“Society of Control.” (First published in L ’ autre journal, Nr. Middletown, CT: Wesleyan University Press. “From Prosumer to Produser: Understanding User-led Content Creation.” In Proceedings of Transforming Audiences, Sep. Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage. Find this resource:īolter, Jay David, and Richard Grusin.
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“Introducing Music Scenes.” In Music Scenes: Local, Translocal, and Virtual: 1–16.
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A sincere thank-you goes to the contributors who offered definitions to the terms used in their chapters.Īnderson, Chris. What the Glossary offers is a guide to the specialized terms and concepts that are frequently mentioned in the Handbook and that can be applied to future developments in music and virtuality. At the same time, it is recognized that the definitions offered are part of an active and dynamic vocabulary and therefore involve critical engagement according to context. Spotify’s streaming service is gaining more profit than the sales of MP3s, thus becoming a popular form of music consumption ( Titcomb 2015, Toppa 2015).Īlthough these developments are yet to be fully explored, the embedded concepts and analytical framing draw on key terms and, as such, carry a familiar terminology. There is also the rapid impact that streaming is having on the musician, industry, and consumer-for instance, the emergence of Dr Dre’s Beats Music (Apple’s first streaming service) and Jay Z’s takeover of TIDAL permitting stream sales to be eligible in the UK Charts (the first UK number one to include such sales were Universal’s Ariana Grande’s single “Problem” in 2014, and Sam Smith’s album In the Lonely Hour in 2015) the consideration of stream sales to be included in the BPI Chart awards (e.g., Universal’s Jessie J’s 2011 hit “Price Tag”) and confirmation that
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Although space precludes a detailed discussion of the exciting (and disruptive) growth of these digital technologies, we would nevertheless highlight recent developments, such as major and independent recording artists who are continuing to offer their fans the opportunity to download free music or to remix tracks online (e.g., the Weeknd, Public Enemy) use of the Freemium (business) model as an alternative way for musicians to be discovered (started by the likes of the Artic Monkeys in 2004) unsigned musicians who have gained chart success through Internet video exposure and virality such as YouTube (e.g., Passenger) the growth of crowdfunding online platforms where fans can financially support a proposed (musical) product and interact with the artist/creator (e.g., Patreon) the prospects of alternative MP3 playback devices (e.g., Google Glass, PhoneBloks, iWatch) the vinyl revival to combat current methods of MP3 consumption and distribution (e.g., the annual Record Store Day event) the growth of music apps (Vevo, Amazon Cloud Player, Shazam, Mondia Mix, etc.) the possibility of virtual musicians and instruments recreating classic tunes or creating new sounds (e.g., Zenph’s RePerformance, Will.I.Am’s and Yuri Suzuki’s Pyramidi, Mi.Mu gloves) the rise of the laptop (and tablet) DJ and its use of MIDI controllers and software such as Ableton, Maschine, and Native Instruments (with the likes of Monolake, Daedelus, Jeremy Ellis, Flying Lotus) the resurgence of performing in virtual worlds (e.g., Oculus Rift) and the growing presence of virtual performers (e.g., Hatsune Miku supporting Lady Gaga on her ArtRave tour the virtual performance of the late Michael Jackson at the 2014 Billboard Music Awards).
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At the time of writing, there have been further developments concerning many of the issues discussed in this handbook, and new ones have also formed in the field of music and virtuality. As we reach the end of the Handbook, the issues surrounding music and virtuality continue to thrive and stimulate debate.