MUS2531 & MUS4531 - Vår 2018

Pensum/læringskrav

Note:Master students must read two books from the list below;

Note: Bachelor students must read one bookfrom the list below.

Cook, N. 1998. Analysing Musical Multimedia. Oxford University Press.

Jenkins, H. 2006. Convergence Culture: Where Old and New Media Collide. New York University Press.

Johnson, B. & Cloonan, M. 2009.Dark Side of the Tune: Popular Music and Violence.Farnham, Surrey:Ashgate. (Available via UB)

Katz, M. 2005. Capturing Sound: How Technology has Changed Music. University of California Press.

Taylor, T.D., Katz, M. Grajeda, T. (eds.) 2012.Music, Sound, and Technology inAmerica: A Documentary of Early Phonograph, Cinema, and Radio.Duke University Press.(Available via UB)

Richardson, J. 2012. An Eye for Music: Popular Music and the Audiovisual. Oxford University Press.

Vernallis, C. 2013. Unruly Media: YouTube, music video, and the new digital cinema. Oxford University Press.(e-Book available online via UB / Oxford Scholarship Online)

Required & Recommended Readings

*This list is subject to some further changes / additions. Weekly required readings will be announced in the preceding lecture, and PDF uploaded on Fronter.

Barrios, R. 2015. Dangerous Rhythm: Why Movie Musicals Matter.New York: Oxford University Press.

Benjamin, W. 2008 (1936). The Work of Art in the Age of Mechanical Reproduction. Penguin Books: 1-50.

Born, G. 2005. On musical mediation: Ontology, technology and creativity. Twentieth-Century Music 2(1): 7–36.

Brøvig-Hanssen R. & Danielsen A. (2016). Digital Signatures:The Impact of Digitization on Popular Music Sound. Cambridge, Mass: MIT Press. (Excerpt TBC)

Cusick, S.G. 2008. Musicology, Torture, Repair, Radical Musicology, 3.

Edmond, M. 2012. Here We Go Again: Music Videos after YouTube, Television New Media, XX: 1-16.

Danielsen, A. & Maasø, A. 2009. Mediating Music: materiality and silence in Madonna's 'Don't Tell Me' . Popular Music. 28(2): 127- 142.

Dibben, N. 2013. Visualising the App Album with Björk’s Biophilia. Digital Aesthetics Across Platform and Genre. In Vernallis, C., A. Herzog, & J. Richardson (Eds.) The Oxford Handbook of Sound and Image in Digital Media. Oxford UP.

García Quiñones, M., Kassabian, A. & Boschi, E. 2013. Ubiquitous musics: the everyday sounds that we don't always notice. Farnham: Ashgate. (Chapter TBC).

Gorbman, C. 1987. Why Music? From Silents To Sound. In Unheard Melodies: Narrative Film Music Indiana: Indiana University Press, 31-52.

Hawkins, S. & Richardson, J. 2007. ‘Remodelling Britney Spears: Matters of Intoxication and Mediation.’ Popular Music and Society, 30 (5), 605-629.

Holt. 2011. Is music becoming more visual? Online video content in the music industry,Visual Studies, 26(1): 50-61.

Kjus Y & Danielsen A. 2016. Live Mediation. Performing Concerts Using Studio Technology. Popular Music35(3): 320-37.

Laing, D. 1991. A Voice Without a Face: Popular Music and the Phonograph in the 1890s. Popular Music, 10 (1). Cambridge UP: 1–9.

Maler, A. 2013. Songs for hands: Analyzing interactions of sign language and music.Society for Music Theory, 19 (1): 1-15.

Mangaoang, Á. (forthcoming) ‘I See Music’: Beyoncé, YouTube, and the Question of Signed-Songs. In Beyoncé Knowles. Iddon, M., and Marshall, M. (eds.) Bloomington: Indiana University Press.

Miller, K. 2012 ‘How Musical is Guitar Hero?’ in Playing Along: Digital Games, YouTube and Virtual Performance. Oxford UP.

Morris, C. 2012. ‘Too Much Music’: The Media of Opera.The Cambridge Companion to Opera Studies. Cambridge: Cambridge UP.

Prior, N. 2010. The rise of the new amateurs: Popular music, digital technology, and the fate of cultural production. In Hall, J.R., Grindstaff, L. and Lo, M. (Eds.). Handbook of Cultural Sociology, Routledge.

Rogers, H. 2013. Sounding the Gallery: video and the rise of art-music. Oxford UP. (Chapter TBC)

Sheil, Á., & Vear, C. (eds.) 2012. ‘Digital Opera: New Means and New Meanings.’ International Journal of Performance Arts & Digital Media, 8(1). (Excerpt TBC)

Stanyek, J. & Piekut, B. 2010. ‘Deadness: Technlogies of the Intermundane.’ The Drama Review 54(1): 14-38.

Sterne, J. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Duke University Press.

Sterne, J. 2012. ‘Is Music a Thing?’ MP3: The Meaning of a Format. Durham: Duke UP.

Straw, W. “Music and Material Culture,” from Clayton, M., Herbert, T., and Middleton, R., The Cultural Study of Music: A Critical Introduction (2nd Edition), 227-236.

Wikstrom, P. 2009. ‘Introduction: Music in the Cloud.’ The Music Industry: Music in the Cloud.Malden, MA: Polity, 1-11.

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