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The digital evolution of live music / / editors, Angela Cresswell-Jones and Rebecca Jane Bennett
| The digital evolution of live music / / editors, Angela Cresswell-Jones and Rebecca Jane Bennett |
| Edizione | [First edition.] |
| Pubbl/distr/stampa | Waltham, MA : , : Chandos Publishing, , [2015] |
| Descrizione fisica | 1 online resource (xv, 143 pages) |
| Disciplina | 781.430285 |
| Collana | Chandos information professional series |
| Soggetto topico |
Live sound recordings
Sound - Recording and reproducing - Digital techniques |
| ISBN |
0-08-100070-7
0-08-100067-7 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Front 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
2.1 . 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 4.3 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 ça 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 ReferencesChapter 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 7.1 . 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 9.1.2 . Live |
| Record Nr. | UNINA-9910797363603321 |
| Waltham, MA : , : Chandos Publishing, , [2015] | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The digital evolution of live music / / editors, Angela Cresswell-Jones and Rebecca Jane Bennett
| The digital evolution of live music / / editors, Angela Cresswell-Jones and Rebecca Jane Bennett |
| Edizione | [First edition.] |
| Pubbl/distr/stampa | Waltham, MA : , : Chandos Publishing, , [2015] |
| Descrizione fisica | 1 online resource (xv, 143 pages) |
| Disciplina | 781.430285 |
| Collana | Chandos information professional series |
| Soggetto topico |
Live sound recordings
Sound - Recording and reproducing - Digital techniques |
| ISBN |
0-08-100070-7
0-08-100067-7 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Front 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
2.1 . 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 4.3 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 ça 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 ReferencesChapter 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 7.1 . 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 9.1.2 . Live |
| Record Nr. | UNINA-9910817443203321 |
| Waltham, MA : , : Chandos Publishing, , [2015] | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||