Has the virtual invaded the realm of the real, or has the real
expanded its definition to include what once was characterized as
virtual? With the continual evolution of digital technology, this
distinction grows increasingly hazy. But perhaps the distinction has
become obsolete; perhaps it is time to pay attention to the
intersections, mutations, and transmigrations of the virtual and the
real. Certainly it is time to reinterpret the practice and study of
music. The Oxford Handbook of Music and Virtuality,
edited by Sheila Whiteley and Shara Rambarran, is the first book to
offer a kaleidoscope of interdisciplinary perspectives from scholars
around the globe on the way in which virtuality mediates the
dissemination, acquisition, performance, creation, and reimagining of
music.
The Oxford Handbook of Music and Virtuality
addresses eight themes that often overlap and interact with one
another. Questions of the role of the audience, artistic agency,
individual and communal identity, subjectivity, and spatiality
repeatedly arise. Authors specifically explore phenomena including
holographic musicians and virtual bands, and the benefits and detriments
surrounding the free circulation of music on the internet. In addition,
the book investigates the way in which fans and musicians negotiate
gender identities as well as the dynamics of audience participation and
community building in a virtual environment. The handbook rehistoricizes
the virtual by tracing its progression from cartoons in the 1950s to
current industry innovations and changes in practice. Well-grounded and
wide-reaching, this is a book that students of any number of
disciplines, from Music to Cultural Studies, have awaited.
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