• Music – Media – History
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Music – Media – History

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This volume considers audiovisual material as a primary source for historiography. By analyzing how the same sounds are used in different media contexts at different times, the contributors challen...
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  • 27 January 2021
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Music and sound shape the emotional content of audio-visual media and carry different meanings. This volume considers audio-visual material as a primary source for historiography. By analyzing how the same sounds are used in different media contexts at different times, the contributors intend to challenge the linear perspective of (music) history based on canonic authority. The book discusses AV-Documents (analysis in context), methodological questions (implications for research, education, and popularization of knowledge), archives of cultural memory (from the perspective of Cultural Studies) as well as digitalization and its consequences (organization of knowledge).
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Price: $50.00
Pages: 300
Publisher: transcript publishing
Imprint: transcript publishing
Publication Date: 27 January 2021
Trim Size: 8.86 X 5.83 in
ISBN: 9783837651454
Format: Paperback
BISACs:

MUSIC / History & Criticism, SOCIAL SCIENCE / Media Studies, HISTORY / Social History
»Wie der Titel vermuten lässt, stellt diese Kompilation aktueller empirischer Methoden und Diskurse eine wertvolle Ergänzung für die Musikwissenschaft dar sowie generell für Forscher_innen im Bereich der Digital Humanitites, da es die mannigfaltigen Möglichkeiten mediengestützter Erkenntniserreichung präsentiert und zeigt, wie transdisziplinäre Teams innovative Perspektiven und somit wiederum neue Erkenntnisse ermöglichen.«

Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the »Telling Sounds Project« as a postdoctoral researcher, investigating the use of music and discourses about music in the media.
Elias Berner studied musicology at the University of Vienna and has been researcher (pre-doc) for the »Telling Sounds Project« since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah.

Frontmatter 1
Contents 5
Editor's Note 7
An Introduction 9
"Living in a Material World," Contemplating the Immaterial One—Musings on What Sounds Can Actually Tell Us, or Not 15
The (Re)Construction of Communicative Pasts in the Digital Age 31
The Narratological Architecture of Musical lieux de mémoire 51
Beethoven in 1970, Bernstein and the ORF: Cultural Memory and the Audiovisual 81
Women's Voices in Radio 107
'Real Sound,' Readymade, Handmade: Musical Material and the Medium Between Mechanization, Automation, and Digitalization as an Impression and Expression of Reality 119
Sonic Icons in A Song Is Born (1948): A Model for an Audio History of Film 151
The Production, Reception and Cultural Transfer of Operetta on Early Sound Film 169
The Address of the Ear: Music and History in Waltz with Bashir 183
"I've never understood the passion for Schubert's sentimental Viennese shit"—Using Metadata to Capture the Contexts of Film Music 197
Connecting Research: The Interdisciplinary Potential of Digital Analysis in the Context of A. Kluge's Televisual Corpus 217
Modelling in Digital Humanities: An Introduction to Methods and Practices of Knowledge Representation 241
Playing with a Web of Music: Connecting and Enriching Online Music Repositories 263
A Few Notes on the Auditive Layer of the Film 283
Afterword 287
List of Contributors 293