I submitted an abstract for a conference this week. The conference is in NYC in April; it is being sponsored by CUNY’s Graduate Center. It is called “Music and Space.” I am trying to find things to do that will get me working on my still-in-the-works dissertation, and this conference seemed like a good fit. i actually don’t follow the music-conference circuit all that closely. I only found out about this one because the organizers sent an email to the folks at CGU, and they sent it out to all of the music students.
Anyway, here is the abstract:
Composing Those Good Vibrations: Brian Wilson at Gold Star, Sunset, and Western
The recording studio is an integral part of modern musical experience. In the mid-1960s, Brian Wilson proved to be one of its most virtuosic operators. Wilson utilized the studio space as a forum for composition and experimentation, not simply as a space for capturing pre-existent music. Through the use of the recording studio, Brian Wilson developed a “modular” approach to songwriting, wherein he would record disparate musical events, which where later edited and compiled into coherent compositions. In 1966, Wilson expanded this modular approach to songwriting by including the recording space as part of the composition. While recording what would later become the ill-fated SMiLE album, Brain Wilson frequently moved between studios, harnessing each studio’s unique spatial environment in order to achieve specific sonic effects. Wilson was considering not only what notes should be played by what instruments, but which acoustical space he would use for each section of his composition—the physical space became part of the composition, part of its orchestration. This paper examines Brian Wilson’s use of physical space as a musical-compositional component through an analysis of the song “Good Vibrations,” which was recorded and composed at three different Los Angeles studios: Gold Star Studios, Western Recorders, and Sunset Sound. Special attention is given to the sonic and compositional differences between the song’s sections and how these relate to their respective recording studios.
Now I just wait around for their committee to make their decisions. I’ll let you know how it turns out.


