Musical Pathfinding; or How to Listen to Interactive Music Video.
Since Nicholas Cook's 1998 Analysing Musical Multimedia, various scholars have attempted to produce analyses of audiovisual media from an equalised, nonhierarchical conception of sound and image. From a musicological perspective, however, this can lead to an inadvertent reification of visual primacy...
| Publicado en: | Music, Sound & the Moving Image Vol. 13; no. 2; pp. 165 - 186 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Liverpool University Press / Journals
Autumn2019
|
| 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=141772857&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 141772857 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17530768 3DEN jtl: Music, Sound & the Moving Image issn: 17530768 maglogo: N pubinfo: dt: Autumn2019 vid: 13 iid: 2 pid: 39786 pub: Liverpool University Press / Journals artinfo: ui: 141772857 10.3828/msmi.2019.10 ppf: 165 ppct: 21 formats: fmt: @attributes: type: P size: 339KB tig: atl: Musical Pathfinding; or How to Listen to Interactive Music Video. aug: au: LILJEDAHL, ANDERS AKTOR su: Musical analysis Interactive videos Music videos Mass media sug: subj: Musical analysis Interactive videos Music videos Mass media ab: Since Nicholas Cook's 1998 Analysing Musical Multimedia, various scholars have attempted to produce analyses of audiovisual media from an equalised, nonhierarchical conception of sound and image. From a musicological perspective, however, this can lead to an inadvertent reification of visual primacy. Furthermore, interactive music videos provide analytical challenges because no two viewings are identical. As such, by the introduction of the user, the traditional sound–image relationships cease to function. Analysing two interactive music videos, this essay has two aims. First, it shows how little it takes for music to be inadvertently muted in audiovisual analyses and then goes on to argue that musical analysis and musicological terminology can serve as a toolbox for amplifying sonic content and as such equalise it with the visual. Finally, it is demonstrated, by means of investigations and interpretations of two interactive music videos, that using traditional musical analysis as the point of departure amplifies the potentials and limits of interactivity in music video. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Music, Sound & the Moving Image is published by Liverpool University Press, and its content may not be copied or emailed to multiple sites or posted to a listserv without Liverpool University Press's express written copyright permission. However, users may print, download, or email articles for individual use. item: Music, Sound & the Moving Image holder: Liverpool University Press / Journals dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
|---|