What 'live music' means for one generation or culture does not necessarily mean 'live' for another. This book examines how changes in economy, culture and technology pertaining to post-digital times affect production, performance and reception of live music. Considering established examples of live music, such as music festivals, alongside practices influenced by developments in technology, including live streaming and holograms, the book examines whether new forms stand the test of 'live authenticity' for their audiences. It also speculates how live music might develop in the future, its…mehr
What 'live music' means for one generation or culture does not necessarily mean 'live' for another. This book examines how changes in economy, culture and technology pertaining to post-digital times affect production, performance and reception of live music. Considering established examples of live music, such as music festivals, alongside practices influenced by developments in technology, including live streaming and holograms, the book examines whether new forms stand the test of 'live authenticity' for their audiences. It also speculates how live music might develop in the future, its relationship to recorded music and mediated performance and how business is conducted in the popular music industry.
Ewa Mazierska is Professor of Film Studies at the University of Central Lancashire, UK. She has published over 20 books on film and popular music, including Popular Music in the Post-Digital Age, with Les Gillon and Tony Rigg (Bloomsbury, 2018). Les Gillon is Principal Lecturer at the University of Central Lancashire, UK. He is the author of The Uses of Reason in the Evaluation of Artworks: Commentaries on the Turner Prize (2017). Tony Rigg is a music industry professional and educator affiliated with the University of Central Lancashire, UK. He has occupied senior management roles for market-leading companies including Operations Director for Ministry of Sound and has extensive experience working in areas relating to the social consumption of music.
Inhaltsangabe
List of figures List of contributors Introduction: The continuous significance of live music (Ewa Mazierska Tony Rigg and Les Gillon University of Central Lancashire UK) Part One Approaches 1 Theorizing the production and consumption of live music: A critical review (Arno van der Hoeven Erik Hitters Pauwke Berkers Martijn Mulder and Rick Everts Erasmus Univeristy Rotterdam the Netherlands) 2 Challenges for the future of live music: A review of contemporary developments in the live music sector (Arno van der Hoeven and Erik Hitters Erasmus Univeristy Rotterdam the Netherlands) Part Two Technology 3 The silent stage: The future of on-stage sound systems(Steven Kerry Futureworks School of Media UK) 4 Networked performance as a means of transcending geographical barriers in live music performance(Duncan Gallagher Independent Researcher UK) 5 Digital performances: Live streaming music and the documentation of the creative process (Mark Daman Thomas University of Gloucestershire UK) 6 Surrogate musicianship in the age of in-vitro intelligence: Redefining the live performer (Darren Moore LASALLE College of Arts Singapore & Guy Ben-Ary and Nathan Thompson SymbioticA Australia) 7 'Death is no longer a deal breaker': The hologram performer in live music (Alan Hughes Univeristy of Central Lancashire UK) Part Three Spaces 8 Sound spaces: Pop music concerts and festivals in urban environments (Robert Kronenburg Univerisity of Liverpool UK) 9 Live music playbour: A piece of the puzzle (Les Gillon University of Central Lancashire UK) 10 The present and the future of Polish coastal music festivals (Ewa Mazierska University of Central Lancashire UK) Part Four Evaluations 11 Raves in the twenty-first century: DIY practices commercial motivations and the role of technology (Beate Peter Manchester Metropolitian University UK) 12 The eternal course of live music: Views and experiences of an audience (Michael Tsangaris University of Piraeus Greece) 13 Have a good night: CNBLUE band music and the uses of live performance in K-pop (Valerie Soe San Francisco State University USA) Index
List of figures List of contributors Introduction: The continuous significance of live music (Ewa Mazierska Tony Rigg and Les Gillon University of Central Lancashire UK) Part One Approaches 1 Theorizing the production and consumption of live music: A critical review (Arno van der Hoeven Erik Hitters Pauwke Berkers Martijn Mulder and Rick Everts Erasmus Univeristy Rotterdam the Netherlands) 2 Challenges for the future of live music: A review of contemporary developments in the live music sector (Arno van der Hoeven and Erik Hitters Erasmus Univeristy Rotterdam the Netherlands) Part Two Technology 3 The silent stage: The future of on-stage sound systems(Steven Kerry Futureworks School of Media UK) 4 Networked performance as a means of transcending geographical barriers in live music performance(Duncan Gallagher Independent Researcher UK) 5 Digital performances: Live streaming music and the documentation of the creative process (Mark Daman Thomas University of Gloucestershire UK) 6 Surrogate musicianship in the age of in-vitro intelligence: Redefining the live performer (Darren Moore LASALLE College of Arts Singapore & Guy Ben-Ary and Nathan Thompson SymbioticA Australia) 7 'Death is no longer a deal breaker': The hologram performer in live music (Alan Hughes Univeristy of Central Lancashire UK) Part Three Spaces 8 Sound spaces: Pop music concerts and festivals in urban environments (Robert Kronenburg Univerisity of Liverpool UK) 9 Live music playbour: A piece of the puzzle (Les Gillon University of Central Lancashire UK) 10 The present and the future of Polish coastal music festivals (Ewa Mazierska University of Central Lancashire UK) Part Four Evaluations 11 Raves in the twenty-first century: DIY practices commercial motivations and the role of technology (Beate Peter Manchester Metropolitian University UK) 12 The eternal course of live music: Views and experiences of an audience (Michael Tsangaris University of Piraeus Greece) 13 Have a good night: CNBLUE band music and the uses of live performance in K-pop (Valerie Soe San Francisco State University USA) Index
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