Recalibrating Fundamentals of Discipline and Desire Through the Automatic Music Tent.
This paper considers the role that discourses of fundamental acoustic parameters, in particular pitch and timbre, have played in the reproduction of a significantly (male) gendered digital music landscape in and beyond the UK. By revisiting a nineteenth-century debate about the definition of tone, w...
| Publicado en: | Contemporary Music Review Vol. 35; no. 1; pp. 71 - 85 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Feb2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=116620589&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 116620589 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Feb2016 vid: 35 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 116620589 10.1080/07494467.2016.1176768 ppf: 71 ppct: 14 formats: fmt: – @attributes: type: T – @attributes: type: P size: 142KB tig: atl: Recalibrating Fundamentals of Discipline and Desire Through the Automatic Music Tent. aug: au: Ingleton, Holly su: Social control Work ethic Music librarianship Nationalism in music Music sug: subj: Social control Work ethic Music librarianship Nationalism in music Music keyword: Gender Pitch Queer Feminist Performativity Race Sexuality Timbre ab: This paper considers the role that discourses of fundamental acoustic parameters, in particular pitch and timbre, have played in the reproduction of a significantly (male) gendered digital music landscape in and beyond the UK. By revisiting a nineteenth-century debate about the definition of tone, which occurred between Georg Simon Ohm and August Seebeck, the paper exposes some of the ways that these foundational audio-technical discourses have been articulated through implicitly gendered, sexualised and racialised discourses. Certain ways in which these discourses have been performed differently are then addressed through Kim Gordon's and Jutta Koether's installation,Reverse karaoke: Automatic music tent(2005), which establishes a creative space where performing and listening function as social events that are transmitted along a specifically queer feminist frequency. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
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