The Oxford Handbook of Mobile Music Studies, Volume 2Sumanth Gopinath, Jason Stanyek Oxford University Press, 21.03.2014 - 624 Seiten The two volumes of The Oxford Handbook of Mobile Music Studies consolidate an area of scholarly inquiry that addresses how mechanical, electrical, and digital technologies and their corresponding economies of scale have rendered music and sound increasingly mobile-portable, fungible, and ubiquitous. At once a marketing term, a common mode of everyday-life performance, and an instigator of experimental aesthetics, "mobile music" opens up a space for studying the momentous transformations in the production, distribution, consumption, and experience of music and sound that took place between the late nineteenth and the early twenty-first centuries. Taken together, the two volumes cover a large swath of the world-the US, the UK, Japan, Brazil, Germany, Turkey, Mexico, France, China, Jamaica, Iraq, the Philippines, India, Sweden-and a similarly broad array of the musical and nonmusical sounds suffusing the soundscapes of mobility. Volume 2 investigates the ramifications of mobile music technologies on musical/sonic performance and aesthetics. Two core arguments are that "mobility" is not the same thing as actual "movement" and that artistic production cannot be absolutely sundered from the performances of quotidian life. The volume's chapters investigate the mobilization of frequency range by sirens and miniature speakers; sound vehicles such as boom cars, ice cream trucks, and trains; the gestural choreographies of soundwalk pieces and mundane interactions with digital media; dance music practices in laptop and iPod DJing; the imagery of iPod commercials; production practices in Turkish political music and black popular music; the aesthetics of handheld video games and chiptune music; and the mobile device as a new musical instrument and resource for musical ensembles. |
Im Buch
Ergebnisse 1-5 von 52
Seite 1
... piece of rubber-sheathed plastic shoved deep in an ear canal, an immense speaker system bolted to a flatbed truck, a boombox swinging in a hand, or a transistor radio nestled close to a body under the covers in a darkened, late-night ...
... piece of rubber-sheathed plastic shoved deep in an ear canal, an immense speaker system bolted to a flatbed truck, a boombox swinging in a hand, or a transistor radio nestled close to a body under the covers in a darkened, late-night ...
Seite 6
... piece, incorporating a backpack-housed musical interface that senses a city's environmental features (3) flash mobbers assemble at a train station and dance to the music of their own, individualized ipods—participating in what has ...
... piece, incorporating a backpack-housed musical interface that senses a city's environmental features (3) flash mobbers assemble at a train station and dance to the music of their own, individualized ipods—participating in what has ...
Seite 11
... piece would be one essential genre—one that ironically marries the fundamental motility of the human species with the latest trends in mobile, digital technologies. The theoretical underpinnings of that repertoire's aesthetic discourse ...
... piece would be one essential genre—one that ironically marries the fundamental motility of the human species with the latest trends in mobile, digital technologies. The theoretical underpinnings of that repertoire's aesthetic discourse ...
Seite 15
... piece is “duet” (as in the promotional video's description of the work as a “duet with the city”).28 This description, however, elides the fact that a third agent is present: the wearable computing apparatus donned by the user. That ...
... piece is “duet” (as in the promotional video's description of the work as a “duet with the city”).28 This description, however, elides the fact that a third agent is present: the wearable computing apparatus donned by the user. That ...
Seite 16
... piece's conditions of possibility. The phenomenology of experiencing Sonic City might lead one to hastily slot the work into the familiar aesthetic category of interactivity, yet interpreting the work through an aesthetics of ...
... piece's conditions of possibility. The phenomenology of experiencing Sonic City might lead one to hastily slot the work into the familiar aesthetic category of interactivity, yet interpreting the work through an aesthetics of ...
Inhalt
1 | |
Part I
FrequencyRange Aesthetics | 41 |
Part II
Sounding Transport | 107 |
Part III
Walking and Bodily Choreography | 187 |
Part IV
Dance and Dance Musics | 257 |
Part V
Popular Music Production | 337 |
Part VI
Gaming Aesthetics | 381 |
Part VII
Mobile Music Instruments | 451 |
Index | 505 |
Häufige Begriffe und Wortgruppen
accessed January accessed March acoustic aesthetic album artists audience Aura bass Berlin car audio chip music chiptune commercial communication context cream truck music create dance developed DJing effects electronic electronic dance music environment everyday example experience Figure frequency G-funk Game boy game music gamers genre gestures Grup Yorum headphones hear hip-hop ice cream truck infrasound instrument interaction interface iPhone iPod laptop listening mister softee mobile devices mobile games mobile music mobile phones mobile technologies motion move movement musicians nintendo nintendo Ds noise Ocarina participants performance physical piece play playlist popular music portable practices produced radio re-presentation recording remix Rhythm Heaven rhythmic ringtones screen silhouettes sirens smartphone social song Sonic City sound soundscape soundwalk space speakers techno timbre tion track treble culture tsunku university Press urban users video game visual walk York