'What's So Funny?': Videomemes and the Circulation of Contemporary Music in Social Media.
Prosumers use sound and music as parodic tools to transform the meaning of the original content. These practices give rise to the audio-visual phenomena of videomemes—mash-ups, shreds, literal versions, ... —which have become popular in everyday communication through social media. The selection of a...
| Published in: | Contemporary Music Review Vol. 41; no. 4; pp. 445 - 459 |
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| Format: | Article |
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Taylor & Francis Ltd
Aug2022
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=158597530&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 158597530 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Aug2022 vid: 41 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 158597530 10.1080/07494467.2022.2087393 ppf: 445 ppct: 14 formats: fmt: – @attributes: type: T – @attributes: type: P size: 287KB tig: atl: 'What's So Funny?': Videomemes and the Circulation of Contemporary Music in Social Media. aug: au: Viñuela, Eduardo su: Social media Virtual communities Social impact Parody Negotiation sug: subj: Social media Virtual communities Social impact Parody Negotiation keyword: Canon Memes Prosumers Social Media ab: Prosumers use sound and music as parodic tools to transform the meaning of the original content. These practices give rise to the audio-visual phenomena of videomemes—mash-ups, shreds, literal versions, ... —which have become popular in everyday communication through social media. The selection of a particular piece, genre, or repertoire has social and political implications: it helps establish the position of the person making the selection in online networks and contributes to the negotiation of meaning and canons. Thus, both prosumers and consumers use musical videomenes as cultural artefacts in communication, configuring processes of mutual recognition and interacting in different ways in online communities. In this article, I analyse the circulation of contemporary music videomemes in social media. First, I contextualise the relevance of these amateur productions in the digital era. Then, I discuss the power of parody to reinforce and subvert discourses in this repertoire. Finally, I explore three categories of videomemes—covers, collisions, and shreds—analysing paradigmatic case studies in order to illustrate the most common processes in the creation and circulation of these productions. 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: 2022 holdings: @attributes: islocal: N |
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