Popular Music in the Post-Digital Age: Politics, Economy, Culture and Technology
Editat de Professor Ewa Mazierska, Les Gillon, Tony Riggen Limba Engleză Hardback – 12 dec 2018
| Toate formatele și edițiile | Preț | Express |
|---|---|---|
| Paperback (1) | 225.24 lei 6-8 săpt. | |
| Bloomsbury Publishing – 24 iun 2020 | 225.24 lei 6-8 săpt. | |
| Hardback (1) | 774.63 lei 6-8 săpt. | |
| Bloomsbury Publishing – 12 dec 2018 | 774.63 lei 6-8 săpt. |
Preț: 774.63 lei
Preț vechi: 1114.11 lei
-30% Nou
Puncte Express: 1162
Preț estimativ în valută:
148.29€ • 154.37$ • 122.08£
148.29€ • 154.37$ • 122.08£
Carte tipărită la comandă
Livrare economică 01-15 februarie 25
Preluare comenzi: 021 569.72.76
Specificații
ISBN-13: 9781501338373
ISBN-10: 1501338374
Pagini: 304
Dimensiuni: 152 x 229 x 25 mm
Greutate: 0.64 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
ISBN-10: 1501338374
Pagini: 304
Dimensiuni: 152 x 229 x 25 mm
Greutate: 0.64 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
Caracteristici
Examines the future of popular music within a global context as represented through genre, marketing, curation, consumption, and music education
Notă biografică
Ewa Mazierska is Professor of Film Studies at the University of Central Lancashire, UK.Les Gillon is a researcher, musician and teacher at the University of Central Lancashire, UK.Tony Rigg is a music business practitioner with a background in senior management positions for market leading companies, a music producer with a chart pedigree and an educator.
Cuprins
List of ContributorsIntroduction: The Future of and through MusicEwa Mazierska, Les Gillon and Tony RiggPart 1: Music Industry1. Rethinking Independence: What Does 'Independent Record Label' Mean Today? Patryk Galuszka and Katarzyna M. Wyrzykowska, University of Lodz, Poland 2. The Future of Digital Music Infrastructures: Expectations and Promises of the Blockchain 'Revolution'Paolo Magaudda, University of Padua3. 'The Sound of the Future is Here Today': The Market for Post-Rock Within the Traditional Small Music Festival LandscapeKenneth Forbes, University of the West of Scotland, UK4. 'They Sold the Festival Out!': Axionormativity as the Future of FestivalsWaldemar Kuligowski, Adam Mickiewicz University, Poland5. The Hidden Worker Bees: Advanced Neoliberalism and Manchester's Underground Club SceneKamila Rymajdo, Kingston University, UKPart 2: Musicians and Their Music6. The Adaptive Musician: The Case of Peter Hook and Graham MasseyEwa Mazierska and Tony Rigg, University of Central Lancashire, UK7. Where Do We Go From Here?: The Future of Composers in the Post-Digital EraLars Bröndum, University of Skövde, Sweden 8. Searching for International Success in Europe's Periphery: The Case of Gin Ga and Fran PalermoEwa Mazierska, University of Central Lancashire, UK9. Electro Swing: The Re-Introduction of the Sounds of the Past into the Music of the FutureChris Inglis, University of South Wales, UKPart 3: Music Consumption10. Back to the Future: Proposing a Heuristic for Predicting the Future of Recorded Music Use Mathew Flynn, University of Liverpool, UK11. Young People's Current Music and Media Use in Austria: The Musical Practice of the Future?Michael Huber, University of Vienna, Austria12. Curators as Taste Entrepreneurs in the Digital Music IndustriesEmilia Barna, Budapest University of Technology and Economics, Hungary13. An Echoic Chamber: Algorithmic Curation and Personalised ListeningAndrew Fry, Sounds et al, USAIndex
Recenzii
[This book] does work of interest to historians of technology, 'thinking across' categories of technology, society, and culture, and dwelling on the historical specificity of each.
A timely addition to music and cultural scholarship because it raises a multitude of important questions concerning ways in which a highly marketized and commodified popular music industry might just be able to find its way through the neoliberal fog.
Barna and Magaudda provide two good examples of how, by following the actors themselves as they envision a future for music, grope and sketch the contours of the worlds to come, it is possible to think about them in an original way.
Music industry is in a condition of permanent flux driven by music's seamless adaptation to digital innovation. The key tension in music industry as a practice is that digital application does not always chime with regulated ownership of intellectual property rights in music. This is an impressive collection in which all participants have worked in a focused way to specify how music industry is transformed by digitization. In a turbulent environment, this collection exhibits staying power and will be a useful point of reference for academics and students over a prolonged period.
In an era of ever-expanding technological possibility and pace, time is an invaluable and irreplaceable resource. As such, how we listen and to what we listen becomes a nuanced and important question about how we understand each other and our relationship to the places we live. Popular Music in the Post-Digital Age provocatively explores this from multiple perspectives and ideas, asking critical questions about the continued evolution and role of one of humankind's most expressive and important languages - the language of music.
This is an important contribution to the growing literature on the present era of music, its practitioners and consumers, not least because of the international breadth of its coverage.
A timely addition to music and cultural scholarship because it raises a multitude of important questions concerning ways in which a highly marketized and commodified popular music industry might just be able to find its way through the neoliberal fog.
Barna and Magaudda provide two good examples of how, by following the actors themselves as they envision a future for music, grope and sketch the contours of the worlds to come, it is possible to think about them in an original way.
Music industry is in a condition of permanent flux driven by music's seamless adaptation to digital innovation. The key tension in music industry as a practice is that digital application does not always chime with regulated ownership of intellectual property rights in music. This is an impressive collection in which all participants have worked in a focused way to specify how music industry is transformed by digitization. In a turbulent environment, this collection exhibits staying power and will be a useful point of reference for academics and students over a prolonged period.
In an era of ever-expanding technological possibility and pace, time is an invaluable and irreplaceable resource. As such, how we listen and to what we listen becomes a nuanced and important question about how we understand each other and our relationship to the places we live. Popular Music in the Post-Digital Age provocatively explores this from multiple perspectives and ideas, asking critical questions about the continued evolution and role of one of humankind's most expressive and important languages - the language of music.
This is an important contribution to the growing literature on the present era of music, its practitioners and consumers, not least because of the international breadth of its coverage.