Adorno believed that a circular relationship was established between immediacy and mediation. Should we now say that this model with its clear Hegelian influence is outdated? Or does it need some theoretical integration? This volume addresses these questions by covering the performance of music, its technological reproduction and its modes of communication – in particular, pedagogy and dissemination through the media. Each of the book’s four parts deal with different aspects of the mediation process. The contributing authors outline the problematic moments in Adorno’s reasoning but also highlight its potential. In many chapters the pole of immediacy is explicitly brought into play, its different manifestations often proving to be fundamental for the understanding of mediation processes. The prime reference sources are Adorno’s Current of Music, Towards a Theory of Musical Reproduction and Composing for the Films. Critical readings of these texts are supplemented by reflections on performance studies, media theories, sociology of listening, post-structuralism and other contiguous research fields.

Music is an accumulation of mediators: instruments, languages, sheets, performers, scenes, media and so on. Learning from music - this art of infinite mediations - allows us to confront sociology with a different way of considering objects. For this task, Hennion draws on aesthetics, art history, science, technology and popular music studies. He shows us that music is a collective process, which must always be performed again and again. As part of that project, he presents a wide-ranging series of case studies, restoring attention to the rich and varied intermediaries through which music is brought to life. This is the first English translation of one of the most important works of French scholarship on music and society.

How do musicians play and talk to audiences? Why do audiences listen and what happens when they talk back? How do new (and old) technologies affect this interplay? This book presents a long overdue examination of the turbulent relationship between musicians and audiences. Focusing on a range of areas as diverse as Ireland, Greece, India, Malta, the US, and China, the contributors bring musicological, sociological, psychological, and anthropological approaches to the interaction between performers, fans, and the industry that mediates them. The four parts of the book each address a different stage of the relationship between musicians and audiences, showing its processual nature: from conceptualisation to performance, and through mediation to off-stage discourses. The musician/audience conceptual division is shown, throughout the book, to be as problematic as it is persistent.

This book explores how transformations and translations shape musical meanings, developments and the perception of music across cultures. Starting with the concept of music as multimodal text, the author understands translation as the process of transferring a text from one language – verbal or not – into another, interlingually, intralingually or intersemiotically, as well as the products that are derived from this process. She situates music and translation within their contemporary global context, examining the tensions between local and global, cosmopolitan and national, and universal and specific settings, to arrive at a celebration of the translational power of music and an in-depth study of how musical texts are translated. This book will be of interest to translation studies scholars who want to broaden their horizons, as well as to musicians and music scholars seeking to understand how cultural exchange and dissemination can be driven by translation.

In 2007, an unlikely troupe of 1500 Filipino prisoners became Internet celebrities after their YouTube video of Michael Jackson's ground-breaking hit 'Thriller' went viral. Taking this spectacular dance as a point of departure, Dangerous Mediations explores the disquieting development of prisoners performing punishment to a global, online audience. Combining analysis of this YouTube video with first-hand experiences from fieldwork in the Philippine prison, Áine Mangaoang investigates a wide range of interlocking contexts surrounding this user-generated text to reveal how places of punishment can be transformed into spaces of spectacular entertainment, leisure, and penal tourism. In the post-YouTube era, Dangerous Mediations sounds the call for close readings of music videos produced outside of the corporate culture industries. By connecting historical discussions on postcolonialism, surveillance and prison philosophy with contemporary scholarship on popular music, participatory culture and new media, Dangerous Mediations is the first book to ask critical questions about the politics of pop music and audiovisual mediation in early 21st-century detention centres.

In Death, Materiality and Mediation, Barbara Graham analyzes a diverse range of objects associated with remembrance in both the public and private arenas through ethnography of communities on both sides of the Irish border. In doing so, she explores the materially mediated interactions between the living and the dead, revealing the physical, cognitive, emotional, and spiritual roles of the dead in contemporary communities. Through this study, Graham expands the concept of materiality to include narrative, song, senses, emotions, ephemera and embodied experience. She also examines how modern practices are informed by older beliefs and folk religion.

This volume explores how the choruses of Ancient Greek tragedy creatively combined media and discourses to generate their own specific forms of meaning. The contributors analyse choruses as fictional, religious and civic performers; as combinations of text, song and dance; and as objects of reflection in themselves, in relation and contrast to the choruses of comedy and melic poetry. Drawing on earlier analyses of the social context of Greek drama, the non-textual dimensions of tragedy, and the relations between dramatic and melic choruses, the chapters explore the uses of various analytic tools in allowing us better to capture the specificity of the tragic chorus. Special attention is given to the physicality of choral dancing, musical interactions between choruses and actors, the trajectories of reception, and the treatment of time and space in the odes.