Holly Rogers

Joana Freitas

João Francisco Porfírio

Remediating Sound studies the phenomena of remixing, mashup and recomposition: forms of reuse and sampling that have come to characterise much of YouTube's audiovisual content. Through collaborative composition, collage and cover songs to reaction videos and political activism , users from diverse backgrounds have embraced the democratised space of YouTube to open up new and innovative forms of sonic creativity and push the boundaries of audiovisual possibilities. Observing the reciprocal flow of influence that runs between various online platforms, 12 chapters position YouTube as a central hub for the exploration of digital sound, music and the moving image. With special focus on aspects of networked creativity that remain overlooked in contemporary scholarship, including library music, memetic media, artificial intelligence, the sonic arts and music fandom, this volume offers interdisciplinary insight into contemporary audiovisual culture.

Repeatable Culture, YouTube and Music

Remediating Sound

YouTube has afforded new ways of documenting, performing and circulating musical creativity. This first sustained exploration of YouTube and music shows how record companies, musicians and amateur users have embraced YouTube's potential to promote artists, stage performances, build artistic (cyber)identity, initiate interactive composition, refresh music pedagogy, perform fandom, influence musical tourism and soundtrack our everyday lives. Speaking from a variety of perspectives, musicologists, film scholars, philosophers, new media theorists, cultural geographers and psychologists use case studies to situate YouTube as a vital component of contemporary musical culture. This book works together with its companion text Remediating Sound: Repeatable Culture, YouTube and Music.

Online Culture and Everyday Life

YouTube and Music

Stephen Graham

Tim Rutherford-Johnson

Tom Perchard

"Introduction Steve Reich pitched up in San Francisco in September 1961. He was a young musician, one who had been taken by the early-century work of the Hungarian composer and folklorist Béla Bartók, and he had journeyed west from New York in the hope of studying with Leon Kirchner, a composer in the rough-lyric Bartók tradition who'd been teaching at Mills College. But Kirchner had just left for Harvard, so Reich ended up working at Mills under Luciano Berio. Over the course of the previous decade, Berio had become identified as a figurehead of the European post-war avant-garde: his ultramodern serialist work was quite a different proposition to Kirchner's own"--

Twentieth-Century Music in the West

Carol Vernallis

Jonathan Leal

Selmin Kara

We're experiencing a time when digital technologies and advances in artificial intelligence, robotics, and big data are redefining what it means to be human. How do these advancements affect contemporary media and music? This collection traces how media, with a focus on sound and image, engages with these new technologies. It bridges the gap between science and the humanities by pairing humanists' close readings of contemporary media with scientists' discussions of the science and math that inform them. This text includes contributions by established and emerging scholars performing across-the-aisle research on new technologies, exploring topics such as facial and gait recognition; EEG and audiovisual materials; surveillance; and sound and images in relation to questions of sexual identity, race, ethnicity, disability, and class and includes examples from a range of films and TV shows including Blade Runner, Black Mirror, Mr. Robot, Morgan, Ex Machina, and Westworld. Through a variety of critical, theoretical, proprioceptive, and speculative lenses, the collection facilitates interdisciplinary thinking and collaboration and provides readers with ways of responding to these new technologies.

Explorations in Science, Sound, and Vision

Cybermedia

Lisa Perrott

Transmedia Directors focuses on artist-practitioners who work across media, platforms and disciplines, including film, television, music video, commercials and the internet. Working in the age of media convergence, today's em/impresarios project a distinctive style that points toward a new contemporary aesthetics. The media they engage with enrich their practices – through film and television (with its potential for world-building and sense of the past and future), music video (with its audiovisual aesthetics and rhythm), commercials (with their ability to project a message quickly) and the internet (with its refreshed concepts of audience and participation), to larger forms like restaurants and amusement parks (with their materiality alongside today's digital aesthetics). These directors encourage us to reassess concepts of authorship, assemblage, transmedia, audiovisual aesthetics and world-building. Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners' collaborative processes as well as strategies for composition, representation, subversion and resistance.

Artistry, Industry and New Audiovisual Aesthetics

Transmedia Directors

Jeremy Barham

This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the USA through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing.

The Music and Sound of Experimental Film

This collection of fourteen essays provides a rich and detailed history of the relationship between and music and image in documentary films, exploring the often overlooked role of music in the genre and its subsequent impact on an audience’s perception of reality and fiction. Exploring examples of documentary films which make use of soundtrack music, from an interdisciplinary perspective, Music and Sound in Documentary Film is the first in-depth treatment on the use of music in the nonfiction film and will appeal to scholars and students working in the intersection of music and film and media studies.

Music and Sound in Documentary Film

Sounding the Gallery argues that early video art is an audiovisual genre. The new video technology not only enabled artists to sound their visual work and composers to visualise their music during the 1960s: it also initiated a spatial form of engagement that encouraged new relationships between art / music practices and their audiences.

Holly Rogers

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