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Bjork's Biophilia
On its release in 2011 Biophilia was acclaimed as the first "app album" and the birth of a new music format. It was greeted as the way forward for musicians and developers, at a time when the traditional album format was under threat. Biophilia is an album for mobile digital devices, conceived and creatively directed by Björk, one the world's most innovative musicians, and executed by a team including interactive artists, developers, and designers. Here, Nicola Dibben draws on her experience as a member of the creative team working on the app suite to provide an insider's perspective on the creative process and product. The entire project's conception and realisation are traced, drawing on ...
Musical New Media
"Recorded music creation and consumption is undergoing a huge shift: from physical artifacts to digital; from fixed personal computers to mobile devices; from downloading and owning to streaming and access. This is having significant impact on the music 'assemblage' - the audio, performances, videos, films, books, games - that make up what we think of as 'music', and on the relationship between audiences and artists. Björk's Biophilia , widely acclaimed as the first 'app album', is one response to this context. Drawing on her direct experience as part of the creative team who made Biophilia musicologist Nicola Dibben investigates the making and context of this album. She shows the way this new media format maintains musical traditions as much as it innovates, explores the future of the album as a musical artifact in the digital age, and identifies emerging new music forms and engagements which may come to define our digital musical futures."--
Björk
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Music and Mind in Everyday Life
What is it that makes people want to live their lives to the sound of music, and why do so many of our most private experiences and most public spectacles incorporate - or even depend on - music? 'Music and Mind in Everyday Life' uses psychology to understand musical behaviour and experience.
Musical New Media
Recorded music creation and consumption underwent a huge shift in the first two decades of the twentieth century: from physical artifacts to digital; from fixed personal computers to mobile devices; from downloading and owning to streaming and access. This had a significant impact on the music 'assemblage' - the audio, performances, videos, films, books, games - that make up what we think of as 'music', and gave rise to new forms of musical new media.. Björk's Biophilia, widely acclaimed as the first 'app album', is one response to this context. Drawing on her direct experience as part of the creative team who made Biophilia musicologist Nicola Dibben investigates how popular music practices intersect with digital technologies at their moment of emergence in two domains: music software applications ('apps') for touchscreen technologies of tablet computer and smartphone, and in extended reality. She shows the way these new media formats maintain musical traditions as much as they innovate, explores the future of the album as a musical artifact in the digital age, and identifies emerging new music forms and engagements which may come to define our digital musical futures.
Björk
Bjork is a contemporary icon whose contributions to music, video, film, fashion and art have influenced a generation worldwide. Designed by top design studio M/M (Paris) as a slipcased world of wonders, this publication which accompanies exhibition on Bjork at The Museum of Modern Art.
The Ashgate Research Companion to Popular Musicology
The research presented in this volume is very recent, and the general approach is that of rethinking popular musicology: its purpose, its aims, and its methods. Contributors to the volume were asked to write something original and, at the same time, to provide an instructive example of a particular way of working and thinking. The essays have been written with a view to helping graduate students with research methodology and the application of relevant theoretical models. The team of contributors is an exceptionally strong one: it contains many of the pre-eminent academic figures involved in popular musicological research, and there is a spread of European, American, Asian, and Australasian ...
An Unequal Music
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Conceptualizing Music
This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes--categorization, cross-domain mapping, and the use of conceptual models--and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in cognitive science, framed around specific musical examples. The second part brings this perspective to bear on a number of issues with which music scholarship has often been occupied, including the emergence of musical syntax and its relationship to musical semiosis, the problem of musical ontology, the relationship between words and music in songs, and conceptions of musical form and musical hierarchy. The book will be of interest to music theorists, musicologists, and ethnomusicologists, as well as those with a professional or avocational interest in the application of work in cognitive science to humanistic principles.
All about the Girl
First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
