Thursday, January 17, 2013
Let me in the sound – not! U2 conference paper proposal
I was informed (graciously) today that my U2 conference paper (April 2013) proposal was not accepted. No explanation as to why. For the record (pun intended), here was my proposal (it makes the title even more poignant!).
Update: An invitation, on 6 March 2013. Due to a late withdrawal, might I be interested, despite the late notice, in presenting my paper! Let me in the sound is, after all, a live performance option.
The paper emerged from this moment of listening pleasure, which was deemed “perceptive” by well known U2 scholar, Beth Maynard. In terms of theorising, I consider their would be some real insight to read U2 against the work of Martin Stringer, UK social anthropologist, who has a body of research applying sociology to live liturgy.
Let me in the sound: the role of one liners in the live concert experience of U2
This paper will analyse the use of one-liners in U2’s live concert performance. It will explore the differences between U2‘s known songs from their studio albums and live performances (as recorded in the limited U22 CD that resulted from their most recent 360 degree tour). The paper will catalogue the one-liners and outline how they serve as a significant dimension of the live concert experience.
Three dimensions of these one-liners will be explored. First, how they particularise, offering a unique concert experience. Second, how they reframe, providing a different hermeneutical lens by which a song might be interpreted. Third, how they humanise, enhancing the connection between the band and the feelings of concert-goers.
An example is illustrative. During the live performance on U22 of “Until The End Of The World,” the following one-liner is employed: “Where’s Frank? 13 years ago, this very evening, we said goodbye to Frank Sinatra.”
This one-liner served to particularise, marking this concert (live from Mexico) as occurring on an anniversary of significance. It served to reframe, linking the song with a legend in rock music. It served to humanise, crafting a respectful memory with regard to those who have gone before.
This analysis will be placed alongside recent liturgical writing, in particular the work of Martin Stringer, On the Perception of Worship and his argument that with regard to ritual, it is in the irregularities that significance is generated.
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