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A Work-in-Progress talk with Zachary Wallmark, Musicology, and 2024–25 OHC Faculty Research Fellow My project explores American cultural and social history through the lens of musical instruments. I offer critical examinations of the development, popularization, and sonic palette of instruments that have played an iconic role in American (and global) music and culture: banjo, trumpet, steel guitar, saxophone, electric organ, drumset, electric guitar, synthesizer, and turntables.
Judith Orloff, UCLA clinical psychiatrist and author of The Genius of Empathy: Practical Skills to Heal Your Sensitive Self, Your Relationships, and the World, explains that empathy is what connects us. It’s the ability to care, to listen, and to open our hearts. The practice of empathy, Orloff says, is a simple yet “precious gift” and that displaying empathy is the “best of who we are.” Orloff also says being empathetic is “a way we can save our world because empathy is the key element in reaching out to people, even if you disagree with them, even if you don't like them, it allows you to establish accord with them.” In addition, Orloff says, “when you're open to empathy, all kinds of good things can happen to your body. There's something called the Mother Teresa effect, where it's been shown that if you witness an act of empathy, and I were to draw your blood, it would show that your immunity would go up immediately. And what that says to me is that just alone, watching empathy can increase our immunity and make us healthier.” Zachary Wallmark, an associate professor of musicology and with the Center for Translational Neuroscience at the University of Oregon, talks about his research on the intersection of music and empathy. Wallmark has observed, through magnetic imagining, how listening to music relates to social cognition and empathy. “Empathy,” Wallmark says, “produces a very distinctive neural signature in the brain when folks are listening to music. Empathy modulates music processing in areas of the brain that are associated with cognitive control, with social processing, with reward, and with emotion.” Through music, Wallmark says, we can “explore our own identity, learn about others, bond with others. So music can be useful in social cohesion, bonding, [and] it can help coordinate group activity. It can also demarcate social boundaries, who is like us and who is different from us.” In her book The Genius of Empathy: Practical Skills to Heal Your Sensitive Self, Your Relationships, and the World, author Judith Orloff says “If you're having difficulties with your relationships, just try this gift-- just to listen, with your eyes, with your voice, with your heart - it's such a gift and it helps people feel seen and heard and valued, which is the point of empathy.” Judith Orloff, pictured here, says “in my life, the most important thing to me is connection, and love and understanding. That is what gives me the most meaning Whether it's with nature, with human beings, with animals - empathy allows us that opportunity to connect with our human kind and everything about this life that we've been given.” Photo courtesy of Bob Riha Zachery Wallmark, pictured here, says “music can create a kind of playground to try on, in a fantasy sense, different types of emotional reactions. You can be a different person, you can experience things that you're not experiencing in your … normal life." Photo by Kim Leeson. Delve deeper into life, philosophy, and what makes us human by joining the Life Examined discussion group on Facebook.
Today, hip hop 808s rattle car subs and rock club speakers. But how did hip hop get its bass? Dr. Zachary Wallmark is a professor at the University of Oregon and a scholar in timbre, or the way sounds sound. In this episode, Zach breaks down the influence that Jamaica has on hip hop, how an institution "owned" lower frequencies, and how the bass transports us to an unexplainable realm. If you're interested in the production side of hip hop history, you won't want to miss this.
In The Relentless Pursuit of Tone: Timbre in Popular Music (Oxford University Press, 2018), editors Robert Fink, Melinda Latour, and Zachary Wallmark curate a wide-ranging collection of essays about the function of tone and timbre in popular music. Comprised of four sections focused on genre, voice, instrument, and production, The Relentless Pursuit of Tone engages diverse popular music genres and employs varied theoretical and methodological approaches. The book begins with an ethnographic study about timbre in the 1990s Bay Area rave scene by Cornelia Fales. It concludes with a discussion about timbre in contemporary recording production and electronic dance music by Simon Zagorski-Thomas, along with an afterword by Simon Frith. In between are essays that engage tone in multiple musical genres such as death metal and country, in recording techniques like Auto-Tune and reverb, and through considerations of voice and assorted instruments, including the electric guitar and synthesizer. A companion website with music examples, videos, and images can be accessed here. Kimberly Mack holds a Ph.D. in English from UCLA, and she is an Assistant Professor at the University of Toledo in Toledo, Ohio. Her book, Fade to Black: Blues Music and the Art of Narrative Self-Invention from Bessie Smith to Jack White, is under contract with the University of Massachusetts Press. She is also a music journalist who has contributed her work to national and international publications, including Music Connection, Village Voice, Relix, PopMatters, and Hot Press. Learn more about your ad choices. Visit megaphone.fm/adchoices
In The Relentless Pursuit of Tone: Timbre in Popular Music (Oxford University Press, 2018), editors Robert Fink, Melinda Latour, and Zachary Wallmark curate a wide-ranging collection of essays about the function of tone and timbre in popular music. Comprised of four sections focused on genre, voice, instrument, and production, The Relentless Pursuit of Tone engages diverse popular music genres and employs varied theoretical and methodological approaches. The book begins with an ethnographic study about timbre in the 1990s Bay Area rave scene by Cornelia Fales. It concludes with a discussion about timbre in contemporary recording production and electronic dance music by Simon Zagorski-Thomas, along with an afterword by Simon Frith. In between are essays that engage tone in multiple musical genres such as death metal and country, in recording techniques like Auto-Tune and reverb, and through considerations of voice and assorted instruments, including the electric guitar and synthesizer. A companion website with music examples, videos, and images can be accessed here. Kimberly Mack holds a Ph.D. in English from UCLA, and she is an Assistant Professor at the University of Toledo in Toledo, Ohio. Her book, Fade to Black: Blues Music and the Art of Narrative Self-Invention from Bessie Smith to Jack White, is under contract with the University of Massachusetts Press. She is also a music journalist who has contributed her work to national and international publications, including Music Connection, Village Voice, Relix, PopMatters, and Hot Press. Learn more about your ad choices. Visit megaphone.fm/adchoices
In The Relentless Pursuit of Tone: Timbre in Popular Music (Oxford University Press, 2018), editors Robert Fink, Melinda Latour, and Zachary Wallmark curate a wide-ranging collection of essays about the function of tone and timbre in popular music. Comprised of four sections focused on genre, voice, instrument, and production, The Relentless Pursuit of Tone engages diverse popular music genres and employs varied theoretical and methodological approaches. The book begins with an ethnographic study about timbre in the 1990s Bay Area rave scene by Cornelia Fales. It concludes with a discussion about timbre in contemporary recording production and electronic dance music by Simon Zagorski-Thomas, along with an afterword by Simon Frith. In between are essays that engage tone in multiple musical genres such as death metal and country, in recording techniques like Auto-Tune and reverb, and through considerations of voice and assorted instruments, including the electric guitar and synthesizer. A companion website with music examples, videos, and images can be accessed here. Kimberly Mack holds a Ph.D. in English from UCLA, and she is an Assistant Professor at the University of Toledo in Toledo, Ohio. Her book, Fade to Black: Blues Music and the Art of Narrative Self-Invention from Bessie Smith to Jack White, is under contract with the University of Massachusetts Press. She is also a music journalist who has contributed her work to national and international publications, including Music Connection, Village Voice, Relix, PopMatters, and Hot Press. Learn more about your ad choices. Visit megaphone.fm/adchoices
In The Relentless Pursuit of Tone: Timbre in Popular Music (Oxford University Press, 2018), editors Robert Fink, Melinda Latour, and Zachary Wallmark curate a wide-ranging collection of essays about the function of tone and timbre in popular music. Comprised of four sections focused on genre, voice, instrument, and production, The Relentless Pursuit of Tone engages diverse popular music genres and employs varied theoretical and methodological approaches. The book begins with an ethnographic study about timbre in the 1990s Bay Area rave scene by Cornelia Fales. It concludes with a discussion about timbre in contemporary recording production and electronic dance music by Simon Zagorski-Thomas, along with an afterword by Simon Frith. In between are essays that engage tone in multiple musical genres such as death metal and country, in recording techniques like Auto-Tune and reverb, and through considerations of voice and assorted instruments, including the electric guitar and synthesizer. A companion website with music examples, videos, and images can be accessed here. Kimberly Mack holds a Ph.D. in English from UCLA, and she is an Assistant Professor at the University of Toledo in Toledo, Ohio. Her book, Fade to Black: Blues Music and the Art of Narrative Self-Invention from Bessie Smith to Jack White, is under contract with the University of Massachusetts Press. She is also a music journalist who has contributed her work to national and international publications, including Music Connection, Village Voice, Relix, PopMatters, and Hot Press. Learn more about your ad choices. Visit megaphone.fm/adchoices
In The Relentless Pursuit of Tone: Timbre in Popular Music (Oxford University Press, 2018), editors Robert Fink, Melinda Latour, and Zachary Wallmark curate a wide-ranging collection of essays about the function of tone and timbre in popular music. Comprised of four sections focused on genre, voice, instrument, and production, The Relentless Pursuit of Tone engages diverse popular music genres and employs varied theoretical and methodological approaches. The book begins with an ethnographic study about timbre in the 1990s Bay Area rave scene by Cornelia Fales. It concludes with a discussion about timbre in contemporary recording production and electronic dance music by Simon Zagorski-Thomas, along with an afterword by Simon Frith. In between are essays that engage tone in multiple musical genres such as death metal and country, in recording techniques like Auto-Tune and reverb, and through considerations of voice and assorted instruments, including the electric guitar and synthesizer. A companion website with music examples, videos, and images can be accessed here. Kimberly Mack holds a Ph.D. in English from UCLA, and she is an Assistant Professor at the University of Toledo in Toledo, Ohio. Her book, Fade to Black: Blues Music and the Art of Narrative Self-Invention from Bessie Smith to Jack White, is under contract with the University of Massachusetts Press. She is also a music journalist who has contributed her work to national and international publications, including Music Connection, Village Voice, Relix, PopMatters, and Hot Press. Learn more about your ad choices. Visit megaphone.fm/adchoices
In The Relentless Pursuit of Tone: Timbre in Popular Music (Oxford University Press, 2018), editors Robert Fink, Melinda Latour, and Zachary Wallmark curate a wide-ranging collection of essays about the function of tone and timbre in popular music. Comprised of four sections focused on genre, voice, instrument, and production, The Relentless Pursuit of Tone engages diverse popular music genres and employs varied theoretical and methodological approaches. The book begins with an ethnographic study about timbre in the 1990s Bay Area rave scene by Cornelia Fales. It concludes with a discussion about timbre in contemporary recording production and electronic dance music by Simon Zagorski-Thomas, along with an afterword by Simon Frith. In between are essays that engage tone in multiple musical genres such as death metal and country, in recording techniques like Auto-Tune and reverb, and through considerations of voice and assorted instruments, including the electric guitar and synthesizer. A companion website with music examples, videos, and images can be accessed here. Kimberly Mack holds a Ph.D. in English from UCLA, and she is an Assistant Professor at the University of Toledo in Toledo, Ohio. Her book, Fade to Black: Blues Music and the Art of Narrative Self-Invention from Bessie Smith to Jack White, is under contract with the University of Massachusetts Press. She is also a music journalist who has contributed her work to national and international publications, including Music Connection, Village Voice, Relix, PopMatters, and Hot Press.
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