The Oxford handbook of music and virtuality:
Has the virtual invaded the realm of the real, or has the real expanded its definition to include what once was characterized as virtual? With the continual evolution of digital technology, this distinction grows increasingly hazy. But perhaps the distinction has become obsolete; perhaps it is time...
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Oxford University Press
2016
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Has the virtual invaded the realm of the real, or has the real expanded its definition to include what once was characterized as virtual? With the continual evolution of digital technology, this distinction grows increasingly hazy. But perhaps the distinction has become obsolete; perhaps it is time to pay attention to the intersections, mutations, and transmigrations of the virtual and the real. Certain it is time to reinterpret the practice and study of music. The Oxford Handbook of Music and Virtuality, edited by Shelia Whiteley and Shara Rambarran, is the first book to offer a kaleidoscope of interdisciplinary perspectives from scholars around the globe on the way in which virtuality mediates the dissemination, acquisition, performance, creation, and reimagining of music. The Oxford Handbook of Music and Virtuality addresses eight themes that often overlap and interact with one another. Questions of the role of the audience, artistic agency, individual and communal identity, subjectivity, and spatiality repeatedly arise. Authors specifically explore phenomena including holographic musicians and virtual bands, and the benefits and detriments surrounding the free circulation of music on the internet. In addition, the book investigates the way in which fans and musicians negotiate gender identities as well as the dynamics of audience participation and community building in a virtual environment. The handbook rehistoricizes the virtual by tracing its progression from cartoons in the 1950s to current industry innovations and changes in practice. Well-grounded and wide-reaching, this is a book that students of any number of disciplines, from Music to Cultural Studies, have awaited. The late Sheila Whiteley was Professor Emeritus (the University of Salford, UK) and a Research Fellow at the Bader International Study Centre, Queen's University, Ontario, Canada. She is author of Too Much Too Young: Popular Music, Age and Identity (2005). Shara Rambarran is an Assistant Professor of Music and Cultural Studies at the Bader International Study Centre, Queen's University, Canada. Shara gained her PhD in Music and Cultural Studies at the University of Salford. |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XXXII, 679 Seiten Illustrationen, Diagramme, Notenbeispiele |
| ISBN: | 9780199321285 |
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| 520 | |a Has the virtual invaded the realm of the real, or has the real expanded its definition to include what once was characterized as virtual? With the continual evolution of digital technology, this distinction grows increasingly hazy. But perhaps the distinction has become obsolete; perhaps it is time to pay attention to the intersections, mutations, and transmigrations of the virtual and the real. Certain it is time to reinterpret the practice and study of music. The Oxford Handbook of Music and Virtuality, edited by Shelia Whiteley and Shara Rambarran, is the first book to offer a kaleidoscope of interdisciplinary perspectives from scholars around the globe on the way in which virtuality mediates the dissemination, acquisition, performance, creation, and reimagining of music. The Oxford Handbook of Music and Virtuality addresses eight themes that often overlap and interact with one another. Questions of the role of the audience, artistic agency, individual and communal identity, subjectivity, and spatiality repeatedly arise. Authors specifically explore phenomena including holographic musicians and virtual bands, and the benefits and detriments surrounding the free circulation of music on the internet. In addition, the book investigates the way in which fans and musicians negotiate gender identities as well as the dynamics of audience participation and community building in a virtual environment. The handbook rehistoricizes the virtual by tracing its progression from cartoons in the 1950s to current industry innovations and changes in practice. Well-grounded and wide-reaching, this is a book that students of any number of disciplines, from Music to Cultural Studies, have awaited. | ||
| 520 | |a The late Sheila Whiteley was Professor Emeritus (the University of Salford, UK) and a Research Fellow at the Bader International Study Centre, Queen's University, Ontario, Canada. She is author of Too Much Too Young: Popular Music, Age and Identity (2005). Shara Rambarran is an Assistant Professor of Music and Cultural Studies at the Bader International Study Centre, Queen's University, Canada. Shara gained her PhD in Music and Cultural Studies at the University of Salford. | ||
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Datensatz im Suchindex
| _version_ | 1804176062958010368 |
|---|---|
| adam_text | Contents
Figures and Tables xi
Preface xv
Foreword—Andy Bennett xvii
Acknowledgments xxi
Contributors xxiii
About the Companion Website xxxiii
Introduction 1
Sheila Whiteley
PART ONE THE PRE-DIGITAL VIRTUAL
1. “Seventeenth Heaven”: Virtual Listening and Its Discontents 17
Christian Lloyd
2. “Nothing Is Real”: The Beatles as Virtual Performers 35
Philip Ausländer and Ian Inglis
3. Tom, Jerry, and the Virtual Virtuoso 52
Sheila Whiteley
4. Bring That Beat Back: Sampling as Virtual Collaboration 65
Rowan Oliver
5. An Analysis of Virtuality in the Creation and Reception
of the Music of Frank Zappa 81
Paul Carr
PART TWO VOCALOIDS, HOLOGRAMS,
AND VIRTUAL POP STARS
6. Vocaloids and Japanese Virtual Vocal Performance: The Cultural
Heritage and Technological Futures of Vocal Puppetry 101
Louise H. Jackson and Mike Dines
CONTENTS
viii
7. Hatsune Miku and Japanese Virtual Idols m
Rafal Zaborowski
8. Hatsune Miku, 2.oPac, and Beyond: Rewinding and
Fast-Forwarding the Virtual Pop Star 129
Thomas Conner
9. “Feel Good” with Gorillaz and “Reject False Icons”: The Fantasy
Worlds of the Virtual Group and Their Creators 148
Shara Rambarran
PART THREE SECOND LIFE
10. Avatar Rockstars: Constructing Musical Personae in Virtual Worlds 171 Trevor S. Harvey
11. Performing Live in Second Life 191
Justin Gagen and Nicholas Cook
12. Live Opera Performance in Second Life: Challenging Producers,
Performers, and the Audience 210
Marco Antonio Chavez-Aguayo
PART FOUR AUTHORSHIP, CREATIVITY,
AND MUSICIANSHIP
13. “We Are, The Colors”: Collaborative Narration and Experimental
Construction of a Nonexistent Band 233
Alon Ilsar and Charles Fairchild
14. Music in Perpetual Beta: Composition, Remediation,
and “Closure” 248
Paul Draper and Frank Millward
15. Justin Bieber Featuring Slipknot: Consumption as Mode
of Production 266
Ragnhild Brovig-Hanssen
16. Human After All: Understanding Negotiations of Artistic Identity
through the Music of Daft Punk 282
Cora S. Palfy
CONTENTS ix
17. Virtual Bands: Recording Music under the Big Top 306
David Tough
PART FIVE COMMUNITIES AND THE WORLD WIDE WEB
18. “Uploading” to Carnegie Hall: The First YouTube Symphony
Orchestra 335
Shzr Ee Tan
19. The Listener as Remixer: Mix Stems in Online Fan Community
and Competition Contexts 355
Samantha Bennett
20. Sample Sharing: Virtual Laptop Ensemble Communities 377
Benjamin O’Brien
21. Stone Tapes: Ghost Box, Nostalgia, and Postwar Britain 392
David Pattie
22. From Hypnagogia to Distroid: Postironic Musical Renderings
of Personal Memory 409
Adam Trainer
23. Bands in Virtual Spaces, Social Networking, and Masculinity 428
Danijela Bogdanovic
PART SIX SONIC ENVIRONMENTS AND MUSICAL EXPERIENCE
24. From Environmental Sound to Virtual Environment
Enhancing: Consuming Ambiance as Listening Practice 455
Thomas Brett
25. App Music 477
Jeremy Wade Morris
26. Alternative Virtuality: Independent Micro Labels Facing the Ideological Challenge of Virtual Music Culture—The Case
of Finnish Ektro Records 495
Juho Kaitajarvi-Tiekso
X
CONTENTS
27. Everybody Knows There Is Here: Surveying the Indexi-local
in CBC Radio 3 514
Michael Audette-Longo
28. Mind Usurps Program: Virtuality and the “New Machine
Aesthetic” of Electronic Dance Music 529
Benjamin Halligan
PART SEVEN PARTICIPATORY CULTURE AND FUNDRAISING
29. Virtual Music, Virtual Money: The Impact of Crowdfunding
Models on Creativity, Authorship, and Identity 557
Mark Thorley
30. With a Little Help from My Friends, Family, and Fans: DIY,
Participatory Culture, and Social Capital in Music Crowdfunding 573 Francesco DAmato
31. Music and Crowdfunded Websites: Digital Patronage and
Artist-Fan Interactivity 593
Justin A. Williams and Ross Wilson
Authors’ Blog: Final Thoughts on Music and Virtuality 613
Edited by Paul Carr
Glossary 631
Edited by Shara Rambarran
Index 647
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| publisher | Oxford University Press |
| record_format | marc |
| spelling | The Oxford handbook of music and virtuality edited by Sheila Whiteley and Shara Rambarran Handbook of music and virtuality Music and virtuality New York, NY Oxford University Press 2016 XXXII, 679 Seiten Illustrationen, Diagramme, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Has the virtual invaded the realm of the real, or has the real expanded its definition to include what once was characterized as virtual? With the continual evolution of digital technology, this distinction grows increasingly hazy. But perhaps the distinction has become obsolete; perhaps it is time to pay attention to the intersections, mutations, and transmigrations of the virtual and the real. Certain it is time to reinterpret the practice and study of music. The Oxford Handbook of Music and Virtuality, edited by Shelia Whiteley and Shara Rambarran, is the first book to offer a kaleidoscope of interdisciplinary perspectives from scholars around the globe on the way in which virtuality mediates the dissemination, acquisition, performance, creation, and reimagining of music. The Oxford Handbook of Music and Virtuality addresses eight themes that often overlap and interact with one another. Questions of the role of the audience, artistic agency, individual and communal identity, subjectivity, and spatiality repeatedly arise. Authors specifically explore phenomena including holographic musicians and virtual bands, and the benefits and detriments surrounding the free circulation of music on the internet. In addition, the book investigates the way in which fans and musicians negotiate gender identities as well as the dynamics of audience participation and community building in a virtual environment. The handbook rehistoricizes the virtual by tracing its progression from cartoons in the 1950s to current industry innovations and changes in practice. Well-grounded and wide-reaching, this is a book that students of any number of disciplines, from Music to Cultural Studies, have awaited. The late Sheila Whiteley was Professor Emeritus (the University of Salford, UK) and a Research Fellow at the Bader International Study Centre, Queen's University, Ontario, Canada. She is author of Too Much Too Young: Popular Music, Age and Identity (2005). Shara Rambarran is an Assistant Professor of Music and Cultural Studies at the Bader International Study Centre, Queen's University, Canada. Shara gained her PhD in Music and Cultural Studies at the University of Salford. Musik Music and the Internet Music Computer network resources Virtuelle Realität (DE-588)4399931-1 gnd rswk-swf Internet (DE-588)4308416-3 gnd rswk-swf Neue Medien (DE-588)4196910-8 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Musik (DE-588)4040802-4 s Internet (DE-588)4308416-3 s Neue Medien (DE-588)4196910-8 s Virtuelle Realität (DE-588)4399931-1 s DE-604 Whiteley, Sheila 1941-2015 (DE-588)1025228995 edt Rambarran, Shara (DE-588)1104280116 edt Äquivalent Druck-Ausgabe, Paperback 978-0-19-006190-6 Erscheint auch als Online-Ausgabe 978-0-19-932129-2 Erscheint auch als Online-Ausgabe 978-0-19-934168-9 Digitalisierung BSB Muenchen 22 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028870522&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | The Oxford handbook of music and virtuality Musik Music and the Internet Music Computer network resources Virtuelle Realität (DE-588)4399931-1 gnd Internet (DE-588)4308416-3 gnd Neue Medien (DE-588)4196910-8 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4399931-1 (DE-588)4308416-3 (DE-588)4196910-8 (DE-588)4040802-4 (DE-588)4143413-4 |
| title | The Oxford handbook of music and virtuality |
| title_alt | Handbook of music and virtuality Music and virtuality |
| title_auth | The Oxford handbook of music and virtuality |
| title_exact_search | The Oxford handbook of music and virtuality |
| title_full | The Oxford handbook of music and virtuality edited by Sheila Whiteley and Shara Rambarran |
| title_fullStr | The Oxford handbook of music and virtuality edited by Sheila Whiteley and Shara Rambarran |
| title_full_unstemmed | The Oxford handbook of music and virtuality edited by Sheila Whiteley and Shara Rambarran |
| title_short | The Oxford handbook of music and virtuality |
| title_sort | the oxford handbook of music and virtuality |
| topic | Musik Music and the Internet Music Computer network resources Virtuelle Realität (DE-588)4399931-1 gnd Internet (DE-588)4308416-3 gnd Neue Medien (DE-588)4196910-8 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Musik Music and the Internet Music Computer network resources Virtuelle Realität Internet Neue Medien Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028870522&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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