Grain, Sequence, System: Three Levels of Reception in the Performance of Laptop Music.

In this article, I address several issues of how audiences -- enculturated by pop media -- form expectations while consuming electronic music in a traditional performance setting, and how these expectations undermine the listening experience.

Detalles Bibliográficos
Publicado en:Contemporary Music Review Vol. 22; no. 4; pp. 101 - 105
Autor principal: Cascone, Kim
Formato: Artículo
Publicado: Taylor & Francis Ltd 2003
Materias:
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=12407287&site=ehost-live
header:
  @attributes:
    shortDbName: hlh
    uiTerm: 12407287
    longDbName: Humanities International Complete
    uiTag: AN
  controlInfo:
    bkinfo:
    jinfo:
      jid:
        07494467
        7VR
      jtl: Contemporary Music Review
      issn: 07494467
      maglogo: N
    pubinfo:
      dt: 2003
      vid: 22
      iid: 4
      pid: 377
      pub: Taylor & Francis Ltd
    artinfo:
      ui:
        12407287
        10.1080/0749446032000156900
      ppf: 101
      ppct: 4
      formats:
        fmt:
          @attributes:
            type: P
            size: 454KB
      tig:
        atl: Grain, Sequence, System: Three Levels of Reception in the Performance of Laptop Music.
      aug:
        au: Cascone, Kim
      su:
        Reception theory
        Popular music
        Electronic music
        Computer music
        Laptop computers
      sug:
        subj:
          Reception theory
          Popular music
          Electronic music
          Computer music
          Laptop computers
      keyword:
        laptops
        performance issues
        pop media enculturation
        reception theory
      ab: In this article, I address several issues of how audiences -- enculturated by pop media -- form expectations while consuming electronic music in a traditional performance setting, and how these expectations undermine the listening experience.
      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: 2003
    holdings:
      @attributes:
        islocal: N