LEADER 05134oam 2200529 450 001 9910797363603321 005 20190911100029.0 010 $a0-08-100070-7 010 $a0-08-100067-7 035 $a(OCoLC)914229806 035 $a(MiFhGG)GVRL9CCA 035 $a(EXLCZ)993710000000448744 100 $a20160129h20152015 uy 0 101 0 $aeng 135 $aurun|---uuuua 181 $ctxt 182 $cc 183 $acr 200 04$aThe digital evolution of live music /$feditors, Angela Cresswell-Jones and Rebecca Jane Bennett 205 $aFirst edition. 210 1$aWaltham, MA :$cChandos Publishing,$d[2015] 210 4$d?2015 215 $a1 online resource (xv, 143 pages) 225 1 $aChandos information professional series 300 $aDescription based upon print version of record. 320 $aIncludes bibliographical references at the end of each chapters and index. 327 $aFront Cover; The Digital Evolution of Live Music; Copyright; Contents; Preface; Introduction; The digital evolution; Live music; The live music economy; Live music and digital culture; References; Section One: Live that survives ; Chapter 1: Live concerts and fan identity in the age of the Internet; 1.1 . Introduction; 1.2 . Identity and live music; 1.3 . Live concerts and history; 1.4 . Live concerts and community; 1.5 . Live concerts and the individual; 1.6 . Conclusion; References; Chapter 2: Aura, iteration, and action: digital technology and the jouissance of live music 327 $a2.1 . The territory: arguments about the technological mediation of cultural production2.2 . The expedition: experiences of jouissance through live music; References; Chapter 3: What's my scene: festival fandom and the applification of the Big Day Out stage; 3.1 . Introduction; 3.2 . A brief history of music festivals: 1960s-1990s; 3.3 . The 1990s to the 2000s; 3.4 . The 2000s: the applification of the BDO stage; 3.5 . The future of music festivals; References; Section Two: Digital live ; Chapter 4: Live sound and the disappearing digital; 4.1 Introduction; 4.2 Sound is analog 327 $a4.3 Digital processes in live sound4.4 Global sound design; 4.5 Dislocations and authenticity; 4.6 Music computing and synthesis; 4.7 Remote digital tools; 4.8 Digital magic; 4.9 Conclusion; References; Chapter 5: Live or Memorex? Changing perceptions of music practices; 5.1 . Introduction; 5.2 . Methodology; 5.3 . The loss of the tangible-capturing the moment 1; 5.4 . Plus c?a change-capturing the moment 2; 5.5 . Liquid sounds-disseminating the experience; 5.6 . Keeping it real-live and digital; 5.7 . Dubstep or busted speakers? Changing auditory practices; 5.8 . Backward to the future 327 $aReferencesChapter 6: Live from the ether: YouTube and live music video culture; 6.1 . Introduction; 6.2 . Free-for-all: the YouTube model; 6.3 . It's all here: community and access; 6.4 . Another promotional tool: the official model; 6.5 . Identifying the fanvid: the amateur-professional divide; 6.6 . The heart of copygrey: the user-generated model; 6.7 . Offsetting copygrey: YouTube services; 6.8 . A live-streaming case study: Coachella; 6.9 . Conclusion; References; Chapter 7: Live music in a virtual world: exuberant flourishing and disability at Wheelies nightclub in Second Life 327 $a7.1 . Second Life: looking forward, looking back7.2 . Identity avatars and disability; 7.3 . Second Life, live music, and disability; 7.4 . Wheelies, live music, and engagement; 7.5 . Conclusion; References; Chapter 8: The sounds of Skyrim: a musical journey through gaming; 8.1 . Introduction; 8.2 . The music of Skyrim; 8.2.1 . Music in-game; 8.2.2 . Music from the game; 8.3 . Music and live-gaming experiences: a moment in time, a moment in mind; References; Section Three: Live after death ; Chapter 9: Dead music in live music culture; 9.1 . Deadness in liveness; 9.1.1 . Dead? Music 327 $a9.1.2 . Live 330 $aThe concept of 'live' has changed as a consequence of mediated culture. Interaction may occur in real time, but not necessarily in shared physical spaces with others. The Digital Evolution of Live Music considers notions of live music in time and space as influenced by digital technology. This book presents the argument that live music is a special case in digital experience due to its liminal status between mind and body, words and feelings, sight and sound, virtual and real. Digital live music occupies a multimodal role in a cultural contextual landscape shaped by technological innovation. 410 0$aChandos information professional series. 606 $aLive sound recordings 606 $aSound$xRecording and reproducing$xDigital techniques 615 0$aLive sound recordings. 615 0$aSound$xRecording and reproducing$xDigital techniques. 676 $a781.430285 702 $aCresswell-Jones$b Angela 702 $aBennett$b Rebecca Jane 801 0$bMiFhGG 801 1$bMiFhGG 906 $aBOOK 912 $a9910797363603321 996 $aThe digital evolution of live music$93725528 997 $aUNINA