work on a monograph tentatively titled Nothing but Noise: Timbre and Musical Meaning at the Edge (Oxford). Wallmark is the recipient of an NEH Fellowship (2017-18).

All in all, the contributions of this groundbreaking volume are extremely inspiring. Because of its variety of topics and historical information as well as approaches and concepts, it is likely that the book will be used as a compendium to the study of tone, timbre and sound in popular music that, at the same time, will stimulate manifold new research.

• IntroductionChasing the Dragon: In Search of Tone in Popular MusicRobert Fink, Zachary Wallmark, and Melinda Latour I. GenreChapter 1Hearing Timbre: Perceptual Learning Among Early Bay Area RaversCornelia FalesChapter 2The Twang Factor in Country MusicJocelyn R. NealChapter 3The Sound of Evil: Timbre, Body, and Sacred Violence in Death MetalZachary Wallmark Chapter 4Below 100 Hz: Toward a Musicology of SubbassRobert Fink II. VoiceChapter 5Timbre and Legal Likeness: The Case of Tom WaitsMark C. Samples Chapter 6"The Triumph of Jimmy Scott": A Voice Beyond CategoryNina Sun Eidsheim Chapter 7Auto-tune, Labor, and the Pop Music VoiceCatherine Provenzano III. InstrumentChapter 8Hearing Luxe Pop: Jay Z, Isaac Hayes, and the Six Degrees of Symphonic SoulJohn Howland Chapter 9Santana and the Metaphysics of Tone: Feedback Loops, Volume Knobs and the Quest for TranscendenceMelinda LatourChapter 10Synthesizers as Social Protest in Early 1970s FunkGriffin Woodworth Chapter 11Crossing the Electronic Divide: Guitars, Synthesizers, and the Shifting Sound Field of FusionSteve Waksman IV. ProductionChapter 12Clash of the Timbres: Recording Authenticity in the California Rock Scene, 1966-68Jan Butler Chapter 13The Death Rattle of a Laughing Hyena: The Sound of Musical DemocracyAlbin J. Zak III Chapter 14The Sound of Nowhere: Reverb and the Construction of Sonic Space Paul ThébergeChapter 15The Spectromorphology of Recorded Popular Music: The Shaping of Sonic Cartoons Through Record ProductionSimon Zagorski-Thomas AfterwordSimon Frith