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Books on the topic 'Network Music Performance'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 January 2025

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1

Nelson, Peter, and Pedro Rebelo. Network performance. Taylor & Francis, 2009.

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2

Gabrielli, Leonardo, and Stefano Squartini. Wireless Networked Music Performance. Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0335-6.

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3

Svec, Henry Adam. American Folk Music as Tactical Media. Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462984943.

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American folk music has long presented a problematic conception of authenticity, but the reality of the folk scene, and its relationship to media, is far more complicated. This book draws on the fields of media archaeology, performance studies, and sound studies to explore the various modes of communication that can be uncovered from the long American folk revival. From Alan Lomax's cybernetic visions to Bob Dylan's noisy writing machines, this book retrieves a subterranean discourse on the concept of media that might help us to reimagine the potential of the networks in which we work, play, a

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4

Gabrielli, Leonardo, and Stefano Squartini. Wireless Networked Music Performance. Springer London, Limited, 2016.

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5

Gabrielli, Leonardo, and Stefano Squartini. Wireless Networked Music Performance. Springer Singapore Pte. Limited, 2016.

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6

Iorwerth, Miriam. Networked Music Performance: Theory and Applications. Taylor & Francis Group, 2023.

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7

Iorwerth, Miriam. Networked Music Performance: Theory and Applications. Taylor & Francis Group, 2023.

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8

Wilson Kimber, Marian. Words and Music Ladies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040719.003.0009.

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Women’s clubs networks supported the careers of composer-performers Frieda Peycke (1884–1964) and Phyllis Fergus (1887–1964). Both women presented herself not as an elocutionist, but as a composer of a musical art form and publicized the spoken word genres in which she performed with a unique label: Fergus’s “story poems,” and Peycke’s “musically-illustrated readings.” Fergus appeared before women’s music clubs in Chicago, groups that had readers as members into the 1940s, and gradual assumed leadership positions. Peycke’s performances in private homes suggests an ongoing women’s salon culture

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9

Bohlman, Andrea F. Musical Solidarities. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938284.001.0001.

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This book studies the relationship between music making and social movements using the Solidarity movement in 1980s Poland as a case study. Its central argument is that while music offered a means of performing and commemorating the Solidarity movement as unified, the media of the opposition to state socialism also revealed—and continue to reveal—dissonant discourses on citizenship, culture, and history. The story unfolds along crucial sites of political action under state socialism: underground radio networks, the sanctuaries of the Polish Roman Catholic Church, labor strikes and student demo

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10

Altenmüller, Eckart, and Sabine Schneider. Planning and performance. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0031.

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Making music is one of the most demanding tasks for the human central nervous system. It involves the precise execution of very fast and, in many instances, extremely complex physical movements that must be coordinated with continuous auditory feedback. Practice is required to develop these skills and carry out these complex tasks. This article discusses the neurobiological foundations of planning, motor learning, and practice. The first section introduces essential general information for musical readers concerning the organization of cortical, subcortical, and cerebellar motor systems in the

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11

Stark, David, ed. The Performance Complex. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861669.001.0001.

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What’s valuable? Market competition provides one kind of answer. Competitions offer another. On one side, competition is an ongoing and seemingly endless process of pricings; on the other, competitions are discrete and bounded in time and location, with entry rules, judges, scores, and prizes. This book examines what happens when ever more activities in domains of everyday life are evaluated and experienced in terms of performance metrics. Unlike organized competitions, such systems are ceaseless and without formal entry. Instead of producing resolutions, their scorings create addictions. To u

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12

Halleluja Effect: Philosophical Reflections on Music, Performance Practice, and Technology. Taylor & Francis Group, 2013.

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13

Adam Svec, Henry. American Folk Music as Tactical Media. Amsterdam University Press B.V., 2020. http://dx.doi.org/10.5040/9789048561346.

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American folk music has long presented a problematic conception of authenticity, but the reality of the folk scene, and its relationship to media, is far more complicated. This book draws on the fields of media archaeology, performance studies, and sound studies to explore the various modes of communication that can be uncovered from the long American folk revival. From Alan Lomax's cybernetic visions to Bob Dylan's noisy writing machines, this book retrieves a subterranean discourse on the concept of media that might help us to reimagine the potential of the networks in which we work, play, a

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14

Neill, Ben. Diffusing Music. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9798765109236.

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This bookexplores the democratization of music in our current era made possible by digital technologies. Investigating how the utopian ideals and experimental practices of 20th-century musicians helped to spawn the recent seismic disruptions to the art form, this book explores the current environment of networked connectivity; music has become ubiquitous and increasingly intertwined with everyday life, rendering previous models of creation, performance, dissemination, and consumption largely obsolete. Diffusing Musicidentifies trajectories between 20th-century innovators and the broader redefi

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15

Ingalls, Monique M. Finding the Church’s Voice. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190499631.003.0004.

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Chapter 3 provides a detailed ethnographic portrait of music in a local church congregation in which contemporary worship music serves an important—and often strategic—means of positioning. Examining the choices of congregational music repertory, style, and performance practice at St. Bartholomew’s Church, an “evangelical Episcopal” church in Nashville, Tennessee, reveals how church leaders and congregation members use music to navigate the church’s relationship with other area churches, denominational traditions, and church networks. The church’s choice of worship songs and styles constitutes

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16

Howe, Justine. Honoring the Prophet, Performing American Islam. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190258870.003.0005.

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This chapter demonstrates the dynamic and improvisational character of ritual performance in third spaces, focusing on the performance of mawlids in the Webb community in 2011 and 2014. These rituals highlight Webb’s appeal to a broader network of Chicago’s Muslims across multiple generations. Webb mawlids build on traditions of female authority in domestic performance to elevate women’s participation and leadership in a public space. Within the framework of Webb as a third space, the mawlid is among the most important rituals for the construction of female religious authority. Shifts in ritua

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17

Ingalls, Monique M. Singing the Congregation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190499631.001.0001.

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Singing the Congregation examines how contemporary worship music shapes the way evangelical Christians understand worship and argues that participatory worship-music performances have brought into being new religious social constellations (“modes of congregating”). Through ethnographic investigation of five of these modes—concert, conference, church, public, and networked congregations—this book seeks to reinvigorate the analytic categories of “congregation” and “congregational music.” Drawing from theoretical models in ethnomusicology, congregational studies, and ecclesiology, Singing the Con

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18

Bell, Adam Patrick. Track 3. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190296605.003.0005.

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Tyler credits the Internet as both his principal music instructor (e.g., YouTube) and influence (e.g., Facebook). Living in cramped quarters, the twenty-seven-year-old has modularized his bedroom such that it allows him to eat, sleep, work, play, and make music in the same two-hundred-square-foot space. By concocting a social network of avatars, Tyler has mapped out a lifetime’s worth of music he will author under the guise of these different heteronyms (personas). Tyler’s music-making with Ableton Live emphasizes the importance of editing and timbre tinkering. He spends little time recording

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19

Ingalls, Monique M. Transnational Connections, Musical Meaning, and the 1990s “British Invasion” of North American Evangelical Worship Music. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.004.

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Monique Ingalls’ essay, on the “British invasion” of U.K. contemporary evangelical congregational worship songs into the U.S. market, points to how a transnational musical network provides ways for powerful individuals within the music industry to locate “authentic” religious faith. The U.K. worship music industry imagined different uses and, consequently, formats for its music than that of the American-based Christian music industry: the American-based industry modeled its songs on pop, focusing on radio-friendly short song formats; but U.K. industry modeled its music and performances on char

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20

Wang, Ge. Improvisation of the Masses. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.15.

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The mass-scale adoption of modern mobile computing technology presents immense potential to reshape the way we engage one another socially, creatively, and musically. This article explores ad hoc music-making and improvisatory performance on a massive scale, leveraging personal interactive mobile instruments (e.g., via iPhones and iPads), location-awareness (via GPS), and the connective social potential of cloud computing. I investigate a new social/musical improvisatory context that doesn’t exist in any single location but as a network and community of anonymous but connected participants aro

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21

Alexander, Phil. Sounding Jewish in Berlin. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190064433.001.0001.

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This book explores in lively detail the music, musical networks, and performance spaces of the contemporary Berlin klezmer and Yiddish music scene. It chronicles an avowedly international group of musicians (Jewish and non-Jewish) who collectively represent an important new transnational voice for this traditional Eastern European Jewish music. Through the words and music of the performers, the author reveals a rich and constantly developing scene that has embedded itself in the contemporary city in creative, diverse, and sometimes confrontational ways. This ongoing transformation of Berlin kl

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22

Jones, Alisha Lola. Flaming? Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190065416.001.0001.

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Flaming?: The Peculiar Theopolitics of Fire and Desire in Black Male Gospel Performance examines the rituals and social interactions of African American men who use gospel music-making as a means of worshiping God and performing gendered identities. Prompted by the popular term “flaming” that is used to identify over-the-top or peculiar performance of identity, Flaming? argues that these men wield and interweave a variety of multivalent aural-visual cues, including vocal style, gesture, attire, and homiletics, to position themselves along a spectrum of gender identities. These multisensory ena

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23

Still, Judith A., Michael J. Dabrishus, and Carolyn Quin. William Grant Still. Greenwood, 1996. http://dx.doi.org/10.5040/9798216035923.

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Presenting the life and professional career of The Dean of Afro-American Composers, this is the first comprehensive book on the writings by and about Still, the compositions with manuscript sources, the performances of Still's works, and the reviews of those performances. It includes a touching personal reminiscence by his daughter Judith Anne. The full resources of the extensive collection known as The William Grant Still and Verna Arvey Papers at the University of Arkansas Libraries, Fayetteville, give this book the distinction of being the first one about Still that utilizes diaries, letter

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24

Vernallis, Carol, Amy Herzog, and John Richardson, eds. The Oxford Handbook of Sound and Image in Digital Media. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199757640.001.0001.

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This collection of essays explores the relations between sound and image in a rapidly shifting landscape of audiovisual media in the digital age. Featuring contributions from scholars who bring with them an impressive array of disciplinary expertise, from film studies and philosophy to musicology, pornography, digital gaming, and media studies, the book charts new territory by analyzing what it calls the “media swirl” and the “audiovisual turn.” It draws on a range of media texts including blockbuster cinema, video art, music videos, video games, amateur video compilations, visualization techn

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25

VanCour, Shawn. Making Radio. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190497118.001.0001.

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The opening decades of the twentieth century witnessed a profound transformation in the history of modern sound media, with workers in US film, radio, and record industries developing pioneering production methods and performance styles tailored to emerging technologies of electric sound reproduction that directly shaped dominant forms and experiences of modern sound culture. Focusing on broadcasting’s initial expansion period during the 1920s, Making Radio explores the forms of creative labor pursued for the medium before the better-known network era of the 1930s and 1940s, assessing their ro

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26

Lange, Barbara Rose. Local Fusions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.001.0001.

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Local Fusions: Folk Music Experiments in Central Europe at the Millennium explores musical life in Hungary, Slovakia, and Austria between the end of the Cold War and the world financial crisis of 2008. It describes how artists made new social commentary and tried new ways of working together as the political and economic atmosphere changed. The book presents case studies from Budapest, Bratislava, and Vienna, drawing from ethnographic research and from conversations about the arts in Central European publications. The case studies illustrate how young musicians redefined a Central European his

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27

Rodríguez, Richard T. A Kiss across the Ocean. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478023180.

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In A Kiss across the Ocean Richard T. Rodríguez examines the relationship between British post-punk musicians and their Latinx audiences in the United States since the 1980s. Melding memoir with cultural criticism, Rodríguez spotlights a host of influential bands and performers including Siouxsie and the Banshees, Adam Ant, Bauhaus, Soft Cell, Frankie Goes to Hollywood, and Pet Shop Boys. He recounts these bands’ importance for him and other Latinx kids and discusses their frequent identification with these bands’ glamorous performance of difference. Whether it was Siouxsie Sioux drawing inspi

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28

Mildenberg, Ariane, and Patricia Novillo-Corvalán, eds. Virginia Woolf, Europe, and Peace. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979350.001.0001.

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Virginia Woolf, Europe, and Peace: Transnational Circulations enlarges our understanding of Virginia Woolf’s pacifist ideology and aesthetic response to the World Wars by re-examining her writings and cultural contexts transnationally and comparatively through the complex interplay between modernism, politics, and aesthetics. The “transnational” paradigm that undergirds this collection revolves around the idea of transnational cultural communities of writers, artists, and musicians worldwide who were intellectually involved in the war effort through the forging of pacifist cultural networks th

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29

Bangha, Imre, and Danuta Stasik, eds. Literary Cultures in Early Modern North India. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192889348.001.0001.

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Abstract Literary Cultures in Early Modern North India: Current Research grows out of over a 40-year tradition of the triennial International Conferences on Early Modern Literatures in North India (ICEMLNI), initiated to share ‘Bhakti in current research’. This volume brings together a selection of contributions from some of the leading scholars as well as emerging researchers in the field, originally presented at the 13th ICEMLNI (University of Warsaw, 18–22 July 2018). ICEMLNI have become an established forum for scholars working on literary cultures of the early modernity, conceived broadly

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30

Iyer, Usha. Dancing Women. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938734.001.0001.

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Dancing Women: Choreographing Corporeal Histories of Hindi Cinema, an ambitious study of two of South Asia’s most popular cultural forms—cinema and dance—historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic an

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31

Kemper, Jakko. Frictionlessness. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9798765104439.

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Frictionlessness provides an examination of the environmentally destructive digital design philosophy of "frictionlessness" and the critical significance of a technological aesthetic of imperfection. If there is one thing that defines digital consumer technologies today, it is that they are designed to feel frictionless. From smart technologies to cloud computing, from from one-click shopping to the promise of seamless streaming—digital technology is framed to host ever-faster operations while receding increasingly into the background of perception. The environmental costs of this fetishizatio

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