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Author:   Sheila Whiteley (Professor Emeritus, Professor Emeritus, University of Salford) ,  Shara Rambarran (Assistant Professor, Assistant Professor, Queen's University)
Publisher:   Oxford University Press Inc
Imprint:   Oxford University Press Inc
Dimensions:   Width: 25.10cm , Height: 5.10cm , Length: 18.30cm
Weight:   1.315kg
ISBN:  

9780199321285

ISBN 10:   0199321280
Pages:   720
Publication Date:   10 March 2016
Audience:   College/higher education ,  Undergraduate ,  Postgraduate, Research & Scholarly
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of 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 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 ""Feel Good"" with Gorillaz and ""Reject False Icons"": 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 Chávez-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 Brøvig-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 ""Uploading"" 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 From Hypnagogia to Distroid: Postironic 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 Kaitajärvi-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 ""New Machine Aesthetic"" 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 PART 9 Glossary Ed. Shara Rambarran Index"

Reviews

<em>[The Oxford Handbook of] Music and Virtuality</em> is a strong contribution to the literature on popular music and on computers and technology more broadly. Recommended. --<em>Choice</em>

""[The Oxford Handbook of] Music and Virtuality is a strong contribution to the literature on popular music and on computers and technology more broadly. Recommended.""--Choice ""This excellent anthology provides an accessible and informed guide to a rapidly evolving field. The multi-disciplinary approach blends work from established and emerging scholars, and presents an invaluable survey of the current state and potential trajectories for virtuality.""--Dr. Tom Attah, BMus Course Leader, Popular Music Performance, Leeds Arts University

Author Information

The late Sheila Whiteley was Professor Emeritus (the University of Salford, UK) and a Research Fellow at the Bader International Study Centre, Queen's University, Ontario, Canada. She is author of Too Much Too Young: Popular Music, Age and Identity (2005). Shara Rambarran is an Assistant Professor of Music and Cultural Studies at the Bader International Study Centre, Queen's University, Canada. Shara gained her PhD in Music and Cultural Studies at the University of Salford.

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