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Liveness in Modern Music
This study investigates the idea and practice of liveness in modern music.. The book argues that liveness itself emerges from dynamic tensions inherent in mediated musical contexts--tensions between music as an acoustic human utterance, and musical sound as something produced or altered by machines.
Liveness in Modern Music
This study investigates the idea and practice of liveness in modern music. Understanding what makes music live in an ever-changing musical and technological terrain is one of the more complex and timely challenges facing scholars of current music, where liveness is typically understood to represent performance and to stand in opposition to recording, amplification, and other methods of electronically mediating music. The book argues that liveness itself emerges from dynamic tensions inherent in mediated musical contexts—tensions between music as an acoustic human utterance, and musical sound as something produced or altered by machines. Sanden analyzes liveness in mediatized music (music f...
Paul Robeson's Voices
Paul Robeson's Voices is a meditation on Robeson's singing, a study of the artist's life in song. Music historian Grant Olwage examines Robeson's voice as it exists in two broad and intersecting domains: as sound object and sounding gesture, specifically how it was fashioned in the contexts of singing practices, in recital, concert, and recorded performance, and as subject of identification. Olwage asks: how does the voice encapsulate modes of subjectivity, of being? Combining deep archival research with musicological theory, this book is a study of voice as central to Robeson's sense of self and his politics. Paul Robeson's Voices charts the dialectal process of Robeson's vocal and self-discovery, documenting some of the ways Robeson's practice revised the traditions of concert singing in the first half of the twentieth century and how his voice manifested as resistance.
Beyond the Score
In Beyond the Score: Music as Performance, author Nicholas Cook supplants the traditional musicological notion of music as writing, asserting instead that it is as performance that music is loved, understood, and consumed. This book reconceives music as an activity through which meaning is generated in real time, as Cook rethinks familiar assumptions and develops new approaches. Focusing primarily but not exclusively on the Western 'art' tradition, Cook explores perspectives that range from close listening to computational analysis, from ethnography to the study of recordings, and from the social relations constructed through performance to the performing (and listening) body. In doing so, h...
The Oxford Handbook of Music and Virtuality
This work, 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.
Watching Jazz
'Watching Jazz' is a systematic study of jazz on screen media, covering its role across a plethora of technologies from film and television to recent developments in online media and featuring the music of such legends as Duke Ellington, Miles Davis, John Coltrane, and Pat Metheny.
An Eternal Pitch
"An Eternal Pitch examines the life and afterlife of the vivid sermons of Bishop G. E. Patterson, the dynamic spiritual leader of the Church of God in Christ from 2000 to 2007. Although Patterson died in 2007, his voice remains a staple of radio and television broadcast, and his sermons have taken on a life of their own online--where a host of YouTube, Facebook, Instagram, and TikTok users enact innovative forms of religious broadcasting. Their preoccupation with Patterson's 'afterliveness' clarifies the significance of Patterson's preoccupation with musical repetition: across the decades of Patterson's ministry, a set of musical gestures recur as sonic channels, bringing an individual sermon into contact with scripture's eternal transmission"--
Music on Stage
Music on Stage presents papers from the interdisciplinary “Music on Stage” conference series held biennially at Rose Bruford College, Sidcup, Kent, since 2006. Three main streams of music theatre are covered in each conference: opera, the Musical, and performance practice. The collection of papers here on opera covers a wide spectrum of operatic debate from historic (contextualising Wagner and Rimsky-Korsakov) to contemporary opera; the current debate about Werktreue and Regieoper; investigation into the genesis of one of opera’s most iconic characters, Wagner’s Wotan; exploring Nono’s Prometheo, Maher’s The Hunchback Variations Opera and Jennifer Walshe’s music theatre pieces;...
Mediatization in Popular Music Recorded Artifacts
In Mediatization in Popular Music Recorded Artifacts: Performance on Record and on Screen, the relationship between performance, technological mediation, and the sense of live presence is investigated through a series of case studies related to popular music products. Alessandro Bratus explores technological mediation as a process of authentication that involves a chain of interconnected instances that have their roots in the cultural context in which the media products are designed to be marketed, and that also shape its recording technique and post-production. The book analyzes posthumous records, a peculiar case of the organization of recorded tracks made in absentia of their original performers that puts forward the possibility of an “otherworldly” collaboration between the living and the dead. Bratus also argues that the crucial significance of live performance for the construction of a personal, intimate relationship between performers and audiences reverberates in the audiovisual construction of the filmed concert, in which the spectator is put in the position of a witness rather than an active participant.
Sounds As They Are
In Sounds as They Are, author Richard Beaudoin recognizes the often-overlooked sounds made by the bodies of performers and their recording equipment as music and analyzes these sounds using a bold new theory of inclusive track analysis (ITA). In doing so, he demonstrates new expressive, interpretive, and embodied possibilities and also uncovers insidious inequalities across music studies and the recording industry, including the silencing of certain sounds along lines of gender and race.
