Full Description
Has the virtual invaded the realm of the real, or has the real expanded its definition to include what once was characterized as virtual? With the continual evolution of digital technology, this distinction grows increasingly hazy. But perhaps the distinction has become obsolete; perhaps it is time to pay attention to the intersections, mutations, and transmigrations of the virtual and the real. Certain it is time to reinterpret the practice and study of music. The Oxford Handbook of Music and Virtuality, edited by Shelia Whiteley and Shara Rambarran, is the first book to offer a kaleidoscope of interdisciplinary perspectives from scholars around the globe on the way in which virtuality mediates the dissemination, acquisition, performance, creation, and reimagining of music.
The Oxford Handbook of Music and Virtuality addresses eight themes that often overlap and interact with one another. Questions of the role of the audience, artistic agency, individual and communal identity, subjectivity, and spatiality repeatedly arise. Authors specifically explore phenomena including holographic musicians and virtual bands, and the benefits and detriments surrounding the free circulation of music on the internet. In addition, the book investigates the way in which fans and musicians negotiate gender identities as well as the dynamics of audience participation and community building in a virtual environment. The handbook rehistoricizes the virtual by tracing its progression from cartoons in the 1950s to current industry innovations and changes in practice. Well-grounded and wide-reaching, this is a book that students of any number of disciplines, from Music to Cultural Studies, have awaited.
Contents
List of Figures and Tables ; Companion Website and List of Musical Examples ; List of Contributors ; Acknowledgements ; Preface ; Andy Bennett ; Introduction ; Sheila Whiteley ; PART 1 The Pre-Digital Virtual ; Introduction ; 1 In Seventeenth Heaven: Virtual Listening and its Discontents ; Christian Lloyd ; 2 Nothing is Real: The Beatles as Virtual Performers ; Philip Auslander and Ian Inglis ; 3 Tom, Jerry and the Virtual Virtuoso ; Sheila Whiteley ; 4 Bring that Beat Back: Sampling as Virtual Collaboration ; Rowan Oliver ; 5 An Analysis of Virtuality in the Creation and Reception of the Music and Persona of Frank Zappa ; Paul Carr ; PART 2 Vocaloids, Holograms and Virtual Pop Stars ; Introduction ; 6 Vocaloids and Japanese Virtual Vocal Performance: The Cultural Heritage and Technological Futures of Vocal Puppetry ; Louise H. Jackson and Mike Dines ; 7 Hatsune Miku and Japanese Virtual Idols ; Rafal Zaborowski ; 8 Hatsune Miku, 2.0Pac and Beyond: Rewinding and Fast-Forwarding the Virtual Pop Star ; Thomas Conner ; 9 " with Gorillaz and ": The Fantasy Worlds of the Virtual Group and their Creators ; Shara Rambarran ; PART 3 Second Life ; Introduction ; 10 Avatar Rockstars: Constructing Musical Personae in Virtual Worlds ; Trevor S. Harvey ; 11 Performing Live in Second Life ; Justin Gagen and Nicholas Cook ; 12 Live Opera Performance in Second Life: Challenging Producers, Performers and the Audience ; Marco Antonio Chavez-Aguayo ; PART 4 Authorship, Creativity and Musicianship ; Introduction ; 13 We Are, The Colors: Collaborative Narration and the Experimental Construction of a Non-Existent Band ; Alon Ilsar and Charles Fairchild ; 14 Music in Perpetual Beta: Composition, Remediation, and 'Closure' ; Paul Draper and Frank Millward ; 15 Justin Bieber Featuring Slipknot: Consumption as Mode of Production ; Ragnhild Brovig-Hanssen ; 16 Human After All: Understanding Negotiations of Artistic Identity through the Music of Daft Punk ; Cora S. Palfy ; 17 Virtual Bands: Recording Music Under the Big Top ; David Tough ; PART 5 Communities and the World-Wide-Web ; Introduction ; 18 " to Carnegie Hall: The First YouTube Symphony Orchestra ; Shzr Ee Tan ; 19 The Listener as Remixer: Mix Stems in Online Fan Community and Competition Contexts ; Samantha Bennett ; 20 Sample Sharing: Virtual Laptop Ensemble Communities ; Benjamin O'Brien ; 21 Stone Tapes: Ghost Box, Nostalgia, and Post-War England ; David Pattie ; 22 Hypnagogia, Hauntology, Chillwave: Post-Ironic Musical Renderings of Personal Memory ; Adam Trainer ; 23 Bands in Virtual Spaces, Social Networking and Masculinity ; Danijela Bogdanovic ; PART 6 Sonic Environments and Musical Experience ; Introduction ; 24 From Environmental Sound To Virtual Environment Enhancing: Consuming Ambiance as Listening Practice ; Thomas Brett ; 25 App Music ; Jeremy Wade Morris ; 26 Alternative Virtuality. Independent Micro Labels Facing the Ideological Challenge of Virtual Music Culture: The Case of Finnish Ektro Records ; Juho Kaitajarvi-Tiekso ; 27 Everybody Knows There is Here: Surveying the Indexi-Local in CBC Radio 3 ; Michael Audette-Longo ; 28 Mind Usurps Program: Virtuality and the " of Electronic Dance Music ; Benjamin Halligan ; PART 7 Participatory Culture and Fundraising ; Introduction ; 29 Virtual Music, Virtual Money: The Impact of Crowdfunding Models on Creativity, Authorship and Identity ; Mark Thorley ; 30 With a Little Help From My Friends, Family and Fans. DIY, Participatory Culture and Social Capital in Music Crowdfunding ; Francesco D'Amato ; 31 Music and Crowdfunded Websites: Digital Patronage and Artist-Fan Interactivity ; Justin Williams and Ross Wilson ; PART 8 Authors' Blog: Final Thoughts on Music and Virtuality ; Ed. Paul Carr [INSERT COMPANION WEBSITE ICON HERE] ; PART 9 Glossary ; Ed. Shara Rambarran ; Index
