Remediating Sound

Zusatztext For two decades YouTube has both driven and showcased the emerging genres and aesthetics of new digital media. Central to such media is remediation, the transformation of sounds and moving images as they migrate from one genre, platform or technology to another: the result is a cultural practice in which collage, montage and quotation play an essential role, with fixed works and meanings giving way to dynamic, multimodal networking and emergent meaning. Based on the reworking and transformation of existing materials, creativity is redefined as social interaction. Held together by the focus on YouTube, and encompassing a wide range of digital practices and genres from fanvidding and reaction videos to protest videos, SoundCloud rap and vaporwave this multi-authored volume is an indispensable and cutting-edge guide to a technological, social and aesthetic phenomenon that has become a core dimension of life in the 21st century. Informationen zum Autor Holly Rogers is Reader in Music at Goldsmiths, University of London, UK. She is author of Sounding the Gallery: Video and the Rise of Art-Music (2013) and Twentieth Century Music (2021). She is editor of Music and Sound in Documentary Film (2014), The Music and Sound of Experimental Film (2017), Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics (Bloomsbury, 2019), Cybermedia (Bloomsbury, 2021) and The Cambridge Companion to Music Video (2022). Holly is one of the founding editors of Bloomsbury's New Approaches to Sound, Music and Media series and is the founding director of MIT's journal, Sonic Scope: New Approaches to Audiovisual Culture . Joana Freitas is a PhD student in Musicology at NOVA University of Lisbon, Portugal, and a researcher at the Centre for the Study of Sociology and Aesthetics of Music on video game music, audiovisual media and cybercommunities. She recently organised the international conference Like, Subscribe, Share: YouTube, Music and Cyberculture in Lisbon (2020). João Francisco Porfírio is a PhD student in Musicology at NOVA University of Lisbon, Portugal, and a researcher at the Centre for the Study of Sociology and Aesthetics of Music on domestic soundscapes and music in everyday life. He recently organised the international conference Like, Subscribe, Share: YouTube, Music and Cyberculture in Lisbon (2020). Klappentext 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. Vorwort An exploration of YouTube as a platform for remix, reuse, and sampling Zusammenfassung 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 bounda...

Auteur
Holly Rogers is Reader in Music at Goldsmiths, University of London, UK. She is author of Sounding the Gallery: Video and the Rise of Art-Music (2013) and Twentieth Century Music (2021). She is editor of Music and Sound in Documentary Film (2014), The Music and Sound of Experimental Film (2017), Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics (Bloomsbury, 2019), Cybermedia (Bloomsbury, 2021) and The Cambridge Companion to Music Video (2022). Holly is one of the founding editors of Bloomsbury's New Approaches to Sound, Music and Media series and is the founding director of MIT's journal, Sonic Scope: New Approaches to Audiovisual Culture. Joana Freitas is a PhD student in Musicology at NOVA University of Lisbon, Portugal, and a researcher at the Centre for the Study of Sociology and Aesthetics of Music on video game music, audiovisual media and cybercommunities. She recently organised the international conference Like, Subscribe, Share: YouTube, Music and Cyberculture in Lisbon (2020). João Francisco Porfírio is a PhD student in Musicology at NOVA University of Lisbon, Portugal, and a researcher at the Centre for the Study of Sociology and Aesthetics of Music on domestic soundscapes and music in everyday life. He recently organised the international conference Like, Subscribe, Share: YouTube, Music and Cyberculture in Lisbon (2020).

Texte du rabat

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.

Contenu
Preface Jay Bolter, Georgia Institute of Technology, USA Introduction: I feel like I've heard it before: The Musical Echoes of YouTube Holly Rogers, Goldsmiths, University of London, UK, Joana Freitas, CESEM - NOVA FCSH, Portugal, and João Francisco Porfírio, CESEM - NOVA FCSH, Portugal 1. Technology allows more people to do things: Artificial Intelligence, Mashups and Online Musical Creativity Christine Boone, University of North Carolina Asheville, USA, and Brian Drawert, University of North Carolina Asheville, USA 2. From Contagion to Imitation: On Bass Drop Memes, Trolling Repertoires and the Legacy of Gabriel Tarde Edward Katrak Spencer, University of Oxford, UK 3. Sincere, Authentic, Remediated: The Affective Labour and Cross Cultural Remediations of Music Video Reaction Videos on YouTube Michael Goddard, Goldsmiths, University of London, UK 4. Internet Archiving: The Many Lives of Songs in the YouTube Age Henrik Smith Sivertsen, Royal Danish Library, Denmark 5. Listening Through Social Media: Soundscape Composition, Collaboration and Networked Sonic Elongation Holly Rogers, Goldsmiths, University of London, UK 6. Only people with good imagination usually listens to this kind of music: On the Convergence of Musical Tags, Video Games and YouTube in the Epic Genre Joana Freitas, CESEM - NOVA FCSH, Portugal 7. Of Clouds and Vapors: Transcending Ironic Distance in Networked Composition Jonas Wolf, GCSC, Justus-Liebig Universität Gießen, Germany 8. Performing Beyond the Platform: Experiencing Musicking On and Through YouTube, TikTok and Instagram Juan Bermúdez, University of Vienna, Austria 9. Library Music as the Soundtrack of YouTube Júlia Durand, *CESEM - NOV…