By Sheila Whiteley, Shara Rambarran
Has the digital invaded the world of the genuine, or has the true increased its definition to incorporate what as soon as used to be characterised as digital?
With the continuous evolution of electronic know-how, this contrast grows more and more hazy. yet might be the excellence has develop into out of date; might be it's time to be aware of the intersections, mutations, and transmigrations of the digital and the genuine. definitely it's time to reinterpret the perform and research of song. The Oxford instruction manual of song and Virtuality, edited by means of Sheila Whiteley and Shara Rambarran, is the 1st booklet to supply a kaleidoscope of interdisciplinary views from students world wide at the means within which virtuality mediates the dissemination, acquisition, functionality, production, and reimagining of tune.
The Oxford guide of song and Virtuality addresses 8 issues that regularly overlap and engage with each other. Questions of the position of the viewers, inventive service provider, person and communal identification, subjectivity, and spatiality time and again come up. Authors particularly discover phenomena together with holographic musicians and digital bands, and the advantages and detriments surrounding the unfastened flow of song on the web. moreover, the ebook investigates the best way enthusiasts and musicians negotiate gender identities in addition to the dynamics of viewers participation and group construction in a digital setting.
The instruction manual rehistoricizes the digital through tracing its development from cartoons within the Nineteen Fifties to present options and adjustments in perform. Well-grounded and wide-reaching, this can be a ebook that scholars of any variety of disciplines, from track to Cultural reviews, have awaited.
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Oliver’s chapter on sampling as virtual collaboration then focuses the Introduction 5 reader’s attention on hip hop’s sampled drum loops, proposing that “when a groove is sampled, its gaps act as virtual nodes via which collaboration can occur across time” (Chapter 4). ” It is a process that is in stark contrast to Frank Zappa’s almost neurotic control over his entire catalogue, which he interpreted as “a single entity,” “a unified whole,” “one that was determined by him and open to change” (Carr, Chapter 5).
Nevertheless, as editors, we can promise our readers that the different “takes” by cutting-edge researchers on music and virtuality offer new and original insights. Not least, their chapters will stimulate further debate and discussion on the expanding domain of music, and how digital technologies have had an impact on our understanding of such concepts as musicianship, creativity, the role of the composer, the performer, the producer, the fan, and their sociocultural connections and virtual alliance.
1994. Simulacra and Simulation. Michigan: University of Michigan Press. Duckworth, William. 2005. Virtual Music. New York and Oxon: Routledge. Eco, Umberto. 1998. Faith in Fakes: Travels in Hyperreality. London: Vintage. Hugill, Andrew. 2008. The Digital Musician: Creating Music with Digital Technology. New York: Routledge. , ed. 2008. Sound Unbound: Sampling Digital Music and Culture. Cambridge, MA, and London: MIT Press. Sim, Stuart, ed. 2011. The Routledge Companion to Postmodernism, 3rd ed.