The Future of Music: Credo

Cage, John

doi:10.5040/9781501318399.ch-005

Cited by 3 publications

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“…Cage's works and writings foresaw a radical expansion of musical materials through an openness to 'the entire field of sound', to be drawn from the environment or created using 'oscillators, turntables, generators, means for amplifying small sounds, film phonographs, etc.' (Cage 1983(Cage [1937). Cage's vision of technologically-enhanced, sound-based composition, particularly as it was later developed by David Tudor, set the terms for the emergence of a logic of ontology in music.…”

Section: Musical Practices -Ontological Experimentsmentioning

confidence: 99%

:Music and Digital Media: A Planetary Anthropology

Erlmann

2023

Journal of Anthropological Research

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Music and Digital Media is a groundbreaking update to our understandings of sound, media, digitization, and music. Truly transdisciplinary and transnational in scope, it innovates methodologically through new models for collaboration, multi-sited ethnography, and comparative work. It also offers an important defense of-and advancement of-theories of mediation.' -Jonathan Sterne, Communication Studies and Art History, McGill University 'This superb collection, with an authoritative overview as its introduction, represents the state of the art in studies of the digitalisation of music. It is also a testament to what anthropology at its reflexive best can offer the rest of the social sciences and humanities.' -David Hesmondhalgh, Media and Communication, University of Leeds 'Spanning continents and academic disciplines, the rich ethnographies contained in Music and Digital Media makes it obligatory reading for anyone wishing to understand the complex, contradictory, and momentous effects that digitization is having on musical cultures.'

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Section: Musical Practices -Ontological Experimentsmentioning

confidence: 99%

:Music and Digital Media: A Planetary Anthropology

Erlmann

2023

Journal of Anthropological Research

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“…SPK and Whitehouse, the wall noise of Japanese acts like Hijokaidan and Merzbow, and, more recently, the sound art of figures like Florian Hecker. 24 As Paul Hegarty notes, noise and music are no longer distinct categories, but rather occupy the two ends of a single continuum; "[n]oise is not an objective fact. It occurs in relation to perception-both direct (sensory) and according to presumptions made by an individual.…”

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confidence: 99%

The Oxford Handbook of Cinematic Listening

Cenciarelli¹

2021

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It has long been suggested that films have changed the way we listen, but cinema’s contribution to broader listening cultures has only recently started to receive serious academic attention. Taking this issue as its central topic, The Oxford Handbook of Cinematic Listening explores—from philosophical, archival, empirical, and analytical perspectives—the genealogies of cinema’s audiovisual practices, the relationship between film aesthetics and listening protocols, and the extension of cinematic modes of listening into other media and everyday situations. Featuring scholars from musicology, film and literary studies, ethnomusicology and sound studies, media and communications, and psychology, this Handbook aims to foster new ways of thinking about the intersection between the history of listening and the history of the moving image. It offers a wealth of original case studies and novel perspectives that show how cinematic listening is constantly being redefined in relation to shifting historical, spatial, textual, and theoretical frameworks.

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Music and Digital Media: A planetary anthology

2022

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Anthropology has neglected the study of music. Music and Digital Media shows how and why this should be redressed. It does so by enabling music to expand the horizons of digital anthropology, demonstrating how the field can build interdisciplinary links to music and sound studies, digital/media studies, and science and technology studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the digital assume clamouring audibility. The book contains ten chapters, eight of which present comprehensive original ethnographies; they are bookended by an authoritative introduction and a comparative postlude. Five chapters address popular, folk, art and crossover musics in the global South and North, including Kenya, Argentina, India, Canada and the UK. Three chapters bring the digital experimentally to the fore, presenting pioneering ethnographies of an extra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max. The book is unique in bringing ethnographic research on popular, folk, art and crossover musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. It shows how music enlarges anthropology while demanding to be understood with reference to classic themes of anthropological theory.

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The Future of Music: Credo

Cited by 3 publications

References 0 publications

:Music and Digital Media: A Planetary Anthropology

:Music and Digital Media: A Planetary Anthropology

The Oxford Handbook of Cinematic Listening

Music and Digital Media: A planetary anthology

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