Advertisement

Bridging Concerts and Records

  • Yngvar Kjus
Chapter
Part of the Pop Music, Culture and Identity book series (PMCI)

Abstract

This chapter reveals how digital media can bridge artists’ concerts and the growing recorded archives of the new online music services, thereby facilitating novel music experiences. It identifies evolving practices through which live-music organizers tap into online music archives to contextualize performances, and online music services bring their archives to life through various forms of interaction with concerts and festivals. The chapter studies the efforts and techniques of intermediaries (primarily the Øya festival and WiMP/Tidal) with regard to (re)gaining a powerful connection with artists and audiences. It assesses the power of live and recorded music intermediaries in terms of how people receive and experience music, considering, among other things, the new intersections between the curatorial work conducted by humans and the guidance offered by the machines and algorithms of digital music archives.

References

  1. Bolin, Göran. 2011. Value and the Media: Cultural Production and Consumption in Digital Markets. Farnham: Ashgate.Google Scholar
  2. Clarke, Eric F. 2005a. Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. Oxford: Oxford University Press.CrossRefGoogle Scholar
  3. Dawkins, Richard. 2004. The Ancestor’s Tale: A Pilgrimage to the Dawn of Evolution. Boston: First Mariner Books.Google Scholar
  4. Fairchild, Charles. 2014. Popular Music. In The Cultural Intermediaries Reader, ed. Jennifer Smith Maguire and Julian Mathews, 125–133. Thousand Oaks, CA: Sage Publications.CrossRefGoogle Scholar
  5. Fonagy, Peter. 2008. The Mentalization-Focused Approach to Social Development. In Mentalization: Theoretical Considerations, Research Findings and Clinical Implications, ed. Frederic N. Busch, 3–56. New York: Analytical Press.Google Scholar
  6. Havens, Timothy, and Amanda D. Lotz. 2012. Understanding Media Industries. Oxford: Oxford University Press.Google Scholar
  7. Hesmondhalgh, David. 2006. Bourdieu, the Media and Cultural Production. Media, Culture and Society 28 (2): 211–231.CrossRefGoogle Scholar
  8. Kjus, Yngvar. 2016a. Musical Exploration via Streaming Services: The Norwegian Experience. Popular Communication: The International Journal of Media and Culture 14 (3): 127–136.CrossRefGoogle Scholar
  9. ———. 2016b. Reclaiming the Music: The Power of Local and Physical Music Distribution in the Age of Global Online Services. New Media & Society 18 (9): 2116–2132.CrossRefGoogle Scholar
  10. ———. 2017. Harmonious or Out of Tune: Cooperation Between the Television Industry and the Music Business in Talent Contests of the 2000s. Media, Culture & Society. Online First, 1–16.Google Scholar
  11. Lindberg, Ulf, Gestur Gudmundsson, Morten Michelsen, and Hans Weisethaunet. 2005. Rock Criticism from the Beginning: Amusers, Bruisers and Cool-Headed Cruisers. New York: Peter Lang.Google Scholar
  12. Maasø, Arnt. 2016. Music Streaming, Festivals, and the Eventization of Music. Popular Music and Society. Online First. https://doi.org/10.1080/03007766.2016.1231001.
  13. Negus, Keith. 1999. Music Genres and Corporate Cultures. New York: Routledge.CrossRefGoogle Scholar
  14. ———. 2014. Recordings, Rights and Risks: Intermediaries and the Changing Music Industries. Civilisations: Revue Internationale D’Anthropologie et de Sciences Humaines 13: 113–136.Google Scholar
  15. Porcello, Thomas. 2002. Music Mediated as Live in Austin: Sound, Technology, and Recording Practice. In Wired for Sound: Engineering and Technologies in Sonic Cultures, ed. Paul D. Greene and Thomas Portcello, 103–117. Middletown, CT: Wesleyan University Press.Google Scholar
  16. Rogers, Jim. 2013. The Death and Life of the Music Industry in the Digital Age. London: Bloomsbury.Google Scholar
  17. Shuker, Roy. 2013. Understanding Popular Music Culture. 4th ed. London: Routledge.Google Scholar
  18. Straw, Will. 2010. The Circulatory Turn. In The Wireless Spectrum: The Politics, Practices and Poetics of Mobile Media, ed. Barbara Crow, Michael Longford, and Kim Sawchuk, 17–28. Toronto: University of Toronto Press.Google Scholar
  19. Suisman, David. 2009. Selling Sounds: The Commercial Revolution in American Music. Cambridge, MA: Harvard University Press.Google Scholar
  20. Tjora, Aksel H. 2013. Festival! Mellom Rølp, Kultur og Næring. Oslo: Cappellen Damm Akademisk.Google Scholar
  21. Wikstrøm, Patrik. 2013. The Music Industry: Music in the Cloud. Cambridge: Polity.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Yngvar Kjus
    • 1
  1. 1.Department of Media and CommunicationUniversity of OsloOsloNorway

Personalised recommendations