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This volume seeks to offer a new approach to the study of music through the lens of recent works in science and technology studies (STS), which propose that facts are neither absolute truths, nor completely relative, but emerge from an intensely collective process of construction.
This volume seeks to offer a new approach to the study of music through the lens of recent works in science and technology studies (STS), which propose that facts are neither absolute truths, nor completely relative, but emerge from an intensely collective process of construction.
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Antoine Hennion is Professor at Mines ParisTech, and the former Director of the Centre for the Sociology of Innovation. He has written extensively on the sociology of music, media, and cultural industries. Christophe Levaux is a lecturer and postdoctoral researcher at the University of Liège, Belgium. His research focuses on approaches to 20th-century American music and Actor-Network Theory.
Inhaltsangabe
Foreword Howard S. Becker Introduction Antoine Hennion and Christophe Levaux I. Histories1. Rameau and Harmony: Can Theory Make Reason of Music? Antoine Hennion 2. Sounding Standards: A History Concert Pitch, between Musicology and STS Fanny Gribenski 3. Is DIY a Punk Invention?: Learning processes, Recording Devices, and Social Knowledge François Ribac 4. Secure and Insecure Bases in the Performance of Western Classical Music Daniel Leech-Wilkinson 5. Deep Structure: The Generative Subject in Actor-Network Theory and Musicology Patrick Valiquet II. Instruments 6. Sonic Imaginaries: How Hugh Davies and David Van Koevering Performed Electronic Music's Future James Mooney and Trevor Pinch7. Following the Instruments: The Designers and Users of the Fairlight CMI Paul Harkins 8. The Interface and Instrumentality of Eurorack Modular Synthesis Eliot BatesIII. Technologies 9. Human Sounds and the Obscenity of Information David Trippett10. STS Confronts the Vocaloid: Assemblage Thinking with Hatsune Miku Nick Prior 11. Similarity and Difference in Sound Studies (and elsewhere) Basile Zimmermann IV. Practices 12. Smartphones, Streaming Platforms, and the Infrastructuring of Digital Music Practices Paolo Magaudda 13. Tracing the Music Actor-Network: Losing the Meaning of Musical Experience? The Limits of a Routinization of Science and Technology Studies Applied to Techniques and Knowledges of Music François Debruyne 14. Musicalized Images: Composing, Playing, Remixing, and Performing Net Art Jean-Paul Fourmentraux
Foreword Howard S. Becker Introduction Antoine Hennion and Christophe Levaux I. Histories1. Rameau and Harmony: Can Theory Make Reason of Music? Antoine Hennion 2. Sounding Standards: A History Concert Pitch, between Musicology and STS Fanny Gribenski 3. Is DIY a Punk Invention?: Learning processes, Recording Devices, and Social Knowledge François Ribac 4. Secure and Insecure Bases in the Performance of Western Classical Music Daniel Leech-Wilkinson 5. Deep Structure: The Generative Subject in Actor-Network Theory and Musicology Patrick Valiquet II. Instruments 6. Sonic Imaginaries: How Hugh Davies and David Van Koevering Performed Electronic Music's Future James Mooney and Trevor Pinch7. Following the Instruments: The Designers and Users of the Fairlight CMI Paul Harkins 8. The Interface and Instrumentality of Eurorack Modular Synthesis Eliot BatesIII. Technologies 9. Human Sounds and the Obscenity of Information David Trippett10. STS Confronts the Vocaloid: Assemblage Thinking with Hatsune Miku Nick Prior 11. Similarity and Difference in Sound Studies (and elsewhere) Basile Zimmermann IV. Practices 12. Smartphones, Streaming Platforms, and the Infrastructuring of Digital Music Practices Paolo Magaudda 13. Tracing the Music Actor-Network: Losing the Meaning of Musical Experience? The Limits of a Routinization of Science and Technology Studies Applied to Techniques and Knowledges of Music François Debruyne 14. Musicalized Images: Composing, Playing, Remixing, and Performing Net Art Jean-Paul Fourmentraux
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