In Mediatization in Popular Music Recorded Artifacts: Performance on Record and on Screen, the relationship between performance, technological mediation, and the sense of live presence is investigated through a series of case studies related to popular music products. Alessandro Bratus explores technological mediation as a process of authentication that involves a chain of interconnected instances that have their roots in the cultural context in which the media products are designed to be marketed, and that also shape its recording technique and post-production. The book analyzes posthumous records, a peculiar case of the organization of recorded tracks made in absentia of their original performers that puts forward the possibility of an “otherworldly” collaboration between the living and the dead. Bratus also argues that the crucial significance of live performance for the construction of a personal, intimate relationship between performers and audiences reverberates in the audiovisual construction of the filmed concert, in which the spectator is put in the position of a witness rather than an active participant.

The use of historical recordings as primary sources is relatively well established in both musicology and performance studies and has demonstrated how early recording technologies transformed the ways in which musicians and audiences engaged with music. This edited volume offers a timely snapshot of a wide range of contemporary research in the area of performance practice and performance histories, inviting readers to consider the wide range of research methods that are used in this ever-expanding area of scholarship. The volume brings together a diverse team of researchers who all use early recordings as their primary source to research performance in its broadest sense in a wide range of repertoires within and on the margins of the classical canon – from the analysis of specific performing practices and parameters in certain repertoires, to broader contextual issues that call attention to the relationship between recorded performance and topics such as analysis, notation and composition. Including a range of accessible music examples, which allow readers to experience the music under discussion, this book is designed to engage with academic and non-academic readers alike, being an ideal research aid for students, scholars and performers, as well as an interesting read for early sound recording enthusiasts.

Global Popular Music: A Research and Information Guide offers an essential annotated bibliography of scholarship on popular music around the world in a two-volume set. Featuring a broad range of subjects, people, cultures, and geographic areas, and spanning musical genres such as traditional, folk, jazz, rock, reggae, samba, rai, punk, hip-hop, and many more, this guide highlights different approaches and discussions within global popular music research. This research guide is comprehensive in scope, providing a vital resource for scholars and students approaching the vast amount of publications on popular music studies and popular music traditions around the world. Thorough cross-referencing and robust indexes of genres, places, names, and subjects make the guide easy to use. Volume 1, Global Perspectives in Popular Music Studies, situates popular music studies within global perspectives and geocultural settings at large. It offers over nine hundred in-depth annotated bibliographic entries of interdisciplinary research and several topical categories that include analytical, critical, and historical studies; theory, methodology, and musicianship studies; annotations of in-depth special issues published in scholarly journals on different topics, issues, trends, and music genres in popular music studies that relate to the contributions of numerous musicians, artists, bands, and music groups; and annotations of selected reference works.

Sounds of the Pandemic offers one of the first critical analyses of the changes in sonic environments, artistic practice, and listening behaviour caused by the Coronavirus outbreak. This multifaceted collection provides a detailed picture of a wide array of phenomena related to sound and music, including soundscapes, music production, music performance, and mediatisation processes in the context of COVID-19. It represents a first step to understanding how the pandemic and its by-products affected sound domains in terms of experiences and practices, representations, collective imaginaries, and socio-political manipulations. This book is essential reading for students, researchers, and practitioners working in the realms of music production and performance, musicology and ethnomusicology, sound studies, and media and cultural studies.

Researching Live Music offers an important contribution to the emergent field of live music studies. Featuring paradigmatic case studies, this book is split into four parts, first addressing perspectives associated with production, then promotion and consumption, and finally policy. The contributors to the book draw on a range of methodological and theoretical positions to provide a critical resource that casts new light on live music processes and shows how live music events have become central to raising and discussing broader social and cultural issues. Their case studies expand our knowledge of how live music events work and extend beyond the familiar contexts of the United States and United Kingdom to include examples drawn from Argentina, Australia, France, Jamaica, Japan, New Zealand, Switzerland, and Poland. Researching Live Music is the first comprehensive review of the different ways in which live music can be studied as an interdisciplinary field, including innovative approaches to the study of historic and contemporary live music events. It represents a crucial reading for professionals, students, and researchers working in all aspects of live music.

For a century and more, the idea of democracy has fuelled musicians’ imaginations. Seeking to go beyond music’s proven capacity to contribute to specific political causes, musicians have explored how aspects of their practice embody democratic principles. This may involve adopting particular approaches to compositional material, performance practice, relationships to audiences, or modes of dissemination and distribution. Finding Democracy in Music is the first study to offer a wide-ranging investigation of ways in which democracy may thus be found in music. A guiding theme of the volume is that this takes place in a plurality of ways, depending upon the perspective taken to music’s manifold relationships, and the idea of democracy being entertained. Contributing authors explore various genres including orchestral composition, jazz, the post-war avant-garde, online performance, and contemporary popular music, as well as employing a wide array of theoretical, archival, and ethnographic methodologies. Particular attention is given to the contested nature of democracy as a category, and the gaps that frequently arise between utopian aspiration and reality. In so doing, the volume interrogates a key way in which music helps to articulate and shape our social lives and our politics.

This study investigates the idea and practice of liveness in modern music. Understanding what makes music live in an ever-changing musical and technological terrain is one of the more complex and timely challenges facing scholars of current music, where liveness is typically understood to represent performance and to stand in opposition to recording, amplification, and other methods of electronically mediating music. The book argues that liveness itself emerges from dynamic tensions inherent in mediated musical contexts—tensions between music as an acoustic human utterance, and musical sound as something produced or altered by machines. Sanden analyzes liveness in mediatized music (music for which electronic mediation plays an intrinsically defining role), exploring the role this concept plays in defining musical meaning. In discussions of music from both popular and classical traditions, Sanden demonstrates how liveness is performed by acts of human expression in productive tension with the electronic machines involved in making this music, whether on stage or on recording. Liveness is not a fixed ontological state that exists in the absence of electronic mediation, but rather a dynamically performed assertion of human presence within a technological network of communication. This book provides new insights into how the ideas of performance and liveness continue to permeate the perception and reception of even highly mediatized music within a society so deeply invested, on every level, with the use of electronic technologies.