Anahid Kassabian
- Published in print:
- 2013
- Published Online:
- September 2016
- ISBN:
- 9780520275157
- eISBN:
- 9780520954861
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520275157.003.0001
- Subject:
- Music, Theory, Analysis, Composition
In this chapter, I consider the general question of ubiquitous listening, with a particular focus on how music is imagined in “homes of the future” at the beginning of the twenty-first century and ...
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In this chapter, I consider the general question of ubiquitous listening, with a particular focus on how music is imagined in “homes of the future” at the beginning of the twenty-first century and ten years later. The connections and differences among wearable computing, pervasive computing, and smartphone apps lead me to argue that new issues of size and time are arising, as well as new focuses for the study of music.Less
In this chapter, I consider the general question of ubiquitous listening, with a particular focus on how music is imagined in “homes of the future” at the beginning of the twenty-first century and ten years later. The connections and differences among wearable computing, pervasive computing, and smartphone apps lead me to argue that new issues of size and time are arising, as well as new focuses for the study of music.
Anahid Kassabian
- Published in print:
- 2013
- Published Online:
- September 2016
- ISBN:
- 9780520275157
- eISBN:
- 9780520954861
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520275157.001.0001
- Subject:
- Music, Theory, Analysis, Composition
In this book, the author argues that the ubiquity of music in contemporary life has led to a different kind of listening, in which a range of listenings, across ranges of attention and affect, lead ...
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In this book, the author argues that the ubiquity of music in contemporary life has led to a different kind of listening, in which a range of listenings, across ranges of attention and affect, lead to the development of fields of distributed subjectivity. These fields are not limited to humans, but include what might once have been thought of as “objects” of study. The dynamic subjectivity posited here insists on fluidity and motion, on the shared nature of the subjectivity of music and scholar or listener, and on what once was considered stable features of subjects, that is, identities. Moreover, the formation of subjectivity in this sense is conditioned by all senses, but particularly by listening to sound and music, rejecting former visually and verbally based theories as insufficient.Less
In this book, the author argues that the ubiquity of music in contemporary life has led to a different kind of listening, in which a range of listenings, across ranges of attention and affect, lead to the development of fields of distributed subjectivity. These fields are not limited to humans, but include what might once have been thought of as “objects” of study. The dynamic subjectivity posited here insists on fluidity and motion, on the shared nature of the subjectivity of music and scholar or listener, and on what once was considered stable features of subjects, that is, identities. Moreover, the formation of subjectivity in this sense is conditioned by all senses, but particularly by listening to sound and music, rejecting former visually and verbally based theories as insufficient.
Anahid Kassabian
- Published in print:
- 2013
- Published Online:
- September 2016
- ISBN:
- 9780520275157
- eISBN:
- 9780520954861
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520275157.003.0007
- Subject:
- Music, Theory, Analysis, Composition
In the conclusion, I review the central arguments of the chapters, as well as of the book in general. I focus in particular on several issues: that subjectivity is nonindividual, nonhuman, and ...
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In the conclusion, I review the central arguments of the chapters, as well as of the book in general. I focus in particular on several issues: that subjectivity is nonindividual, nonhuman, and aurally constituted, and that it aggregates in a range of flows that are best described as distributed; that music scholarship across fields and disciplines has presumed that listening is attentive, and, therefore, a whole-cloth rethinking of how we study music is in order; that since subjectivity is both distributed and predicated on listening, a whole-cloth rethinking of theories of subjectivities is in order. The fundamental argument (of both the conclusion and the book as a whole) is this: distributed subjectivities are the processes set in motion by the affects that listening to ubiquitous (and other) sounds and musics, with varying kinds and degrees of attention, evokes.Less
In the conclusion, I review the central arguments of the chapters, as well as of the book in general. I focus in particular on several issues: that subjectivity is nonindividual, nonhuman, and aurally constituted, and that it aggregates in a range of flows that are best described as distributed; that music scholarship across fields and disciplines has presumed that listening is attentive, and, therefore, a whole-cloth rethinking of how we study music is in order; that since subjectivity is both distributed and predicated on listening, a whole-cloth rethinking of theories of subjectivities is in order. The fundamental argument (of both the conclusion and the book as a whole) is this: distributed subjectivities are the processes set in motion by the affects that listening to ubiquitous (and other) sounds and musics, with varying kinds and degrees of attention, evokes.
K. E. Goldschmitt
- Published in print:
- 2019
- Published Online:
- October 2019
- ISBN:
- 9780190923525
- eISBN:
- 9780190923563
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190923525.003.0006
- Subject:
- Music, Ethnomusicology, World Music
The success of Brazilian music in a climate of increasing inattention and overstimulation altered the image and brand of Brazil in the global marketplace in the early twenty-first century. This ...
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The success of Brazilian music in a climate of increasing inattention and overstimulation altered the image and brand of Brazil in the global marketplace in the early twenty-first century. This chapter focuses on the contrasting examples of Bebel Gilberto and Seu Jorge, and how they approached their careers in Brazil and abroad. Both artists found their most enduring success through new distribution and licensing channels that privileged cut-up and remixed Brazilian music with clear references to iconic images of a Brazilian past in the international imaginary, especially bossa nova of the 1960s. The strategy of licensing recordings to accompany other forms of consumption is shown to have exaggerated the challenges of musically representing Brazil to an increasingly connected and sensorily crowded world.Less
The success of Brazilian music in a climate of increasing inattention and overstimulation altered the image and brand of Brazil in the global marketplace in the early twenty-first century. This chapter focuses on the contrasting examples of Bebel Gilberto and Seu Jorge, and how they approached their careers in Brazil and abroad. Both artists found their most enduring success through new distribution and licensing channels that privileged cut-up and remixed Brazilian music with clear references to iconic images of a Brazilian past in the international imaginary, especially bossa nova of the 1960s. The strategy of licensing recordings to accompany other forms of consumption is shown to have exaggerated the challenges of musically representing Brazil to an increasingly connected and sensorily crowded world.
