@book{gopinath_oxford_2014,
	series = {Oxford {Handbook} of {Mobile} {Music} {Studies}},
	title = {The {Oxford} {Handbook} of {Mobile} {Music} {Studies}, {Volume} 2},
	volume = {2},
	abstract = {The two volumes of The Oxford Handbook of Mobile Music Studies consolidate an area of scholarly inquiry that addresses how mechanical, electrical, and digital technologies and their corresponding economies of scale have rendered music and sound increasingly mobile-portable, fungible, and ubiquitous. At once a marketing term, a common mode of everyday-life performance, and an instigator of experimental aesthetics, "mobile music" opens up a space for studying the momentous transformations in the production, distribution, consumption, and experience of music and sound that took place between the late nineteenth and the early twenty-first centuries. Taken together, the two volumes cover a large swath of the world-the US, the UK, Japan, Brazil, Germany, Turkey, Mexico, France, China, Jamaica, Iraq, the Philippines, India, Sweden-and a similarly broad array of the musical and nonmusical sounds suffusing the soundscapes of mobility.

Volume 2 investigates the ramifications of mobile music technologies on musical/sonic performance and aesthetics. Two core arguments are that "mobility" is not the same thing as actual "movement" and that artistic production cannot be absolutely sundered from the performances of quotidian life. The volume's chapters investigate the mobilization of frequency range by sirens and miniature speakers; sound vehicles such as boom cars, ice cream trucks, and trains; the gestural choreographies of soundwalk pieces and mundane interactions with digital media; dance music practices in laptop and iPod DJing; the imagery of iPod commercials; production practices in Turkish political music and black popular music; the aesthetics of handheld video games and chiptune music; and the mobile device as a new musical instrument and resource for musical ensembles.

Contents:
1. The Mobilization of Performance: An Introduction to the Aesthetics of Mobile Music
Sumanth Gopinath and Jason Stanyek

Part I: Frequency-Range Aesthetics
2. Treble Culture
Wayne Marshall
3. Of Sirens Old and New
Alexander Rehding

Part II: Sounding Transport
4. "Cars With the Boom": Music, Automobility, and Hip-hop "Sub" Cultures
Justin Williams
5. Ding, Ding!: The Commodity Aesthetic of Ice Cream Truck Music
Daniel T. Neely
6. There must be some relatIon beTween mushrOoms and trains: Alvin Curran's Boletus Edulis-Musica Pendolare
Benjamin Piekut

Part III: Walking and Bodily Choreography
7. Polyphonies of Footsteps
Frauke Behrendt
8. Soundwalking: Creating Moving Environmental Sound Narratives
Andra McCartney
9. Gestural Choreographies: Embodied Disciplines and Digital Media
Harmony Bench

Part IV: Dance and Dance Musics
10. (In)Visible Mediators: Urban Mobility, Interface Design, and the Disappearing Computer in Berlin-Based Laptop Performances
Mark J. Butler
11. Turning the Tables: Digital Technologies and the Remixing of DJ Culture
Christine Zanfagna and Levitt Brandin, Kate
12. Dancing Silhouettes: The Mobile Freedom of iPod Commercials
Justin D. Burton

Part V: Popular Music Production
13. Music, Mobility, and Distributed Recording Production in Turkish Political Music
Eliot Bates
14. Rhythms of Relation: Black Popular Music and Mobile Technologies
Alexander Weheliye

Part VI: Gaming Aesthetics
15. A History of Handheld and Mobile Video Game Sound
Karen Collins
16. The Chiptuning of the World: Game Boys, Imagined Travel, and Musical Meaning
Chris Tonelli
17. Rhythm Heaven: Video Games, Idols, and Other Experiences of Play
Miki Kaneda

Part VII: Mobile Music Instruments
18. The Mobile Phone Orchestra
Ge Wang, Georg Essl, and Henri Penttinen
19. Creative Applications of Interactive Mobile Music
Atau Tanaka
20. Music-Making and the iPhone: Notes From An Academic Entrepreneur
Ge Wang},
	publisher = {Oxford University Press},
	editor = {Gopinath, Sumanth and Stanyek, Jason},
	year = {2014}
}

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At once a marketing term, a common mode of everyday-life performance, and an instigator of experimental aesthetics, \"mobile music\" opens up a space for studying the momentous transformations in the production, distribution, consumption, and experience of music and sound that took place between the late nineteenth and the early twenty-first centuries. Taken together, the two volumes cover a large swath of the world-the US, the UK, Japan, Brazil, Germany, Turkey, Mexico, France, China, Jamaica, Iraq, the Philippines, India, Sweden-and a similarly broad array of the musical and nonmusical sounds suffusing the soundscapes of mobility. Volume 2 investigates the ramifications of mobile music technologies on musical/sonic performance and aesthetics. Two core arguments are that \"mobility\" is not the same thing as actual \"movement\" and that artistic production cannot be absolutely sundered from the performances of quotidian life. The volume's chapters investigate the mobilization of frequency range by sirens and miniature speakers; sound vehicles such as boom cars, ice cream trucks, and trains; the gestural choreographies of soundwalk pieces and mundane interactions with digital media; dance music practices in laptop and iPod DJing; the imagery of iPod commercials; production practices in Turkish political music and black popular music; the aesthetics of handheld video games and chiptune music; and the mobile device as a new musical instrument and resource for musical ensembles. Contents: 1. The Mobilization of Performance: An Introduction to the Aesthetics of Mobile Music Sumanth Gopinath and Jason Stanyek Part I: Frequency-Range Aesthetics 2. Treble Culture Wayne Marshall 3. Of Sirens Old and New Alexander Rehding Part II: Sounding Transport 4. \"Cars With the Boom\": Music, Automobility, and Hip-hop \"Sub\" Cultures Justin Williams 5. Ding, Ding!: The Commodity Aesthetic of Ice Cream Truck Music Daniel T. Neely 6. There must be some relatIon beTween mushrOoms and trains: Alvin Curran's Boletus Edulis-Musica Pendolare Benjamin Piekut Part III: Walking and Bodily Choreography 7. Polyphonies of Footsteps Frauke Behrendt 8. Soundwalking: Creating Moving Environmental Sound Narratives Andra McCartney 9. Gestural Choreographies: Embodied Disciplines and Digital Media Harmony Bench Part IV: Dance and Dance Musics 10. (In)Visible Mediators: Urban Mobility, Interface Design, and the Disappearing Computer in Berlin-Based Laptop Performances Mark J. Butler 11. Turning the Tables: Digital Technologies and the Remixing of DJ Culture Christine Zanfagna and Levitt Brandin, Kate 12. Dancing Silhouettes: The Mobile Freedom of iPod Commercials Justin D. Burton Part V: Popular Music Production 13. Music, Mobility, and Distributed Recording Production in Turkish Political Music Eliot Bates 14. Rhythms of Relation: Black Popular Music and Mobile Technologies Alexander Weheliye Part VI: Gaming Aesthetics 15. A History of Handheld and Mobile Video Game Sound Karen Collins 16. The Chiptuning of the World: Game Boys, Imagined Travel, and Musical Meaning Chris Tonelli 17. Rhythm Heaven: Video Games, Idols, and Other Experiences of Play Miki Kaneda Part VII: Mobile Music Instruments 18. The Mobile Phone Orchestra Ge Wang, Georg Essl, and Henri Penttinen 19. Creative Applications of Interactive Mobile Music Atau Tanaka 20. Music-Making and the iPhone: Notes From An Academic Entrepreneur Ge Wang","publisher":"Oxford University Press","editor":[{"propositions":[],"lastnames":["Gopinath"],"firstnames":["Sumanth"],"suffixes":[]},{"propositions":[],"lastnames":["Stanyek"],"firstnames":["Jason"],"suffixes":[]}],"year":"2014","bibtex":"@book{gopinath_oxford_2014,\n\tseries = {Oxford {Handbook} of {Mobile} {Music} {Studies}},\n\ttitle = {The {Oxford} {Handbook} of {Mobile} {Music} {Studies}, {Volume} 2},\n\tvolume = {2},\n\tabstract = {The two volumes of The Oxford Handbook of Mobile Music Studies consolidate an area of scholarly inquiry that addresses how mechanical, electrical, and digital technologies and their corresponding economies of scale have rendered music and sound increasingly mobile-portable, fungible, and ubiquitous. At once a marketing term, a common mode of everyday-life performance, and an instigator of experimental aesthetics, \"mobile music\" opens up a space for studying the momentous transformations in the production, distribution, consumption, and experience of music and sound that took place between the late nineteenth and the early twenty-first centuries. Taken together, the two volumes cover a large swath of the world-the US, the UK, Japan, Brazil, Germany, Turkey, Mexico, France, China, Jamaica, Iraq, the Philippines, India, Sweden-and a similarly broad array of the musical and nonmusical sounds suffusing the soundscapes of mobility.\n\nVolume 2 investigates the ramifications of mobile music technologies on musical/sonic performance and aesthetics. Two core arguments are that \"mobility\" is not the same thing as actual \"movement\" and that artistic production cannot be absolutely sundered from the performances of quotidian life. The volume's chapters investigate the mobilization of frequency range by sirens and miniature speakers; sound vehicles such as boom cars, ice cream trucks, and trains; the gestural choreographies of soundwalk pieces and mundane interactions with digital media; dance music practices in laptop and iPod DJing; the imagery of iPod commercials; production practices in Turkish political music and black popular music; the aesthetics of handheld video games and chiptune music; and the mobile device as a new musical instrument and resource for musical ensembles.\n\nContents:\n1. The Mobilization of Performance: An Introduction to the Aesthetics of Mobile Music\nSumanth Gopinath and Jason Stanyek\n\nPart I: Frequency-Range Aesthetics\n2. Treble Culture\nWayne Marshall\n3. Of Sirens Old and New\nAlexander Rehding\n\nPart II: Sounding Transport\n4. \"Cars With the Boom\": Music, Automobility, and Hip-hop \"Sub\" Cultures\nJustin Williams\n5. Ding, Ding!: The Commodity Aesthetic of Ice Cream Truck Music\nDaniel T. Neely\n6. There must be some relatIon beTween mushrOoms and trains: Alvin Curran's Boletus Edulis-Musica Pendolare\nBenjamin Piekut\n\nPart III: Walking and Bodily Choreography\n7. Polyphonies of Footsteps\nFrauke Behrendt\n8. Soundwalking: Creating Moving Environmental Sound Narratives\nAndra McCartney\n9. Gestural Choreographies: Embodied Disciplines and Digital Media\nHarmony Bench\n\nPart IV: Dance and Dance Musics\n10. (In)Visible Mediators: Urban Mobility, Interface Design, and the Disappearing Computer in Berlin-Based Laptop Performances\nMark J. Butler\n11. Turning the Tables: Digital Technologies and the Remixing of DJ Culture\nChristine Zanfagna and Levitt Brandin, Kate\n12. Dancing Silhouettes: The Mobile Freedom of iPod Commercials\nJustin D. Burton\n\nPart V: Popular Music Production\n13. Music, Mobility, and Distributed Recording Production in Turkish Political Music\nEliot Bates\n14. Rhythms of Relation: Black Popular Music and Mobile Technologies\nAlexander Weheliye\n\nPart VI: Gaming Aesthetics\n15. A History of Handheld and Mobile Video Game Sound\nKaren Collins\n16. The Chiptuning of the World: Game Boys, Imagined Travel, and Musical Meaning\nChris Tonelli\n17. Rhythm Heaven: Video Games, Idols, and Other Experiences of Play\nMiki Kaneda\n\nPart VII: Mobile Music Instruments\n18. The Mobile Phone Orchestra\nGe Wang, Georg Essl, and Henri Penttinen\n19. Creative Applications of Interactive Mobile Music\nAtau Tanaka\n20. Music-Making and the iPhone: Notes From An Academic Entrepreneur\nGe Wang},\n\tpublisher = {Oxford University Press},\n\teditor = {Gopinath, Sumanth and Stanyek, Jason},\n\tyear = {2014}\n}\n\n","editor_short":["Gopinath, S.","Stanyek, J."],"key":"gopinath_oxford_2014","id":"gopinath_oxford_2014","bibbaseid":"gopinath-stanyek-theoxfordhandbookofmobilemusicstudiesvolume2-2014","role":"editor","urls":{},"downloads":0},"search_terms":["oxford","handbook","mobile","music","studies","volume"],"keywords":[],"authorIDs":[],"dataSources":["245FRajABQxmwtqrJ"]}