A significant body of academic literature and music journalism has explored the historical trajectory of Jamaican dub music and its innovative use of audio recording technology. The present article seeks to demonstrate the similarities between the studio compositional methods of Jamaican dub innovator King Tubby and those of Canadian soundscape composers Barry Truax and Hildegard Westerkamp. Rather than attempting to identify aesthetic and stylistic similarities between Tubby’s dub music and soundscape composition, this article presents a comparative analysis of dub in relation to soundscape composition focusing on artistic articulations of contextual meaning and acoustic communication. Specifically, this work argues that Tubby’s compositional approach directly addresses the following conceptual themes common in soundscape composition: 1) referential composition and the invocation of past listening associations through sonic abstraction, 2) timbral play as a means of linking sound processing to acoustic communication, and 3) the evocation of real-world motion cues by way of ecologically informed sound-processing effects. Exploring the conceptual similarities between Tubby’s work and the established academic-affiliated genre of soundscape composition provides a new perspective on his work as reflecting a multifaceted musical approach that warrants further scholarly study.

中文翻译：

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Sounding Riddims：Tubby 国王在音景构图中的配音

大量学术文献和音乐新闻探索了牙买加配音音乐的历史轨迹及其对录音技术的创新使用。本文旨在展示牙买加配音创新者 King Tubby 与加拿大音景作曲家 Barry Truax 和 Hildegard Westerkamp 的工作室作曲方法之间的相似之处。本文并没有试图找出 Tubby 的配音音乐和音景作品之间的美学和风格相似之处，而是对配音与音景作品的比较分析，重点是语境意义的艺术表达和声学交流。具体来说，这项工作认为 Tubby 的作曲方法直接解决了音景作曲中常见的以下概念主题：1) 参考组合和通过声音抽象调用过去的听力联想，2) 音色演奏作为将声音处理与声学通信联系起来的一种手段，以及 3) 通过生态信息声音处理效果唤起现实世界的运动线索. 探索 Tubby 的作品与既定的学术相关的音景作曲流派之间的概念相似性，为他的作品提供了一个新的视角，因为它反映了一种值得进一步学术研究的多方面音乐方法。