Audiovisual Media And Music Culture

In the present time electronic media are the most powerful factory that influence music culture. They change social functions of music, they affect musical behavior, music taste and aesthetic ideals of the society. The power of film, television and other media is based on the fact that the media trigger complex audiovisual perceptions or they determine the ways of how music evokes extra-musical imaginations. Audiovisual Media and Music Culture struggles to systematize and classify the basic categories of audiovisual communication, it explains music in media as a category of space and time, reveals the laws of the music culture development, the advantages and disadvantages of civilization trends and it also separates value constants from transition episodes.

This volume explores the importance and significance that music has in our lives. The relationship between music and identity is based on conceptions about meanings and identification, especially powerful when connected with youth and popular music. We narrate ourselves in a musical way and we must study ‘music as culture’ rather than ‘music in culture’. The contributions to this book attend to emerging phenomena such as the rise of the Reggaeton music around the world, the importance of music in anime media, and music industry changes and uncertainties in the new millennium. Music is art, but it is also an industry and a business, and the two are intertwined: through the sale of tickets, original formulas are obtained and, in the same way, products (not just musical, but multimedia) are born from alternative culture, eventually becoming mainstream. In addition, this book also takes into account iconic artists such as Nirvana, David Bowie or Miley Cyrus, and the important contribution of music to the narrative and success of popular TV series, analysing cases such as Babylon Berlin and Vikings. From Blade Runner (1982) to current television mainstream productions, the music-image alliance does not only satisfy and distract us, but also challenges us and forces us to rethink our view of the world.

Recent years have witnessed a true technological revolution with a global impact upon all areas of society, from entertainment to education. Technology, changing and evolving at increasing speed, undoubtedly shapes ways of seeing the world, something which requires profound reflection in terms of how reality is understood. It is undeniable that in this audiovisual world music plays a leading and prominent role. This is particularly notable when considering the importance of music in relation to the way it is featured on mobile devices and as manifested in terms of other communication technologies, its impact on new narrative forms and the prominence of audiovisual fiction in advertising, and the new ways of creating, receiving and disseminating music on the Internet. This book is divided into two sections, “New Media, New Audiences” and “Music, Cinema and Audiovisual Practices: New Approaches”, and the sixteen essays brought together here are the work of an international group of scholars who deal with different geographical and cultural contexts. One of the highlights of this volume is its interdisciplinary re-reading of a complex phenomenon that is undoubtedly a fundamental part of contemporary culture. As such, this collection will be of particular interest to both scholars and non-specialist readers.

This volume explores the importance and significance that music has in our lives. The relationship between music and identity is based on conceptions about meanings and identification, especially powerful when connected with youth and popular music. We narrate ourselves in a musical way and we must study 'music as culture' rather than 'music in culture'. The contributions to this book attend to emerging phenomena such as the rise of the Reggaeton music around the world, the importance of music in anime media, and music industry changes and uncertainties in the new millennium. Music is art, but it is also an industry and a business, and the two are intertwined: through the sale of tickets, original formulas are obtained and, in the same way, products (not just musical, but multimedia) are born from alternative culture, eventually becoming mainstream. In addition, this book also takes into account iconic artists such as Nirvana, David Bowie or Miley Cyrus, and the important contribution of music to the narrative and success of popular TV series, analysing cases such as Babylon Berlin and Vikings. From Blade Runner (1982) to current television mainstream productions, the music-image alliance does not only satisfy and distract us, but also challenges us and forces us to rethink our view of the world.

In Inner Sound, author Jonathan Weinel traverses the influence of altered states of consciousness on audio-visual media, explaining how our subjective realities may change during states of dream, psychedelic experience, meditation, and trance.

Our lives in the 21st century can no longer be understood without audiovisual culture, which not only conditions our daily lives, but also the way we access and understand reality. This book, formed by the contributions of 11 researchers, analyzes different aspects in order to better understand the relationship between image, music and audiences. It attends to mainstream culture, studying the meaning of music in products such as The Lord of the Rings, The Chronicles of Narnia, Harry Potter, Blade Runner, La mala educación and Treme. In short, the book explores the relationship between audiences, sound, noise, music and audiovisual media, a relationship whose history spans more than a century and which continues to offer artistic products that can be analyzed from sociological, semiotic and cultural perspectives.

This open access collection deals with musical moments in film as one of the most pivotal and compelling issues of current film music research. Musical moments as defined by Amy Herzog occur when a musical number inverts the normal relationship between the image track and the soundtrack in a film in such a way that what we see is determined by what we hear. As one potential approach, this definition provokes a variety of perspectives to investigate the disruptive potential of these moments and numbers as a creative device in the production of audiovisual narratives. In this sense, the book responds to a need for an anthology that introduces students as well as scholars of cinema, musicology, media studies and cultural studies more broadly, to recent discourses in film music scholarship. The volume includes contributions by early career researchers as well as by established experts in the fields of musicology, film studies, media studies, and cultural studies, promoting cross-disciplinary collaboration in film music research.

Since the 1980s, music videos have been everywhere, and today almost all of the most-viewed clips on YouTube are music videos. However, in academia, music videos do not currently share this popularity. Music Video After MTV gives music video its due academic credit by exploring the changing landscapes surrounding post-millennial music video. Across seven chapters, the book addresses core issues relating to the study of music videos, including the history, analysis, and audiovisual aesthetics of music videos. Moreover, the book is the first of its kind to truly address the recent changes following the digitization of music video, including its changing cycles of production, distribution and reception, the influence of music videos on other media, and the rise of new types of online music video. Approaching music videos from a composite theoretical framework, Music Video After MTV brings music video research up to speed in several areas: it offers the first account of the research history of music videos, the first truly audiovisual approach to music video studies and it presents numerous inspiring case studies, ranging from classics by Michel Gondry and Chris Cunningham to recent experimental and interactive videos that interrogate the very limits of music video.