The chapters gathered in this book, Volume II of the reissued Oxford Handbook, explore the American musical from the various media in which musicals have been created to the different components of a musical and the people who do the work ...
Author: Raymond Knapp
Publisher: Oxford University Press
For the past several years, the American musical has continued to thrive by reflecting and shaping cultural values and social norms, and even commenting on politics, whether directly and on a national scale (Hamilton) or somewhat more obliquely and on a more intimate scale (Fun Home). New stage musicals, such as Come from Away and The Band's Visit, open on Broadway every season, challenging conventions of form and content, and revivals offer audiences a different perspective on extant shows (Carousel; My Fair Lady). Television musicals broadcast live hearken back to 1950s television's affection for musical theatre and aim to attract new audiences through the accessibility of television. Film musicals, including Les Misérables and Into the Woods, capitalize on the medium's technical capabilities of perspective and point of view, as well as visual spectacle. Television has embraced the genre anew, and with unexpected gusto, not only devising musical episodes for countless dramatic and comedy series, but also generating musical series such as Galavant and Crazy Ex-Girlfriend. And animated musicals, such as Disney's Moana, hail child and adult audiences with their dual messages, vibrant visual vocabulary, and hummable music. The chapters gathered in this book, Volume II of the reissued Oxford Handbook, explore the American musical from the various media in which musicals have been created to the different components of a musical and the people who do the work to bring a musical to life.
It also contextualises my own mobile media and wearable performance practice
alongside other dynamic projects. There is, however, not a deep focus on the musical dimension of the use of mobile devices as alternative interfaces for musical ...
Author: Camille C. Baker
New Directions in Mobile Media and Performance explores various performative projects and forms of expression that have emerged since the onset of the smartphone. It focuses mainly on new concepts and developments that have emerged in mobile media performance. It showcases the intimate and phenomenological mobile aesthetic that has been unfolding within networked performance and media art projects for over a decade and a half. This aesthetic utilises the potential and affordances with each iteration and update of modern smartphones. Themes of embodiment, presence, liveness and connection through mobile, networked, and remote technology are revisited in the context of HD mobile cameras, selfies and live video streaming from the phone, as well as the impact of peer production, opensource and Maker culture on mobile media performance practices. It explores the surge in development of wearable devices in performance, as well as how the ‘quantified-self movement’ has affected performance works. It deals with concepts and developments in intermedial performance that incorporate mobile and wearable devices, especially from the artist’s, designer’s or dramaturge’s perspective as the creator and their creative process, working with technology as a collaborator, not just a tool or guide. The book demonstrates how artists have repurposed the device – transforming it from merely a communication device, using voice and text only – to become a new collaborative medium, a full visual, synaesthetic, interactive and performative tool of deeper expression and social change. It discusses seminal works and the evolution of the medium, within intermedial digital art and performance practices as medium for artistic expression, creative process and staged performances. It focuses on projects and artists who have pushed mobile media performance beyond the conventional blackbox. Emerging visual, digital, interactive, tactile, gestural and theatrical or performance projects that incorporate mobile or wearable devices, used as vehicles for more challenging, experimental, experiential and immersive performative artworks are highlighted. The book also contextualises Baker’s own media research and performance practice within the larger landscape with the field. It is bookended with interviews with the artists themselves on their creative process and intentions. It is the outcome of three years of research of artistic works around the world, interviews, in-person viewings of performances, as well as incorporating and reflecting on her own ongoing practice and projects in context.
A similar process could be traced in the tension between recording and performance. A particularly obvious example of this is the way that hard cuts and
edits made with tape for musical effect inspire played 'edits' – brilliantly
exemplified in the ...
Author: Simon Emmerson
Technology revolutionised the ways that music was produced in the twentieth century. As that century drew to a close and a new century begins a new revolution in roles is underway. The separate categories of composer, performer, distributor and listener are being challenged, while the sounds of the world itself become available for musical use. All kinds of sounds are now brought into the remit of composition, enabling the music of others to be sampled (or plundered), including that of unwitting musicians from non-western cultures. This sound world may appear contradictory - stimulating and invigorating as well as exploitative and destructive. This book addresses some of the issues now posed by the brave new world of music produced with technology.
However harmful our total saturation by and immersion in media environments
has turned out to be , the recording and remixing processes in the music industry
and the disc and club DJ culture , for example , point to significant
Author: Johannes H. Birringer
Publisher: JHU Press
The author discusses the performance aspects of such political events as the breaching of the Berlin wall and the destruction of Sarajevo, and examines the use of video and agitprop performance in political activity, including protests by the gay activist group ACT UP and the disquieting performances of the former pornography actress and sex worker Annie Sprinkle. Birringer ends with a discussion of the continuing incursions of business into digital media, including the "imperialism of technological enhancements" as experienced in the culture of constant "upgrades" and the omnipresence of Bill Gates.
He also brought his expertise and knowledge of the folk scene to us and other
musicians that he knew to Kate's music. ... into the big halls – these elements of music and performance also clearly and firmly innovate around such tradition.
Author: Peter Mills
Publisher: Edinburgh University Press
A study of the relationships between music and contemporary media.
In Journal of Experimental Psychology : Human Perception and Performance 15 ,
1989 , pp . 586-602 . McLUHAN , H. Marshall . The Gutenberg Galaxy . Toronto :
University of Toronto Press , 1962 . McLUHAN , H. Marshall . Člověk , media a ...
Author: Juraj Lexmann
Publisher: Peter Lang
In the present time electronic media are the most powerful factory that influence music culture. They change social functions of music, they affect musical behavior, music taste and aesthetic ideals of the society. The power of film, television and other media is based on the fact that the media trigger complex audiovisual perceptions or they determine the ways of how music evokes extra-musical imaginations. Audiovisual Media and Music Culture struggles to systematize and classify the basic categories of audiovisual communication, it explains music in media as a category of space and time, reveals the laws of the music culture development, the advantages and disadvantages of civilization trends and it also separates value constants from transition episodes.
Prior tothe institutionalisationof such music, peoplewere confined to musical
listening within one sequenceof time, whenthey themselves orothers were
performing. Temporally, musical performance was unextendable, scoresbeingthe
Author: E. Keightley
Category: Social Science
A wide ranging, interdisciplinary exploration of media time and mediated temporalities. The chapters explore the diverse ways in which time is articulated by media technologies, the way time is constructed, represented and communicated in cultural texts, and how it is experienced in different social contexts and environments.
... in First person: New media as story, performance and game, edited by Noah
WardripFruin and Pat Harrigan. Cambridge, MA: MIT Press, 2004, 45– 55. Adler,
Guido. “StyleCriticism,” translated by W. Oliver Strunk, The Musical Quarterly, Vol.
Author: E. Upton
Category: Performing Arts
This book seeks to understand the music of the later Middle Ages in a fuller perspective, moving beyond the traditional focus on the creative work of composers in isolation to consider the participation of performers and listeners in music-making.
CHAPTER 6 Music hall and the knowingness of popular culture - - - -
Knowingness might be defined as what everybody ... by middle - class
commentators as a distinctive - and objectionable – feature of comic performance
in nineteenth - century British music halls . ... made a successful piecemeal
transition to the new media , and found continuing expression in something close
to its original setting in the ...
Author: Peter Bailey
Publisher: Cambridge University Press
Lively and innovative, these well-illustrated essays on the making of the Victorian entertainment industry get inside the popular experience of the pub, music-hall, theater and comic press. In this new leisure world, audiences learned how to be performers themselves, adopting roles and styles appropriate to the unsettling dynamics of the modern city. A major advance in understanding how popular culture actually works, this is a model of the successful integration of the theory and practice of social history and cultural studies.
The boundaries of a musical culture may be ethnic, and folk song may belong
inside or outside because of its language. The distribution of musical skills and
specialized media of performance limit genres of folk music to certain groups.
Author: Philip V. Bohlman
Publisher: Indiana University Press
Category: Social Science
"[This book] is a contribution of considerable substance because it takes a holistic view of the field of folk music and the scholarship that has dealt with it." -- Bruno Nettl "... a praiseworthy combination of solid scholarship, penetrating discussion, and global relevance." -- Asian Folklore Studies "... successfully ties the history and development of folk music scholarship with contemporary concepts, issues, and shifts, and which treats varied folk musics of the world cultures within the rubric of folklore and ethnomusicology with subtle generalizations making sense to serious minds... " -- Folklore Forum "... [this book] challenges many carefully-nurtured sacred cows. Bohlman has executed an intellectual challenge of major significance by successfully organizing a welter of unruly data and ideas into a single, appropriately complex but coherent, system." -- Folk Music Journal Bohlman examines folk music as a genre of folklore from a broadly cross-cultural perspective and espouses a more expansive view of folk music, stressing its vitality in non-Western cultures as well as Western, in the present as well as the past.
Whether working in the media of conceptual art, performance art or popular music, Yoko Ono's creative output reflects one woman's drive to challenge the
socially constructed boundariesthat prescribe and delimit the acceptable
Author: Mr Jedediah Sklower
Publisher: Ashgate Publishing, Ltd.
‘Counterculture’ emerged as a term in the late 1960s and has been re-deployed in more recent decades in relation to other forms of cultural and socio-political phenomena. This volume provides an essential new academic scrutiny of the concept of ‘counterculture’ and a critical examination of the period and its heritage. Recent developments in sociological theory complicate and problematize theories developed in the 1960s, with digital technology, for example, providing an impetus for new understandings of counterculture. Music played a significant part in the way that the counterculture authored space in relation to articulations of community by providing a shared sense of collective identity. Not least, the heady mixture of genres provided a socio-cultural-political backdrop for distinctive musical practices and innovations which, in relation to counterculture ideology, provided a rich experiential setting in which different groups defined their relationship both to the local and international dimensions of the movement, so providing a sense of locality, community and collective identity.
His main research area is popular music of the Nordic countries, with a particular
interest in postcolonial studies, gender theory, digital media, and
transnationalism. He has published on Sámi music in the journal
Ethnomusicology Forum ...
Author: Thomas Hilder
Publisher: Rowman & Littlefield
In Sámi Musical Performance and the Politics of Indigeneity in Northern Europe, ethnomusicologist Thomas Hilder offers the first book-length study of this diverse and dynamic music scene and its intersection with the politics of indigeneity.
The visualisation of music through pictorial imagery and notation in late
mediaeval France TILMAN SEEBASS Faced with a source situation as complex
as that ... In short , the musicologist touches the realms of other media of
Author: Stanley Boorman
Publisher: Cambridge University Press
This volume presents a series of important essays on some of the problems involved in attempting to perform music of the late Middle Ages.
Chapter Four The Music IS THE MESSAGE : The Day JIMI HENDRIX BURNED
His GUITAR FILM , MUSICAL INSTRUMENT , AND PERFORMANCE AS Music MEDIA Anno Mungen Performance study and musicology This chapter seeks to ...
Author: Ian Inglis
Publisher: Wallflower Press
Category: Performing Arts
The growing presence of popular music in film is one of the most exciting areas of contemporary Film Studies. Written by a range of international specialists, this collection includes case studies on Sliding Doors, Topless Women Talk About Their Lives, The Big Chill and Moulin Rouge, considering the work of populist musicians such as the Beatles, Jimi Hendrix and Sting. Contributors to the volume include Robb Wright, Lesley Vize, Phil Powrie, Anno Mungen, Anaheid Kassabian, Lauren Anderson, Antti-Ville Karja, K. J. Donnelly, Lee Barron, Melissa Carey Michael Hannan and Jaap Kooijman.
with the transmission of one of these basic musical competencies, then, by
exaggerated singing or performance, the teacher can normally indicate the
attributes that were lacking in the student's rendition. In doing this, the teacher
Author: Matthias Vogel
Publisher: Columbia University Press
Matthias Vogel challenges the belief, dominant in contemporary philosophy, that reason is determined solely by our discursive, linguistic abilities as communicative beings. In his view, the medium of language is not the only force of reason. Music, art, and other nonlinguistic forms of communication and understanding are also significant. Introducing an expansive theory of mind that accounts for highly sophisticated, penetrative media, Vogel advances a novel conception of rationality while freeing philosophy from its exclusive attachment to linguistics. Vogel's media of reason treats all kinds of understanding and thought, propositional and nonpropositional, as important to the processes and production of knowledge and thinking. By developing an account of rationality grounded in a new conception of media, he raises the profile of the prelinguistic and nonlinguistic dimensions of rationality and advances the Enlightenment project, buffering it against the postmodern critique that the movement fails to appreciate aesthetic experience. Guided by the work of Jürgen Habermas, Donald Davidson, and a range of media theorists, including Marshall McLuhan, Vogel rebuilds, if he does not remake, the relationship among various forms of media—books, movies, newspapers, the Internet, and television—while offering an original and exciting contribution to media theory.
Conclusions As a performer of contemporary percussion music , it is clear to me
that a memorable concert does not only ... and musical language , body function ,
temporal experiences of performance , degrees of freedom in performance and ...
As I exposed in the course of this dissertation , the vast acoustical and physical
possibilities of the percussion media create musical situations with many
CHAPTER IV PERFORMANCE PRACTICE AND MUSICAL FORMS IN THE RE
PERTOIRE The entire body of Tõgaku compositions can be divided into two media of performance . One is specifically for performances of the music in
Multidisciplinary perspectives on musical arousal, expression, and social control
Tom Cochrane, Bernardino Fantini, ... Media and Modernity: a Social Theory of
the Media. ... Stockholm: Department of Musicology and Performance Studies.
Author: Tom Cochrane
Publisher: OUP Oxford
How can an abstract sequence of sounds so intensely express emotional states? How does music elicit or arouse our emotions? What happens at the physiological and neural level when we listen to music? How do composers and performers practically manage the expressive powers of music? How have societies sought to harness the powers of music for social or therapeutic purposes? In the past ten years, research into the topic of music and emotion has flourished. In addition, the relationship between the two has become of interest to a broad range of disciplines in both the sciences and humanities. The Emotional Power of Music is a multidisciplinary volume exploring the relationship between music and emotion. Bringing together contributions from psychologists, neuroscientists, musicologists, musicians, and philosophers, the volume presents both theoretical perspectives and in-depth explorations of particular musical works, as well as first-hand reports from music performers and composers. In the first section of the book, the authors consider the expression of emotion within music, through both performance and composing. The second section explores how music can stimulate the emotions, considering the psychological and neurological mechanisms that underlie music listening. The third section explores how different societes have sought to manage and manipulate the power of music. The book is valuable for those in the fields of music psychology and music education, as well as philosophy and musicology
As we have seen, popular music cultures operate across different media and
draw on a range of channels of communication, which include musical sounds,
lyrics, performance styles and media images and related transformations.
Author: Tim Wall
Category: Social Science
A fully revised and updated edition of this widely adopted textbook. The First Edition was published in 2003 by Hodder.
In cultural terms, popular music is of enormous importance in daily life, and for
some is central to their social identities. ... is popular with another audience –
some of whom experience it only as part of the spectacle of a theatrical performance.
Author: Graeme Burton
Publisher: McGraw-Hill Education (UK)
Category: Social Science
This book introduces undergraduates to critical perspectives on the relationship between media and society, and to ideas about the production of meaning through media. Students are introduced to a range of key thinkers and their ideas as concepts, issues and debates are introduced. This book encourages the reader to take on different views around issues relating to questions of media power, media influence, and audience consumption.