The Oxford Handbook of Music and Virtuality (Oxford Handbooks)

Has the virtual invaded the realm of the real, or has the real expanded its definition to include what once was characterized as virtual? With the continual evolution of digital technology, this distinction grows increasingly hazy. But perhaps the distinction has become obsolete; perhaps it is time to pay attention to the intersections, mutations, and transmigrations of the virtual and the real. Certainly it is time to reinterpret the practice and study of music. The Oxford Handbook of Music and Virtuality , edited by Sheila Whiteley and Shara Rambarran, is the first book to offer a kaleidoscope of interdisciplinary perspectives from scholars around the globe on the way in which virtuality mediates the dissemination, acquisition, performance, creation, and reimagining of music. The Oxford Handbook of Music and Virtuality addresses eight themes that often overlap and interact with one another. Questions of the role of the audience, artistic agency, individual and communal identity, subjectivity, and spatiality repeatedly arise. Authors specifically explore phenomena including holographic musicians and virtual bands, and the benefits and detriments surrounding the free circulation of music on the internet. In addition, the book investigates the way in which fans and musicians negotiate gender identities as well as the dynamics of audience participation and community building in a virtual environment. The handbook rehistoricizes the virtual by tracing its progression from cartoons in the 1950s to current industry innovations and changes in practice. Well-grounded and wide-reaching, this is a book that students of any number of disciplines, from Music to Cultural Studies, have awaited. This Work, Edited By Sheila Whiteley And Shara Rambarran, Brings Together A Multidisciplinary Group Of Scholars Who Address Issues Such As Artistic Agency, The Relationship Between Reality And Illusion Or Simulation, And The Construction Of Musical Personae, Subjectivities, And Identities In A Virtual World. Part 1 The Pre-digital Virtual -- Seventeenth Heaven: Virtual Listening And Its Discontents / Christian Lloyd -- Nothing Is Real: The Beatles As Virtual Performers / Philip Auslander And Ian Inglis -- Tom, Jerry And The Virtual Virtuoso / Sheila Whiteley -- Bring That Beat Back: Sampling As Virtual Collaboration / Rowan Oliver -- 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 -- Vocaloids And Japanese Virtual Vocal Performance: The Cultural Heritage And Technological Futures Of Vocal Puppetry / Louise H. Jackson And Mike Dines -- Hatsune Miku And Japanese Virtual Idols /rafal Zaborowski -- Hatsune Miku, 2.0pac And Beyond: Rewinding And Fast-forwarding The Virtual Pop Star / Thomas Conner -- Feel Good With Gorillaz And Reject False Icons: The Fantasy Worlds Of The Virtual Group And Their Creators / Shara Rambarran -- Part 3 Second Life --^ Avatar Rockstars: Constructing Musical Personae In Virtual Worlds / Trevor S. Harvey -- Performing Live In Second Life / Justin Gagen And Nicholas Cook -- Live Opera Performance In Second Life: Challenging Producers, Performers And The Audience / Marco Antonio Chávez-aguayo -- Part 4 Authorship, Creativity And Musicianship -- We Are, The Colors: Collaborative Narration And The Experimental Construction Of A Non-existent Band / Alon Ilsar And Charles Fairchild -- Music In Perpetual Beta: Composition, Remediation, And Closure / Paul Draper And Frank Millward -- Justin Bieber Featuring Slipknot: Consumption As Mode Of Production / Ragnhild Brøvig-hanssen -- Human After All: Understanding Negotiations Of Artistic Identity Through The Music Of Daft Punk / Cora S. Palfy -- Virtual Bands: Recording Music Under The Big Top / David Tough -- Part 5 Communities And The World-wide-web -- Uploading To Carnegie Hall: The First Youtube Symphony Orchestra / Shzr Ee Tan --^ The Listener As Remixer: Mix Stems In Online Fan Community And Competition Contexts / Samantha Bennett -- Sample Sharing: Virtual Laptop Ensemble Communities / Benjamin O'brien -- Stone Tapes: Ghost Box, Nostalgia, And Post-war England / David Pattie -- From Hypnagogia To Distroid: Postironic Musical Renderings Of Personal Memory / Adam Trainer -- Bands In Virtual Spaces, Social Networking And Masculinity / Danijela Bogdanovic -- Part 6 Sonic Environments And Musical Experience -- From Environmental Sound To Virtual Environment Enhancing: Consuming Ambiance As Listening Practice / Thomas Brett -- App Music / Jeremy Wade Morris -- Alternative Virtuality: Independent Micro Labels Facing The Ideological Challenge Of Virtual Music Culture: The Case Of Finnish Ektro Records / Juho Kaitajärvi-tiekso -- Everybody Knows There Is Here: Surveying The Indexi-local In Cbc Radio 3 / Michael Audette-longo --^ Mind Usurps Program: Virtuality And The New Machine Aesthetic Of Electronic Dance Music / Benjamin Halligan -- Part 7 Participatory Culture And Fundraising -- Virtual Music, Virtual Money: The Impact Of Crowdfunding Models On Creativity, Authorship And Identity / Mark Thorley -- With A Little Help From My Friends, Family And Fans: Diy, Participatory Culture And Social Capital In Music Crowdfunding / Francesco D'amato -- 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 / Edited By Paul Carr -- Part 9 Glossary / Edited By Shara Rambarran -- Index. Edited By Sheila Whiteley And Shara Rambarran. Series Statement From Dust Jacket. Includes Bibliographical References And Index. The Oxford Handbook of Music and Virtuality 4 Copyright 5 Dedication 6 Contents 8 Figures and Tables 12 Preface 16 Foreword—Andy Bennett 18 Acknowledgments 22 Contributors 24 About the Companion Website 34 Introduction 38 PART ONE The Pre-digital Virtual 48 1. “Seventeenth Heaven”: Virtual Listening and Its Discontents 54 2. “Nothing Is Real”: The Beatles as Virtual Performers 72 3. Tom, Jerry, and the Virtual Virtuoso 89 4. Bring That Beat Back: Sampling as Virtual Collaboration 102 5. An Analysis of Virtuality in the Creation and Reception of the Music of Frank Zappa 118 PART TWO Vocaloids, Holograms, and Virtual Pop Stars 134 6. Vocaloids and Japanese Virtual Vocal Performance: The Cultural Heritage and Technological Futures of Vocal Puppetry 138 7. Hatsune Miku and Japanese Virtual Idols 148 8. Hatsune Miku, 2.0Pac, and Beyond: Rewinding and Fast-Forwarding the Virtual Pop Star 166 9. “Feel Good” with Gorillaz and “Reject False Icons”: The Fantasy Worlds of the Virtual Group and Their Creators 185 PART THREE Second Life 204 10. Avatar Rockstars: Constructing Musical Personae in Virtual Worlds 208 11. Performing Live in Second Life 228 12. Live Opera Performance in Second Life: Challenging Producers, Performers, and the Audience 247 PART FOUR Authorship, Creativity, and Musicianship 264 13. “We Are, The Colors”: Collaborative Narration and Experimental Construction of a Nonexistent Band 270 14. Music in Perpetual Beta: Composition, Remediation, and “Closure” 285 15. Justin Bieber Featuring Slipknot: Consumption as Mode of Production 303 16. Human After All: Understanding Negotiations of Artistic Identity through the Music of Daft Punk 319 17. Virtual Bands: Recording Music under the Big Top 343 PART FIVE Communities and the World Wide Web 364 18. “Uploading” to Carnegie Hall: The First YouTube Symphony Orchestra 372 19. The Listener as Remixer: Mix Stems in Online Fan Community and Competition Contexts 392 20. Sample Sharing: Virtual Laptop Ensemble Communities 414 21. Stone Tapes: Ghost Box, Nostalgia, and Postwar Britain 429 22. From Hypnagogia to Distroid: Postironic Musical Renderings of Personal Memory 446 23. Bands in Virtual Spaces, Social Networking, and Masculinity 465 PART SIX Sonic Environments and Musical Experience 486 24. From Environmental Sound to Virtual Environment Enhancing: Consuming Ambiance as Listening Practice 492 25. App Music 514 26. Alternative Virtuality: Independent Micro Labels Facing the Ideological Challenge of Virtual Music Culture—The Case of Finnish Ektro Records 532 27. Everybody Knows There Is Here: Surveying the Indexi-local in CBC Radio 3 551 28. Mind Usurps Program: Virtuality and the “New Machine Aesthetic” of Electronic Dance Music 566 PART SEVEN Participatory Culture and Fundraising 588 29. Virtual Music, Virtual Money: The Impact of Crowdfunding Models on Creativity, Authorship, and Identity 594 30. With a Little Help from My Friends, Family, and Fans: DIY, Participatory Culture, and Social Capital in Music Crowdfunding 610 31. Music and Crowdfunded Websites: Digital Patronage and Artist-Fan Interactivity 630 Authors’ Blog: Final Thoughts on Music and Virtuality 650 Glossary 668 Index 684 Has the virtual invaded the realm of the real, or has the real expanded its definition to include what once was characterized as virtual? With the continual evolution of digital technology, this distinction grows increasingly hazy. But perhaps the distinction has become obsolete; perhaps it is time to pay attention to the intersections, mutations, and transmigrations of the virtual and the real. Certain it is time to reinterpret the practice and study of music. The Oxford Handbook of Music and Virtuality, edited by Shelia Whiteley and Shara Rambarran, is the first book to offer a kaleidoscope of interdisciplinary perspectives from scholars around the globe on the way in which virtuality mediates the dissemination, acquisition, performance, creation, and reimagining of music. The Oxford Handbook of Music and Virtuality addresses eight themes that often overlap and interact with one another. Questions of the role of the audience, artistic agency, individual and communal identity, subjectivity, and spatiality repeatedly arise. Authors specifically explore phenomena including holographic musicians and virtual bands, and the benefits and detriments surrounding the free circulation of music on the internet. In addition, the book investigates the way in which fans and musicians negotiate gender identities as well as the dynamics of audience participation and community building in a virtual environment. The handbook rehistoricizes the virtual by tracing its progression from cartoons in the 1950s to current industry innovations and changes in practice. Well-grounded and wide-reaching, this is a book that students of any number of disciplines, from Music to Cultural Studies, have awaited Has the virtual invaded the realm of the real, or has the real expanded its definition to include what once was characterized as virtual? With the continual evolution of digital technology, this distinction grows increasingly hazy. But perhaps the distinction has become obsolete; perhaps it is time to pay attention to the intersections, mutations, and transmigrations of the virtual and the real. Certainly it is time to reinterpret the practice and study of music., edited by Sheila Whiteley and Shara Rambarran, is the first book to offer a kaleidoscope of interdisciplinary perspectives from scholars around the globe on the way in which virtuality mediates the dissemination, acquisition, performance, creation, and reimagining of music.__The Oxford Handbook of Music and Virtuality__ 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