The Oxford Handbook of Music and Virtuality

Popular Music Journal, 2019

the interactions between amateur musicking and capitalist infrastructures, the formation of identity and fandom, commercial free-use and misuse of product, and the growing fascination with vernacular forms of lipsynching. Although Snell's examples predominantly come from around a decade ago, her research will undoubtedly be useful for scholars working on the contemporary proliferation of lipsynching on apps such as TikTok. Her closing remarks on her own lipsynch videos as Fredasterical (p. 138) are inspiring, and weave together her thoughtful analyses with personal experience in a poignant way.

Virtual Works - Actual Things addresses contemporary music ontological discourses, challenging dominant musicological accounts, questioning their authoritative foundation, and moving towards dynamic perspectives devised by music practitioners and artist researchers. Specific attention is given to the relationship between the virtual multiplicities that enable the construction of an image of a musical work, and the actual, concrete materials that make such a construction possible. With contributions by prominent scholars, this book is a wide-ranging and fascinating collection of essays, which will be of great interest for artistic research, contemporary musicology, music philosophy, performance studies, and music pedagogy alike. Paulo de Assis is a researcher affiliated with the Orpheus Institute of Ghent. He is an experimental performer, pianist, and music philosopher, with transdisciplinary interests in composition, philosophy, psychoanalysis and epistemology. Contributors: David Davies (McGill University, Montreal), Andreas Dorschel (University of the Arts Graz), Lydia Goehr (Columbia University, New York), Kathy Kiloh (OCAD University, Toronto), Jake McNulty (Columbia University, New York), Gunnar Hindrichs (University of Basel), John Rink (University of Cambridge)

2018

Leonardo, 2007

Leonardo, 2007

The article highlights the modern view of musical art in the context of the development of information and communication technologies, which form the perception of art in the context of virtual interpretation. The relevance of the study is based on the prerequisites of the modern development of information and innovation society. There is a need for the perception of information in the context of virtual space in the context of the twentieth century. This trend changes approaches to human activities in different spheres of life, including artistic. This article shows the basic principles of virtual reality formation in the context of creating a space for the manifestation of musical art. The basic principles of perception of new artistic media in virtualization and digitalization are defined, and aspects of musical art reproduction are analyzed. This study shows the transformation of real life into virtual simple, which contributes to the spatio-temporal thinking of man and interprets the cultural achievements of human activity throughout the historical development. The article presents theoretical and methodological approaches to the analysis of musical art. The reflexion of the temporal phenomenon of cultural stratification and in-depth analysis of modern digital transformation in the context of virtual space formation is defined. Music discourse is analyzed in the context of cultural dynamics in the direction of the virtual world creation. The methods of analysis and synthesis, the research method and the method of discourse analysis were applied to study the virtualization of the musical environment. This study provided a basis for reflecting the effectiveness of the virtual environment for music art.

As immersive virtual environments and online music networks become increasingly popular, it behooves researchers to explore their convergence: groupware music browsers populated by figurative avatars. Collaborative virtual environments (CVEs), like Second Life, offer immersive experiential network interfaces to online worlds and media. We are developing a virtual environment, based upon and similar to the “Music in Wonderland” proof-of-concept by Sun Microsystems, that enables a place that avatar-represented users ...

Keynote address to the Apple University Consortium …, 2007

In the last decade, the Internet has served to enable the explosion of social networking and new forms of creative practice. 'Web 2.0' has come to describe an online participatory culture which continues to transform value systems, undermine notions of authority and power, while simultaneously creating new pathways for autonomous creativity and innovation. In this keynote, Paul Draper discusses these phenomena through the lens of 'Music 2.0' as a vehicle to examine digital arts practice in action: from a brief historical overview of industrial and collaborative shifts since the dotcom boom & bust, through to more recent e-learning and e-research projects which profile 21st century artistry. The presentation features a recent case study in the Fullbright-supported 'iOrpheus: Art Among Us' project (aka, the iPod Opera), held on the South Bank Parklands in August 2007. This involved the work of US Internet music pioneers William Duckworth and Nora Farrell, as well as students and staff from the Queensland Conservatorium and the Griffith Film School. A 10 minute documentary film made about the iOrpheus events will screen on state-of-the-art projection and 5.1 surround sound systems, followed by a live cross to New York to iChat with William and Nora. Film producer and director, Paul Davidson will speak about the documentary process as research, submitted as part of his MA (Honours) thesis requirements at the Griffith Film School.

The post-apocalypse is a narrative context that focuses on the destruction and rebirth of civilization, society, and culture. Familiar signs are mixed with the unfamiliar to create something new, a unique post-apocalyptic Other as the decontextualization, recontextualization, and resignification of sound breed new possibilities for identity. Videogames allow players to explore this new identity as an expressly interactive and immersive medium, while eclectic digital music embodies and communicates this identity within the medium in ways that it cannot in others. In this work, I analyze the musical approaches in three post-apocalyptic videogames, Borderlands, Bastion, and Fallout 3. In these games, the eclectic musical approach aims to evoke an ambiguity and originality achieved through digital production using synthetic and instrumental sounds found in sound library software. Also, pre-existing music from a specific time period is recontextualized in the futuristic post-apocalypse, establishing a temporal Other through temporal displacement. Both are possible due to the global digital database, a growing, easily accessed digital archive epitomized in sound library software and digital composition. It is in this database and through the use of technology that sound becomes a simulacrum of its former self, and the barrier created by terms like “Western” and “non-Western” decays. The virtual Othering in these three games draws attention to the value of sound in music-making and, consequently, to the redirection of meaning in musical sound and the virtual world.