Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
6,813
result(s) for
"jukebox"
Sort by:
Selling digital music, formatting culture
\"Selling Digital Music documents the transition of recorded music on CDs to music as digital files on computers. More than two decades after the first digital music files began circulating in online archives and playing through new software media players, we have yet to fully internalize the cultural and aesthetic consequences of these shifts. Exploring the emergence of what Morris calls the digital music commodity, Selling Digital Music considers how a conflicted assemblage of technologies, users, and industries helped reformat popular music's meanings and uses. Through case studies of five key technologies--Winamp, metadata, Napster, iTunes, and cloud computing--Morris questions how music listeners gradually came to understand computers and digital files as suitable replacements for their stereos and CDs. The digitization of the music commodity connects industrial production, popular culture, technology, and commerce in a narrative involving the aesthetics of music and computers, and the labor of producers and everyday users, as well as the value that listeners make and take from digital objects and cultural goods. Above all, Selling Digital Music is a sounding out of music's encounters with the interfaces, metadata, and algorithms of digital culture.\"--Provided by publisher.
Book
Outside the jukebox : how I turned my vintage music obsession into my dream gig
The author shares the story of how his experiments in applying his passion for jazz, ragtime, and doo-wop music to contemporary popular hits ultimately led to his project, Postmodern Jukebox, becoming a global sensation.
Book
Selling digital music, formatting culture
Selling Digital Music, Formatting Culturedocuments the transition of recorded music on CDs to music as digital files on computers. More than two decades after the first digital music files began circulating in online archives and playing through new software media players, we have yet to fully internalize the cultural and aesthetic consequences of these shifts. Tracing the emergence of what Jeremy Wade Morris calls the \"digital music commodity,\"Selling Digital Music, Formatting Cultureconsiders how a conflicted assemblage of technologies, users, and industries helped reformat popular music's meanings and uses. Through case studies of five key technologies-Winamp, metadata, Napster, iTunes, and cloud computing-this book explores how music listeners gradually came to understand computers and digital files as suitable replacements for their stereos and CD. Morris connects industrial production, popular culture, technology, and commerce in a narrative involving the aesthetics of music and computers, and the labor of producers and everyday users, as well as the value that listeners make and take from digital objects and cultural goods. Above all,Selling Digital Music, Formatting Cultureis a sounding out of music's encounters with the interfaces, metadata, and algorithms of digital culture and of why the shifting form of the music commodity matters for the music and other media we love.
eBook
The Rock Musical: From Creation to Curation (2015–2020)
In a post-#Me-Too/Black Lives Matter landscape, the gender- and race-politics of the Golden Age of rock have increasingly come under interrogation. Hip-hop challenging rock’s long-standing hegemony constitutes a sociological as well as a musical shift, with a production such as Andrew Lloyd Webber’s School of Rock (2015) perhaps seeming hopelessly old-fashioned in comparison with Lin-Manuel Miranda’s Hamilton from the same year. This article’s close and contextualized readings of four post-Hamilton jukebox rock musicals debate two principal issues. First, the extent to which the jukebox musical is fit for purpose: creative enough to repurpose rock’s cultural patrimony for an enriching night in the theatre. Second, how and why the curation practices of the rock musical reproduce or challenge the intersectional vectors of gendered and racial oppression, which render the genre problematic.
Journal Article
I've Heard This One Before: A Paradigm Shift in Musical Theater Writing?
[...]there are plenty of good examples of songs in musicals that don't advance the plot (the title song in Hello, Dolly! [1964] is a fine example), and the prevalence of jukebox musicals, which arguably makes almost all the show's numbers function this way, has added greatly to this stock. Yet the power of the song is undeniable and, I'd argue, would be less so if the lyric was trying to give us lots of new information. Sometimes imperfect rhymes can be used for effect; but; as Julian Woolford puts it; if they are there \"because you haven't thought of anything better; then you need to be more rigorous about your work/'1 A pure or perfect rhyme is when \"the vowel sound is the same but the initial consonant is different; as in way' and 'day'\" while a slant or half or imperfect rhyme is often built on assonance; a repeated vowel sound; such as \"time\" and \"fine. \"2 Craig Camelia suggests that \"true rhyming is a necessity in the theater; as a guide for the ear to know what it has just heard/' which is not so much of a problem if the audience is already familiar with the song.3 Because pop music today is littered with slant rhymes; the influx of jukebox musicals has attuned our ears to slant rhymes in the theater; in order to bring contemporary musical influences to the stage; then, lyrical techniques must be adjusted to match style.
Journal Article
Devising, Decolonizing, and Disrupting American Musical Theatre Aural Anatomy Through the Playlist Musical
Ethnographic perspectives on commercial musical theatre works in the United States invite us to view a show’s composition, and thus their exercise of power, as constituted by written and aural contributions of only one to a few creators. Yet, modern listening habits and popular music positionalities champion multi-composer contributions and collaborations, giving way to the notion of a Playlist Musical. Reflecting on interviews with Broadway creators, this project investigates power structures between creator, audience, artist and aural experiences. Multi-authored musical theatre and subsequent diverse aural anatomies shape discussions around aural associations, compositional methodologies, and remix culture, thereby disrupting musical norms.
Journal Article