Live and Recorded

Music Experience in the Digital Millennium

Nonfiction, Social & Cultural Studies, Social Science, Cultural Studies, Popular Culture, Entertainment, Music
Cover of the book Live and Recorded by Yngvar Kjus, Springer International Publishing
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Author: Yngvar Kjus ISBN: 9783319703688
Publisher: Springer International Publishing Publication: February 9, 2018
Imprint: Palgrave Macmillan Language: English
Author: Yngvar Kjus
ISBN: 9783319703688
Publisher: Springer International Publishing
Publication: February 9, 2018
Imprint: Palgrave Macmillan
Language: English

This book uncovers how music experience–live and recorded–is changing along with the use of digital technology in the 2000s. Focussing on the Nordic region, this volume utilizes the theory of mentalization: the capacity to perceive and interpret what others are thinking and feeling, and applies it to the analysis of mediated forms of agency in popular music. The rise of new media in music production has enabled sound recording and processing to occur more rapidly and in more places, including the live concert stage. Digital technology has also introduced new distribution and consumption technologies that allow record listening to be more closely linked to the live music experience. The use of digital technology has therefore facilitated an expanding range of activities and experiences with music. Here, Yngvar Kjus addresses a topic that has a truly global reach that is of interest to scholars of musicology, media studies and technology studies.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

This book uncovers how music experience–live and recorded–is changing along with the use of digital technology in the 2000s. Focussing on the Nordic region, this volume utilizes the theory of mentalization: the capacity to perceive and interpret what others are thinking and feeling, and applies it to the analysis of mediated forms of agency in popular music. The rise of new media in music production has enabled sound recording and processing to occur more rapidly and in more places, including the live concert stage. Digital technology has also introduced new distribution and consumption technologies that allow record listening to be more closely linked to the live music experience. The use of digital technology has therefore facilitated an expanding range of activities and experiences with music. Here, Yngvar Kjus addresses a topic that has a truly global reach that is of interest to scholars of musicology, media studies and technology studies.

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