Abstract
The starting point of this thesis was comparatively simple, even if the consequent musicological survey, the formation of a suitable methodology and the subsequent analytical enquiry proved far from straightforward. The thesis sets out to explain why some recordings not only have the capacity to provide an extreme and highly specific response from a listener but also manage to achieve this regardless of who is listening to them. In essence, does a level exist on which all listeners are essentially hearing the same 'song', and if so what is it we are all listening to? The thesis tracks the writings of Philip Tagg and Eric Clarke, among others, discussing Tagg's exploration of semiotics and music, and Clarke's analysis of both music perception and the notion of subject-position and music. An outline analytical methodology is then proposed, followed by two case studies: Radiohead's 'Paranoid Android' (1997) and Christina Aguilera's 'Beautiful' (2002). For each 'song', a detailed sectional analysis is provided, along with an analysis of lyric content, subject-position and the related promotional video. From Chapter 6, the thesis uncovers different layers of responses, both written and musical, from both music professionals and unsolicited listeners. This takes the topic into the new area of YouTube postings. For this purpose, a new analytical methodology has been created. The thesis includes detailed appendices that highlight the complex nature of the analytical process required in order to analyse these YouTube postings as unsolicited listener responses.