The Oxford Handbook of Music and Virtuality
(Sprache: Englisch)
The Oxford Handbook of Music and Virtuality, edited by Sheila Whiteley and Shara Rambarran, brings together a multidisciplinary group of scholars who address issues such as artistic agency, the relationship between reality and illusion or simulation, and...
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The Oxford Handbook of Music and Virtuality, edited by Sheila Whiteley and Shara Rambarran, brings together a multidisciplinary group of scholars who address issues such as artistic agency, the relationship between reality and illusion or simulation, and the construction of musical personae, subjectivities and identities in a virtual world.
Klappentext zu „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 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.
Inhaltsverzeichnis zu „The Oxford Handbook of Music and Virtuality “
- List of Figures and Tables
- Companion Website and List of Musical Examples
- List of Contributors
- Acknowledgements
- Preface
- Andy Bennett
- Introduction
- Sheila Whiteley
- PART 1 The Pre-Digital Virtual
- Introduction
- 1 In Seventeenth Heaven: Virtual Listening and its Discontents
- Christian Lloyd
- 2 Nothing is Real: The Beatles as Virtual Performers
- Philip Auslander and Ian Inglis
- 3 Tom, Jerry and the Virtual Virtuoso
- Sheila Whiteley
- 4 Bring that Beat Back: Sampling as Virtual Collaboration
- Rowan Oliver
- 5 An Analysis of Virtuality in the Creation and Reception of the Music of Frank Zappa
- Paul Carr
- PART 2 Vocaloids, Holograms and Virtual Pop Stars
- Introduction
- 6 Vocaloids and Japanese Virtual Vocal Performance: The Cultural Heritage and Technological Futures of Vocal Puppetry
- Louise H. Jackson and Mike Dines
- 7 Hatsune Miku and Japanese Virtual Idols
- Rafal Zaborowski
- 8 Hatsune Miku, 2.0Pac and Beyond: Rewinding and Fast-Forwarding the Virtual Pop Star
- Thomas Conner
- 9 "Feel Good" with Gorillaz and "Reject False Icons": The Fantasy Worlds of the Virtual Group and their Creators
- Shara Rambarran
- PART 3 Second Life
- Introduction
- 10 Avatar Rockstars: Constructing Musical Personae in Virtual Worlds
- Trevor S. Harvey
- 11 Performing Live in Second Life
- Justin Gagen and Nicholas Cook
- 12 Live Opera Performance in Second Life: Challenging Producers, Performers and the Audience
- Marco Antonio Chávez-Aguayo
- PART 4 Authorship, Creativity and Musicianship
- Introduction
... mehr
13 We Are, The Colors: Collaborative Narration and the Experimental Construction of a Non-Existent Band
Alon Ilsar and Charles Fairchild
14 Music in Perpetual Beta: Composition, Remediation, and 'Closure'
Paul Draper and Frank Millward
15 Justin Bieber Featuring Slipknot: Consumption as Mode of Production
Ragnhild Brøvig-Hanssen
16 Human After All: Understanding Negotiations of Artistic Identity through the Music of Daft Punk
Cora S. Palfy
17 Virtual Bands: Recording Music Under the Big Top
David Tough
PART 5 Communities and the World-Wide-Web
Introduction
18 "Uploading" to Carnegie Hall: The First YouTube Symphony Orchestra
Shzr Ee Tan
19 The Listener as Remixer: Mix Stems in Online Fan Community and Competition Contexts
Samantha Bennett
20 Sample Sharing: Virtual Laptop Ensemble Communities
Benjamin
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Autoren-Porträt von Sheila Whiteley, Shara Rambarran
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.
Bibliographische Angaben
- Autoren: Sheila Whiteley , Shara Rambarran
- 2016, 720 Seiten, Maße: 18,1 x 25,4 cm, Gebunden, Englisch
- Verlag: Oxford University Press
- ISBN-10: 0199321280
- ISBN-13: 9780199321285
- Erscheinungsdatum: 21.03.2016
Sprache:
Englisch
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