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Author: Gianmario Borio
Publisher: Routledge
ISBN: 1317091450
Category : Music
Languages : en
Pages : 430
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Book Description
It is undeniable that technology has made a tangible impact on the nature of musical listening. The new media have changed our relationship with music in a myriad of ways, not least because the experience of listening can now be prolonged at will and repeated at any time and in any space. Moreover, among the more striking social phenomena ushered in by the technological revolution, one cannot fail to mention music’s current status as a commodity and popular music’s unprecedented global reach. In response to these new social and perceptual conditions, the act of listening has diversified into a wide range of patterns of behaviour which seem to resist any attempt at unification. Concentrated listening, the form of musical reception fostered by Western art music, now appears to be but one of the many ways in which audiences respond to organized sound. Cinema, for example, has developed specific ways of combining images and sounds; and, more recently, digital technology has redefined the standard forms of mass communication. Information is aestheticized, and music in turn is incorporated into pre-existing symbolic fields. This volume - the first in the series Musical Cultures of the Twentieth Century - offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance, ethnographic and anthropological research.
Author: Gianmario Borio
Publisher: Routledge
ISBN: 1317091450
Category : Music
Languages : en
Pages : 430
Get Book Here
Book Description
It is undeniable that technology has made a tangible impact on the nature of musical listening. The new media have changed our relationship with music in a myriad of ways, not least because the experience of listening can now be prolonged at will and repeated at any time and in any space. Moreover, among the more striking social phenomena ushered in by the technological revolution, one cannot fail to mention music’s current status as a commodity and popular music’s unprecedented global reach. In response to these new social and perceptual conditions, the act of listening has diversified into a wide range of patterns of behaviour which seem to resist any attempt at unification. Concentrated listening, the form of musical reception fostered by Western art music, now appears to be but one of the many ways in which audiences respond to organized sound. Cinema, for example, has developed specific ways of combining images and sounds; and, more recently, digital technology has redefined the standard forms of mass communication. Information is aestheticized, and music in turn is incorporated into pre-existing symbolic fields. This volume - the first in the series Musical Cultures of the Twentieth Century - offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance, ethnographic and anthropological research.
Author: Gianmario Borio
Publisher: Routledge
ISBN: 1317091442
Category : Music
Languages : en
Pages : 486
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Book Description
It is undeniable that technology has made a tangible impact on the nature of musical listening. The new media have changed our relationship with music in a myriad of ways, not least because the experience of listening can now be prolonged at will and repeated at any time and in any space. Moreover, among the more striking social phenomena ushered in by the technological revolution, one cannot fail to mention music’s current status as a commodity and popular music’s unprecedented global reach. In response to these new social and perceptual conditions, the act of listening has diversified into a wide range of patterns of behaviour which seem to resist any attempt at unification. Concentrated listening, the form of musical reception fostered by Western art music, now appears to be but one of the many ways in which audiences respond to organized sound. Cinema, for example, has developed specific ways of combining images and sounds; and, more recently, digital technology has redefined the standard forms of mass communication. Information is aestheticized, and music in turn is incorporated into pre-existing symbolic fields. This volume - the first in the series Musical Cultures of the Twentieth Century - offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance, ethnographic and anthropological research.
Author: Giacomo Fronzi
Publisher: Cambridge Scholars Publishing
ISBN: 1443867497
Category : Music
Languages : en
Pages : 260
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Book Description
The musical universe of the 20th and 21st centuries is a force-field in which styles, instruments, personalities and stories can be found that are ascribable to conceptual frameworks that may differ greatly one from another. Such complexity cannot be traced back to single theories or all-encompassing interpretations, but may be tackled, philosophically, starting from certain characteristics. This book identifies nine such characteristics: namely, Extremes, Noise, Silence, Technology, Audience, Listening, Freedom, Disintegration, and New Media. Each of these permits us to open up unforeseen philosophical-cultural paths and interpret, in its multifarious variety, the developments of contemporary music, profoundly interwoven with the history of thought, culture and society.
Author: Alessandro Bratus
Publisher: Rowman & Littlefield
ISBN: 1498556353
Category : Music
Languages : en
Pages : 281
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Book Description
In Mediatization in Popular Music Recorded Artifacts: Performance on Record and on Screen, the relationship between performance, technological mediation, and the sense of live presence is investigated through a series of case studies related to popular music products. Alessandro Bratus explores technological mediation as a process of authentication that involves a chain of interconnected instances that have their roots in the cultural context in which the media products are designed to be marketed, and that also shape its recording technique and post-production. The book analyzes posthumous records, a peculiar case of the organization of recorded tracks made in absentia of their original performers that puts forward the possibility of an “otherworldly” collaboration between the living and the dead. Bratus also argues that the crucial significance of live performance for the construction of a personal, intimate relationship between performers and audiences reverberates in the audiovisual construction of the filmed concert, in which the spectator is put in the position of a witness rather than an active participant.
Author: Dr. Youn Kim
Publisher: Oxford University Press
ISBN: 0190859628
Category : Music
Languages : en
Pages : 473
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Book Description
The presence of the phenomenological body is central to music in all of its varieties and contradictions. With the explosion of scholarly works on the body in virtually every field in the humanities, the social as well as the biomedical sciences, the question of how such a complex understanding of the body is related to music, with its own complexity, has been investigated within specific disciplinary perspectives. The Oxford Handbook of Music and the Body brings together scholars from across these fields, providing a platform for the discussion of the multidimensional interfaces of music and the body. The book is organized into six sections, each discussing a topic that defines the field: the moving and performing body; the musical brain and psyche; embodied mind, embodied rhythm; the disabled and sexual body; music as medicine; and the multimodal body. Connecting a wide array of diverse perspectives and presenting a survey of research and practice, the Handbook provides an introduction into the rich world of music and the body.
Author: Costantino Maeder
Publisher: Leuven University Press
ISBN: 9462700443
Category : Music
Languages : en
Pages : 357
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Book Description
Transdisciplinary and intermedial analysis of the experience of music Nowadays musical semiotics no longer ignores the fundamental challenges raised by cognitive sciences, ethology, or linguistics. Creation, action and experience play an increasing role in how we understand music, a sounding structure impinging upon our body, our mind, and the world we live in. Not discarding music as a closed system, an integral experience of music demands a transdisciplinary dialogue with other domains as well. Music, Analysis, Experience brings together contributions by semioticians, performers, and scholars from cognitive sciences, philosophy, and cultural studies, and deals with these fundamental questionings. Transdisciplinary and intermedial approaches to music meet musicologically oriented contributions to classical music, pop music, South American song, opera, narratology, and philosophy. ContributorsPaulo Chagas (University of California, Riverside), Isaac and Zelia Chueke (Universidade Federal do Paraná, OMF/Paris-Sorbonne), Maurizio Corbella (Università degli Studi di Milano), Ian Cross (University of Cambridge), Paulo F. de Castro (CESEM/Departamento de Ciências Musicais; FCSH Universidade Nova de Lisboa), Robert S. Hatten (University of Texas at Austin), David Huron (School of Music, Ohio State University), Jamie Liddle (The Open University), Gabriele Marino (University of Turin), Dario Martinelli (Kaunas University of Technology; International Semiotics Institute), Nicolas Marty (Université Paris-Sorbonne), Maarten Nellestijn (Utrecht University), Małgorzata Pawłowska (Academy of Music in Krakow), Mônica Pedrosa de Pádua (Federal University of Minas Gerais, UFMG), Piotr Podlipniak (Adam Mickiewicz University, Poznan), Rebecca Thumpston (Keele University), Mieczysław Tomaszewski (Academy of Music in Krakow), Lea Maria Lucas Wierød (Aarhus University), Lawrence M. Zbikowski (University of Chicago)
Author: Gianmario Borio
Publisher: Taylor & Francis
ISBN: 1000619125
Category : Music
Languages : en
Pages : 304
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Book Description
Adorno believed that a circular relationship was established between immediacy and mediation. Should we now say that this model with its clear Hegelian influence is outdated? Or does it need some theoretical integration? This volume addresses these questions by covering the performance of music, its technological reproduction and its modes of communication – in particular, pedagogy and dissemination through the media. Each of the book’s four parts deal with different aspects of the mediation process. The contributing authors outline the problematic moments in Adorno’s reasoning but also highlight its potential. In many chapters the pole of immediacy is explicitly brought into play, its different manifestations often proving to be fundamental for the understanding of mediation processes. The prime reference sources are Adorno’s Current of Music, Towards a Theory of Musical Reproduction and Composing for the Films. Critical readings of these texts are supplemented by reflections on performance studies, media theories, sociology of listening, post-structuralism and other contiguous research fields.
Author: Simon Zagorski-Thomas
Publisher: Bloomsbury Publishing USA
ISBN: 1501334042
Category : Music
Languages : en
Pages : 432
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Book Description
The Bloomsbury Handbook of Music Production provides a detailed overview of current research on the production of mono and stereo recorded music. The handbook consists of 33 chapters, each written by leaders in the field of music production. Examining the technologies and places of music production as well the broad range of practices – organization, recording, desktop production, post-production and distribution – this edited collection looks at production as it has developed around the world. In addition, rather than isolating issues such as gender, race and sexuality in separate chapters, these points are threaded throughout the entire text.
Author: Davinia Caddy
Publisher: Cambridge University Press
ISBN: 1108755712
Category : Music
Languages : en
Pages : 594
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Book Description
Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.
Author: Holger Schulze
Publisher: Bloomsbury Publishing USA
ISBN: 1501335421
Category : Music
Languages : en
Pages : 577
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Book Description
The Bloomsbury Handbook of the Anthropology of Sound presents the key subjects and approaches of anthropological research into sound cultures. What are the common characteristics as well as the inconsistencies of living with and around sound in everyday life? This question drives research in this interdisciplinary area of sound studies: it propels each main chapter of this handbook into a thoroughly different world of listening, experiencing, receiving, sensing, dreaming, naming, desiring, and crafting sound. This handbook is composed of six sections: sonic artifacts; sounds and the body; habitat and sound; sonic desires; sounds and machines; and overarching sensologies. The individual chapters explore exemplary research objects and put them in the context of methodological approaches, historical predecessors, research practices, and contemporary research gaps. This volume offers therefore one of the broadest, most detailed, and instructive overviews on current research in this area of sensory anthropology.
