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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.
About the Author
Sumanth Gopinath is Associate Professor of Music Theory at the University of Minnesota and the author of The Ringtone Dialectic: Economy and Cultural Form (2013). His writings on Steve Reich, musical minimalism, Marxism, academic politics, ringtones, Bob Dylan, and Benjamin Britten have appeared in scholarly journals including Music Theory Spectrum, Journal of the Society for American Music, and First Monday, and in the edited collections Sound Commitments, Highway 61 Revisited, and Music and Narrative since 1900.
Jason Stanyek is Associate Professor of Ethnomusicology at the University of Oxford, where he is also Fellow and Tutor in Music at St John's College. His writings on Brazilian music, improvisation, music technology, and jazz have appeared in a range of academic journals and edited collections. Forthcoming books include a monograph on music and dance in the Brazilian diaspora and a volume (co-edited with Frederick Moehn) titled Brazil's Northern Wave: Fifty Years of Bossa Nova in the United States.
Table of Contents
1. The Mobilization of Performance: An Introduction to the Aesthetics of Mobile Music
Sumanth Gopinath and Jason Stanyek
Part I: Frequency-Range Aesthetics
2. Treble Culture
3. Of Sirens Old and New
Part II: Sounding Transport
4. "Cars With the Boom": Music, Automobility, and Hip-hop "Sub" Cultures
5. Ding, Ding!: The Commodity Aesthetic of Ice Cream Truck Music
Daniel T. Neely
6. There must be some relatIon beTween mushrOoms and trains: Alvin Curran's Boletus Edulis-Musica Pendolare
Part III: Walking and Bodily Choreography
7. Polyphonies of Footsteps
8. Soundwalking: Creating Moving Environmental Sound Narratives
9. Gestural Choreographies: Embodied Disciplines and Digital Media
Part IV: Dance and Dance Musics
10. (In)Visible Mediators: Urban Mobility, Interface Design, and the Disappearing Computer in Berlin-Based Laptop Performances
Mark J. Butler
11. Turning the Tables: Digital Technologies and the Remixing of DJ Culture
Christine Zanfagna and Levitt Brandin, Kate
12. Dancing Silhouettes: The Mobile Freedom of iPod Commercials
Justin D. Burton
Part V: Popular Music Production
13. Music, Mobility, and Distributed Recording Production in Turkish Political Music
14. Rhythms of Relation: Black Popular Music and Mobile Technologies
Part VI: Gaming Aesthetics
15. A History of Handheld and Mobile Video Game Sound
16. The Chiptuning of the World: Game Boys, Imagined Travel, and Musical Meaning
17. Rhythm Heaven: Video Games, Idols, and Other Experiences of Play
Part VII: Mobile Music Instruments
18. The Mobile Phone Orchestra
Ge Wang, Georg Essl, and Henri Penttinen
19. Creative Applications of Interactive Mobile Music
20. Music-Making and the iPhone: Notes From An Academic Entrepreneur