The Cambridge companion to music in digital culture

著者

書誌事項

The Cambridge companion to music in digital culture

edited by Nicholas Cook, Monique M. Ingalls, David Trippett

（Cambridge companions to music）

Cambridge University Press, 2019

  • : pbk
  • : hbk

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注記

"This book has its origin in the conference 'Creativity, circulation, copyright: music in the digital age', held at the University of Cambridge in March 2014 and hosted by CRASSH (The Centre for Research in the Arts, Social Sciences and Humanities)"--P. xiv

Includes bibliographical references (p. 298-326) and index

内容説明・目次

内容説明

The impact of digital technologies on music has been overwhelming: since the commercialisation of these technologies in the early 1980s, both the practice of music and thinking about it have changed almost beyond all recognition. From the rise of digital music making to digital dissemination, these changes have attracted considerable academic attention across disciplines,within, but also beyond, established areas of academic musical research. Through chapters by scholars at the forefront of research and shorter 'personal takes' from knowledgeable practitioners in the field, this Companion brings the relationship between digital technology and musical culture alive by considering both theory and practice. It provides a comprehensive and balanced introduction to the place of music within digital culture as a whole, with recurring themes and topics that include music and the Internet, social networking and participatory culture, music recommendation systems, virtuality, posthumanism, surveillance, copyright, and new business models for music production.

目次

  • Introduction Nicholas Cook, Monique M. Ingalls and David Trippett
  • 1. Digital technology and cultural practice Nicholas Cook
  • Personal take 1: whatever happened to tape trading? Lee Marshall
  • 2. Towards a digital history of music: new technologies, business practices, and intellectual property regimes Martin Scherzinger
  • Personal take 2: on serving as an expert witness in the 'blurred lines' case Ingrid Monson
  • 3. Shaping the stream: techniques and troubles of algorithmic recommendation K. E. Goldschmitt and Nick Seaver
  • Personal take 3: being a curator Ben Sinclair
  • Personal take 4: can machines have taste? Stephan-Eloise Gras
  • 4. Technologies of the musical selfie Sumanth S. Gopinath and Jason Stanyek
  • Personal take 5: vaporwave is dead, long live vaporwave! Adam Harper
  • 5. Witnessing race in the new digital cinema Peter McMurray
  • Personal take 6: giving history a voice Mariana Lopez
  • 6. Musical media in online devotion Monique M. Ingalls
  • Personal take 7: technicians of ecstasy Graham St John
  • Personal take 8: live coded mashup with the humming wires Alan Blackwell and Sam Aaron
  • Personal take 9: algorave: dancing to algorithms Alex McLean
  • 7. Rethinking liveness in a digital age Paul Sanden
  • Personal take 10: augmenting musical performance Andrew McPherson
  • Personal take 11: digital demons, real and imagined Steve Savage
  • Personal take 12: composing with sounds as images Julio d'Escrivan
  • Personal take 13: compositional approaches to film, TV and video games Stephen Baysted
  • 8. Virtual words from recording to video games Isabella van Elferen
  • 9. Posthumanism and the generation of empathy David Trippett
  • Personal take 14: in the wake of the virtual Frances Dyson
  • 10. Digital inequalities and global sounds Shzr Ee Tan
  • 11. The political economy of streaming Martin Scherzinger.

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