Sonic Synergies: Music, Technology, Community, Identity focuses on the new and emerging synergies of music and digital technology within the new knowledge economies. Eighteen scholars representing six international perspectives explore the global and local ramifications of rapidly changing new technologies on creative industries, local communities, music practitioners and consumers. Diverse areas are considered, such as production, consumption, historical and cultural context, legislation, globalization and the impact upon the individual. Drawing on a range of musical genres from jazz, heavy metal, hip-hop and trance, and through several detailed case studies reflecting on the work of professional and local amateur artists, this book offers an important discussion of the ways in which the face of music is changing. Approaching these areas from a cultural studies perspective, this text will be a valuable tool for anyone engaged in the study of popular culture, music or digital technologies.
’Sonic Synergies is an intriguing, worthwhile and rewarding compilation of essays examining the cultural, political and social resonances of popular music’s recent ’synergies’ with technology in the context of the new Creative Knowledge Economy … the collection achieves a high level of quality in all of its contributions … Sonic Synergies is a strong and essential collection, one which will interest any scholar who is concerned with the intersection or indeed synergies between popular music and new media.’ Media International Australia
Contents: Introduction; Part 1 Shifting Contexts: Introduction to part 1, Margaret Peters; Music, cities, and cultural and creative industries policy, Terry Flew; Futures for webcasting: regulatory approaches in Australia and the US, Axel Bruns; Postmusics, Jody Berland; On the fetish character of sound and the progression of technology: theorizing Japanese audiophiles, Shuhei Husokawa and Hideaki Matsuoka; The Elvis Spectacle and the culture industry, Douglas Kellner. Part 2 Placing Music: Introduction to part 2, Susan Luckman; Popular music, media and the narrativization of place, Andy Bennett; There's no there there, Ian Maxwell; Ethnic and social differences in music behaviour in a fragmented Berlin, Bruce M.Z. Cohen; 'Dis is England's new voice': anger, activism and the Asian dub foundation, Ian Collinson; From folk devils to folk music: tracing Malay heavy metal scene in Singapore, Kelly Fu Yu Sin and Liew Kai Khiun; The Jamaican dancehall sound system as a commercial and social apparatus, Julian Henriques. Part 3 Creating Agency: Introduction to part 3; Gerry Bloustien; Use, misuse and abuse: problems surrounding popular music and its young performers, Sheila Whiteley; The Idol audience: judging, interactivity and entertainment, Jon Stratton; Risky economies: community-based organizations and the music-making practices of marginalized youth, Margaret Peters; 'Unalienated labour' and creative industries: situating micro-entrepreneurial dance music subcultures in the new economy, Susan Luckman; Up the down staircase: grassroots entrepreneurship in young people's music practices, Gerry Bloustien; Bibliography; Index.
Popular musicology embraces the field of musicological study that engages with popular forms of music, especially music associated with commerce, entertainment and leisure activities. The Ashgate Popular and Folk Music Series aims to present the best research in this field. Authors are concerned with criticism and analysis of the music itself, as well as locating musical practices, values and meanings in cultural context. The focus of the series is on popular music of the twentieth and twenty-first centuries, with a remit to encompass the entirety of the world’s popular music.
Critical and analytical tools employed in the study of popular music are being continually developed and refined in the twenty-first century. Perspectives on the transcultural and intercultural uses of popular music have enriched understanding of social context, reception and subject position. Popular genres as distinct as reggae, township, bhangra, and flamenco are features of a shrinking, transnational world. The series recognizes and addresses the emergence of mixed genres and new global fusions, and utilizes a wide range of theoretical models drawn from anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial studies, feminism, gender studies and queer studies.