PROSE AWARDS MUSIC AND PERFORMING ARTS FINALIST 2024
YouTube has afforded new ways of documenting, performing and circulating musical creativity. This first open access sustained exploration of YouTube and music shows how record companies, musicians and amateur users have embraced YouTube’s potential to promote artists, stage performances, build artistic (cyber)identity, initiate interactive composition, refresh music pedagogy, perform fandom, influence musical tourism and soundtrack our everyday lives. Speaking from a variety of perspectives, musicologists, film scholars, philosophers, new media theorists, cultural geographers and psychologists use case studies to situate YouTube as a vital component of contemporary musical culture. This book works together with its companion text Remediating Sound: Repeatable Culture, YouTube and Music.
The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by Knowledge Unlatched.
Edited by:
Professor Holly Rogers (Goldsmiths University of London UK),
Dr. Joana Freitas (NOVA FCSH,
Portugal),
João Francisco Porfírio,
João Francisco Porfírio,
Holly Rogers (Goldsmiths University of London UK)
Imprint: Bloomsbury Academic USA
Country of Publication: United States
Dimensions:
Height: 229mm,
Width: 152mm,
Spine: 25mm
Weight: 454g
ISBN: 9781501387319
ISBN 10: 1501387316
Series: New Approaches to Sound, Music, and Media
Pages: 328
Publication Date: 31 October 2024
Audience:
Professional and scholarly
,
Undergraduate
Format: Paperback
Publisher's Status: Active
Preface Jean Burgess, Digital Media Research Centre, Queensland University of Technology, Australia Foreword: “Like, Share and Subscribe”: Finding the Music in YouTube’s History Joana Freitas, CESEM - NOVA FCSH, Portugal, and João Francisco Porfírio, CESEM - NOVA FCSH, Portugal Introduction: “Welcome to your world”: YouTube and the Reconfiguration of Music’s Gatekeepers Holly Rogers, Goldsmiths, University of London, UK Transmedia, Performance and Digital Stages 1. “Musical Personae” 2.0: The Representation and Self-Portrayal of Music Performers on YouTube Juri Giannini, University of Music and Performing Arts of Vienna, Austria 2. Quare(-in) the Mainstream: YouTube, Social Media and Augmented Realities in Lil Nas X’s MONTERO Emily Thomas, Goldsmiths, University of London, UK 3. “Social Composing” and “Contextual Music”: Transmedial Relations Through New Media in Jagoda Szmytka’s LOST PLAY Weronika Nowak, Adam Mickiewicz University, Poland 4. YouTube Logics and the Extraction of Musical Space in San Juan’s La Perla and Kingston's Fleet Street Ofer Gazit and Elisa Bruttomesso, Tel Aviv University, Israel Pedagogy and Interpretation 5. Watching it All Through a Screen: YouTube as a Teaching Aid for Music Composition João Ricardo, CESEM - Universidade de Évora, Portugal 6. The New Language of Music Theory in the Digital Age John Moore, University of Liverpool, UK 7. m??Re tH@n WorD$: Aspects and Appeals of the Lyric Video Carol Vernallis, Stanford, USA, Laura McLaren, University of Toronto, Canada, Virginia Kuhn, USC School of Cinematic Arts, USA, and Martin P. Rossouw, University of the Free State, South Africa Music Listening and Circulation 8. The Circulation of User-Appropriated Music Content on YouTube Sylvain Martet, Université du Quebec, Canada 9. Musical Playlisting and Curation on YouTube: What do Algorithms Know About Music? Vinícius de Aguiar, CFCUL, Portugal 10. YouTube and the Sonification of Domestic Everyday Life João Francisco Porfírio, CESEM - NOVA FCSH, Portugal 11. ‘Talking’ About Music: The Emotional Content of Comments on YouTube Videos Alexandra Lamont, Keele University, UK, Scott Bannister, University of Leeds, UK, and Eduardo Coutinho, University of Liverpool, UK 12. Exploring Time-Coded Comments on YouTube Music Videos of ‘Top 40’ Pop, 2000–2020 Eamonn Bell, University of Durham, UK Index
Holly Rogers is Reader in Music at Goldsmiths, University of London, UK, where she directs the MA Music (Audiovisual Cultures). She is author of Sounding the Gallery: Video and the Rise of Art-Music and Twentieth Century Music in the West, and editor of 4 collections on audiovisual topics from the music and sound of documentary and experimental film to transmedia and cybermedia. Holly is co-founding editor of this Bloomsbury book series and the journal Sonic Scope. João Francisco Porfírio is currently a PhD candidate in Musicology at NOVA FCSH and a FCT PhD grant holder (SFRH/BD/136264/2018). He completed his Master's in Musical Arts at the same institution. He is a researcher at CESEM, in the Group of Critical Theory and Communication (GTCC) where he develops research on issues related to ambient music and soundscapes of domestic everyday life. Joana Freitas is a PhD candidate in Musicology at the School of Social Sciences and Humanities of the NOVA University of Lisbon, Portugal, with a FCT PhD Scholarship (SFRH/BD/139120/2018). She is an integrated researcher of the Centre for the Study of the Sociology and Aesthetics of Music (CESEM) and a member of the Group of Critical Theory and Communication (GTCC), researching on video game music and audiovisual media.
Reviews for YouTube and Music: Online Culture and Everyday Life
"""YouTube has been part of our lives for a long time now, and it is not going anywhere. YouTube and Music compellingly captures why that is the case, by providing a collection of very rich and detailed analyses of the complex and multiple contemporary configurations of the platform. The volume will be of interest to all who use YouTube on a regular basis, and who are interested in understanding how the platform has molded itself to an ever-changing media and cultural landscape."" --Raphaël Nowak, Lecturer in Sociology, University of York, UK ""At last we have a substantial yet comprehensive study of the myriad of ways in which music and YouTube intertwine. YouTube and Music contributes vital knowledge on viral music videos, contemporary fandom and the platform's exceptional communicative power. As YouTube's platform approaches its 20th year, this timely, detailed and diverse collection gathers together today's most cutting-edge research on YouTube and music, serving unique analyses of YouTube's transmediality and gatekeeping practices. The volume benefits from a genuine breadth in perspectives, with contributors representing a wide array of disciplines as well as geographical regions making it essential reading for scholars in popular music, sound studies, media studies and beyond."" --Áine Mangaoang, University of Oslo, Norway, and author of Dangerous Mediations: Pop Music in a Philippine Prison Video (Bloomsbury, 2019)"
