By Jamie Sexton
Tune and different sound results were crucial to an entire host of media types during the 20th century, both as historical past, accompaniment, or major motive force. Such interactions will proceed to mutate in new instructions, with the common progress of electronic applied sciences. regardless of the growth of study into using tune and sound in movie, the research of sonic interactions with different media varieties has been a mostly under-researched sector. Music, Sound and Multimedia presents a special learn of ways tune and different sounds play a primary half in our understandings and makes use of of a number of communications media. It specializes in 4 parts of sound and tune inside of broader multimedia forms--music movies, online game tune, functionality and presentation, and creation and consumption--and addresses the centrality of such aural matters inside of our daily studies. Charting historic advancements, mapping modern styles, and speculating on destiny chances, this ebook is vital for classes on sound and media inside of media and communications reviews, cultural reviews and well known track studies.
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Additional resources for Music, Sound and Multimedia: From the Live to the Virtual (Music and the Moving Image)
Example text
Pop music, in particular, can be said to dispense with the singular figure of the ‘author’ altogether, replacing it 17 MUSIC, SOUND AND MULTIMEDIA with the far more marketable figure of the ‘performer’, who may then take on aspects of authorship through the performance. For example, Lewis (1993) illustrates the explicit distinction between ‘ownership’ and ‘authorship’ of pop songs in her discussion of Cyndi Lauper’s reworking of the original lyrics of ‘Girls Just Wanna Have Fun’. Public perceptions and commercial considerations regarding the authorship of pop songs frequently diverge: an obvious example being one of the most successful pop songs of the 1990s, ‘Baby One More Time’; despite the song’s immense popularity, the name of its writer/ producer, Max Martin, is almost unknown within mainstream popular culture, while the name of its original performer, Britney Spears, is ubiquitous.
Kinder, M. (1987), ‘Music Video and the Spectator: Television, Ideology, and Dream’, in H. ) Television: The Critical View (4th edn) (Oxford: Oxford University Press). Laing, H. (2000), ‘Emotion by Numbers: Music, Song and the Musical’, in B. Marshall and R. Stilwell (eds), Musicals: Hollywood and Beyond (Exeter: Intellect). Langlois, T. (2004), ‘Music, Images and Technology in Morocco’, paper presented at the ‘Off-Screen Spaces: Regionalism and Globalised Cultures’, conference, University of Ulster, Coleraine, 29 July.
Aside from the apparently near-identical role played by new technologies in enabling new visual forms (the growing availability of domestic video recorders in Jenkins’s account of the emergence of fan videos in the early 1980s and new advances in film and video, which, according to Mundy, enabled the emergence of the music promo in the mid-1960s), most of these similarities are aesthetic and conceptual, rather than technological. The interrelationship between music video and film and television is very firmly established in popular culture, primarily through extensive intertextual referencing of the latter forms in music videos.
