This thesis attempts to chart the development of a Jamaican musical form known as dub. This development is considered primarily in terms of the island's encounter with a series of new playback, amplification, recording, and sound treatment technologies. Section I focuses on the formation of the Jamaican sound system (a network of powerful mobile discos) and its pivotal role in the birth of a fertile domestic record industry. Section II extends the investigation to the Jamaican recording studio and record industry. What distinguishes this work from others on Jamaican dub is its emphasis on technology, and theories of technology, within a geo-political framework. In Section I, this emphasis is most notably informed by the work of Harold Innis, Karl Marx and Lewis Mumford, with Marshall McLuhan and Walter Benjamin becoming more prominent in Section II. Key technologies in this analysis include mechanization (mechanical reproducibility), the Williamson amplification circuit, the House of Joy speaker, the dub plate (acetate phonograph) and vinyl record, twin-turntables and the microphone, the magnetic tape recorder, and perhaps most importantly, the multi-track recorder and interface (the multi-track mixing-board).
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.98547 |
| Date | January 2005 |
| Creators | Lapp-Szymanski, Jean-Paul. |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Master of Arts (Department of Art History and Communication Studies.) |
| Rights | © Jean-Paul Lapp-Szymanski, 2005 |
| Relation | alephsysno: 002336354, proquestno: AAIMR24885, Theses scanned by UMI/ProQuest. |
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