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The Oxford Handbook of Mobile Music Studies, Volume 2
Contributor(s): Gopinath, Sumanth (Editor), Stanyek, Jason (Editor)
ISBN: 019067637X     ISBN-13: 9780190676377
Publisher: Oxford University Press, USA
OUR PRICE:   $51.30  
Product Type: Paperback - Other Formats
Published: July 2017
Qty:
Additional Information
BISAC Categories:
- Music | Ethnomusicology
- Social Science | Media Studies
- Social Science | Sociology - Urban
Dewey: 302.23
Physical Information: 1.2" H x 6.7" W x 9.5" (1.94 lbs) 544 pages
Themes:
- Demographic Orientation - Urban
 
Descriptions, Reviews, Etc.
Publisher Description:
The two volumes of The Oxford Handbook of Mobile Music Studies consolidate an area of scholarly inquiry that addresses how mechanical, electrical, and digital technologies and their corresponding economies of scale have rendered music and sound increasingly mobile-portable, fungible, and
ubiquitous. At once a marketing term, a common mode of everyday-life performance, and an instigator of experimental aesthetics, mobile music opens up a space for studying the momentous transformations in the production, distribution, consumption, and experience of music and sound that took place
between the late nineteenth and the early twenty-first centuries. Taken together, the two volumes cover a large swath of the world-the US, the UK, Japan, Brazil, Germany, Turkey, Mexico, France, China, Jamaica, Iraq, the Philippines, India, Sweden-and a similarly broad array of the musical and
nonmusical sounds suffusing the soundscapes of mobility.

Volume 2 investigates the ramifications of mobile music technologies on musical/sonic performance and aesthetics. Two core arguments are that mobility is not the same thing as actual movement and that artistic production cannot be absolutely sundered from the performances of quotidian life. The
volume's chapters investigate the mobilization of frequency range by sirens and miniature speakers; sound vehicles such as boom cars, ice cream trucks, and trains; the gestural choreographies of soundwalk pieces and mundane interactions with digital media; dance music practices in laptop and iPod
DJing; the imagery of iPod commercials; production practices in Turkish political music and black popular music; the aesthetics of handheld video games and chiptune music; and the mobile device as a new musical instrument and resource for musical ensembles.