Oxford Handbook of Mobile Music Studies, Volume 2 by Sumanth Gopinath (English)

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This handbook examines how electrical technologies and their corresponding economies of scale have rendered music and sound increasingly mobile-portable, fungible, and ubiquitous. Highly interdisciplinary, the two volumes of the Oxford Handbook of Mobile Music Studies consider, respectively, the devices, markets, and theories of mobile music, and its aesthetics and forms of performance.

FORMATPaperback LANGUAGEEnglish CONDITIONBrand New Publisher Description

The two volumes of The Oxford Handbook of Mobile Music Studies consolidate an area of scholarly inquiry that addresses how mechanical, electrical, and digital technologies and their corresponding economies of scale have rendered music and sound increasingly mobile-portable, fungible, and ubiquitous. At once a marketing term, a common mode of everyday-life performance, and an instigator of experimental aesthetics, "mobile music" opens up a space for studyingthe momentous transformations in the production, distribution, consumption, and experience of music and sound that took place between the late nineteenth and the early twenty-first centuries. Taken together,the two volumes cover a large swath of the world-the US, the UK, Japan, Brazil, Germany, Turkey, Mexico, France, China, Jamaica, Iraq, the Philippines, India, Sweden-and a similarly broad array of the musical and nonmusical sounds suffusing the soundscapes of mobility.Volume 2 investigates the ramifications of mobile music technologies on musical/sonic performance and aesthetics. Two core arguments are that "mobility" is not the same thing as actual "movement" and thatartistic production cannot be absolutely sundered from the performances of quotidian life. The volume's chapters investigate the mobilization of frequency range by sirens and miniature speakers; soundvehicles such as boom cars, ice cream trucks, and trains; the gestural choreographies of soundwalk pieces and mundane interactions with digital media; dance music practices in laptop and iPod DJing; the imagery of iPod commercials; production practices in Turkish political music and black popular music; the aesthetics of handheld video games and chiptune music; and the mobile device as a new musical instrument and resource for musical ensembles.

Author Biography

Sumanth Gopinath is Associate Professor of Music Theory at the University of Minnesota and the author of The Ringtone Dialectic: Economy and Cultural Form (2013). His writings on Steve Reich, musical minimalism, Marxism, academic politics, ringtones, Bob Dylan, and Benjamin Britten have appeared in scholarly journals including Music Theory Spectrum, Journal of the Society for American Music, and First Monday, andin the edited collections Sound Commitments, Highway 61 Revisited, and Music and Narrative since 1900.Jason Stanyek is Associate Professor of Ethnomusicology at the University of Oxford, where he is also Fellow and Tutor in Music at St John's College. His writings on Brazilian music, improvisation, music technology, and jazz have appeared in a range of academic journals and edited collections. Forthcoming books include a monograph on music and dance in the Brazilian diaspora and a volume (co-edited with Frederick Moehn) titled Brazil's Northern Wave: Fifty Years of Bossa Nova in the UnitedStates.

Table of Contents

Contents:1. The Mobilization of Performance: An Introduction to the Aesthetics of Mobile MusicSumanth Gopinath and Jason Stanyek Part I: Frequency-Range Aesthetics2. Treble CultureWayne Marshall3. Of Sirens Old and NewAlexander RehdingPart II: Sounding Transport4. "Cars With the Boom": Music, Automobility, and Hip-hop "Sub" CulturesJustin Williams5. Ding, Ding!: The Commodity Aesthetic of Ice Cream Truck MusicDaniel T. Neely6. There must be some relatIon beTween mushrOoms and trains: Alvin Curran's Boletus Edulis-Musica PendolareBenjamin PiekutPart III: Walking and Bodily Choreography7. Polyphonies of Footsteps Frauke Behrendt8. Soundwalking: Creating Moving Environmental Sound NarrativesAndra McCartney 9. Gestural Choreographies: Embodied Disciplines and Digital MediaHarmony BenchPart IV: Dance and Dance Musics10. (In)Visible Mediators: Urban Mobility, Interface Design, and the Disappearing Computer in Berlin-Based Laptop PerformancesMark J. Butler11. Turning the Tables: Digital Technologies and the Remixing of DJ CultureChristine Zanfagna and Levitt Brandin, Kate 12. Dancing Silhouettes: The Mobile Freedom of iPod CommercialsJustin D. BurtonPart V: Popular Music Production13. Music, Mobility, and Distributed Recording Production in Turkish Political MusicEliot Bates14. Rhythms of Relation: Black Popular Music and Mobile TechnologiesAlexander WeheliyePart VI: Gaming Aesthetics15. A History of Handheld and Mobile Video Game SoundKaren Collins16. The Chiptuning of the World: Game Boys, Imagined Travel, and Musical MeaningChris Tonelli17. Rhythm Heaven: Video Games, Idols, and Other Experiences of Play Miki KanedaPart VII: Mobile Music Instruments18. The Mobile Phone OrchestraGe Wang, Georg Essl, and Henri Penttinen 19. Creative Applications of Interactive Mobile MusicAtau Tanaka20. Music-Making and the iPhone: Notes From An Academic EntrepreneurGe Wang

Review

"[A] very welcome and totally immersive experience." --International Record Review

Long Description

The two volumes of The Oxford Handbook of Mobile Music Studies consolidate an area of scholarly inquiry that addresses how mechanical, electrical, and digital technologies and their corresponding economies of scale have rendered music and sound increasingly mobile-portable, fungible, and ubiquitous. At once a marketing term, a common mode of everyday-life performance, and an instigator of experimental aesthetics, "mobile music" opens up a space for studyingthe momentous transformations in the production, distribution, consumption, and experience of music and sound that took place between the late nineteenth and the early twenty-first centuries. Taken together, the two volumes cover a large swath of the world-the US, the UK, Japan, Brazil, Germany, Turkey,Mexico, France, China, Jamaica, Iraq, the Philippines, India, Sweden-and a similarly broad array of the musical and nonmusical sounds suffusing the soundscapes of mobility.Volume 2 investigates the ramifications of mobile music technologies on musical/sonic performance and aesthetics. Two core arguments are that "mobility" is not the same thing as actual "movement" and that artistic production cannot be absolutely sundered from the performances of quotidian life. The volume's chapters investigate the mobilization of frequency range by sirens and miniature speakers; sound vehicles such as boom cars, ice cream trucks, and trains; the gestural choreographies ofsoundwalk pieces and mundane interactions with digital media; dance music practices in laptop and iPod DJing; the imagery of iPod commercials; production practices in Turkish political music and black popular music; the aesthetics of handheld video games and chiptune music; and the mobile device as a newmusical instrument and resource for musical ensembles.

Review Text

"[A] very welcome and totally immersive experience." --International Record Review

Review Quote

"[A] very welcome and totally immersive experience." --International Record Review

Feature

Selling point: Consolidates an existing literatureSelling point: Inaugurates a new scholarly subdisciplineSelling point: Offers previously-unpublished research on a vibrant and growing topicSelling point: Contests the conception that mobile music describes only the music of portable listening devices

Details ISBN019067637X Pages 544 Series Oxford Handbooks Year 2017 ISBN-10 019067637X ISBN-13 9780190676377 Format Paperback Edited by Sumanth S. Gopinath DEWEY 302.23 Illustrations 24 b&w line drawings; 72 b&w halftones Birth 1969 Author Sumanth Gopinath Media Book Position Associate Professor of Ethnomusicology Publisher Oxford University Press Inc Imprint Oxford University Press Inc Place of Publication New York Country of Publication United States Affiliation Associate Professor of Ethnomusicology, University of Oxford Language English Audience Professional and Scholarly Publication Date 2017-07-27 UK Release Date 2017-07-27 AU Release Date 2017-07-27 NZ Release Date 2017-07-27 US Release Date 2017-07-27 We've got this

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