The Oxford Handbook of Electronic Dance Music最新文献

The Oxford Handbook of Electronic Dance Music Pub Date : 2021-11-10 DOI: 10.1093/oxfordhb/9780190093723.013.25

Sasha Geffen

{"title":"Glitching the Gendered Voice","authors":"Sasha Geffen","doi":"10.1093/oxfordhb/9780190093723.013.25","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190093723.013.25","url":null,"abstract":"Since recording technology first severed the human voice from its originating body, the uncanniness of the sourceless voice has coincided with theoreticizations of queerness. The concept of homosexuality and the proliferation of home phonographs emerged at around the same point in history, and both interventions confounded traditional imaginings of domesticity, intimacy, and communion. As playback technology has grown more responsive and complex, so have defections from normative gender and heterosexuality. Electronic voice processing furthers the confusion of source presented by playback, making electronic music an especially rich field of expression for queer and transgender musicians in particular. This chapter traces the technologically mutated voice through the past century of recording, focusing on its relationship to unruly expressions of gender from electronic music’s origins to its present iterations. Though not only queer artists have participated in this evolutionary process, this chapter highlights the ways trans musicians in particular have used glitch and distortion to rupture the habit of listening for normative gender, sounding new ways of moving and being in their wake.","PeriodicalId":409022,"journal":{"name":"The Oxford Handbook of Electronic Dance Music","volume":"228 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114989260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Finding a Home in House 在家里找到一个家

The Oxford Handbook of Electronic Dance Music Pub Date : 2021-09-08 DOI: 10.1093/oxfordhb/9780190093723.013.3

Christine Capetola

{"title":"Finding a Home in House","authors":"Christine Capetola","doi":"10.1093/oxfordhb/9780190093723.013.3","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190093723.013.3","url":null,"abstract":"Discussed most often as a musical genre and queer familial structure, house has long been a home for Blackness—and for femininity. This chapter theorizes a notion of Black queer femmeness along the sounds, affects, and vibrations of house. Through charting the use of Black female vocals across the genre’s origins in the early 1980s, dance pop in the early 1990s, and the mid-2010s’ house resurgence in both the mainstream and indie spheres, this chapter explores how house simultaneously amplifies the femininity of Black female house vocalists and detaches femininity from gendered bodies altogether. In the process, it posits that house works as an affective, or felt, political and cultural configuration, one that opens up the space for new relationalities within and between Black, queer, and/or femme communities. By charting how musical artists continue to return to house’s aesthetics and affective power, this chapter invites readers to listen and feel with the recent past(s) of house music for guidance and inspiration on navigating structural oppressions that continue to reverberate across time: governmental neglect of the life chances of Black and Brown people, police violence against Black and Brown people, and the looming presence of anti-Black racism, sexism, homophobia, and transphobia. Through such an engagement with the recent past, house accentuates the ongoing resonances between the 1980s and today.","PeriodicalId":409022,"journal":{"name":"The Oxford Handbook of Electronic Dance Music","volume":"291 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122786171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Why Is(n’t) Ambient so White? 环境色为什么不这么白?

The Oxford Handbook of Electronic Dance Music Pub Date : 2021-09-08 DOI: 10.1093/OXFORDHB/9780190093723.013.33

Victor Szabo

{"title":"Why Is(n’t) Ambient so White?","authors":"Victor Szabo","doi":"10.1093/OXFORDHB/9780190093723.013.33","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190093723.013.33","url":null,"abstract":"This chapter investigates why white and light-skinned artists have long dominated representations of ambient music, a popular (sub)genre of electronic music and style of EDM, within anglophone EDM scenes and media discourses. It explores how early discourses on ambient implicitly shaped the genre’s aesthetics around idealizations of hip highbrow and high-middlebrow white masculinity. Starting in the 1970s and 80s, these discourses tacitly disregarded the relevance of genres racialized as non-white to ambient’s ideals of aesthetic experimentation, affective detachment, cerebral introspection, and physical ease. EDM-oriented discourses reified the putative whiteness of this formation in the early 1990s by repeatedly attaching the ambient label to the expressions of white men while describing the music, by way of a racialized and gendered mind-body binary, as the “beatless” emanation of disembodied mind(s), rather than of individuals. This history illuminates how popular genres become racialized through feedback loops of musical production and discursive categorization. In the course of tracing this history, the author proposes that a discursive framework of “strategic anti-genre-essentialism,” which positions genres as processes rather than categories, may help to undermine essentialist assumptions about music and race without dismissing them.","PeriodicalId":409022,"journal":{"name":"The Oxford Handbook of Electronic Dance Music","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126659593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Timbre, Rhythm, and Texture within Music Theory’s White Racial Frame 音乐理论中的白人种族框架中的音色、节奏和织体

The Oxford Handbook of Electronic Dance Music Pub Date : 2021-08-11 DOI: 10.1093/oxfordhb/9780190093723.013.17

Megan L. Lavengood

引用次数: 0

The Biopolitics of Synthesizers 合成器的生命政治学

The Oxford Handbook of Electronic Dance Music Pub Date : 2021-08-11 DOI: 10.1093/oxfordhb/9780190093723.013.18

Mike D’Errico

{"title":"The Biopolitics of Synthesizers","authors":"Mike D’Errico","doi":"10.1093/oxfordhb/9780190093723.013.18","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190093723.013.18","url":null,"abstract":"This chapter outlines how the design of synthesizers and digital instruments in twenty-first-century EDM reflects a biopolitics of software that arises when sound and signal are analogized as dynamic bodies, and the core practices of music production center on the attempt to control, manipulate, and repair those bodies. Combining Tara Rodgers’ work on metaphor in audio-technical discourse and Robin James’s ideas about EDM and the sonic signatures of neoliberalism, this chapter argues that the intersonic control network of synthesizers—a modular, interconnected system of oscillating waveforms, filters, modulation envelopes, and effects—embodies fundamental shifts in the creative practice of electronic music production, the cultural economy of the music products industry, and the nature of labor in the software and media industries. The blurred lines between production and consumption, hardware and software, and labor and leisure define what the author calls the biopolitics of synthesizers. The author details three aspects of these biopolitics in this chapter, including the relationship between synthesizers and masculinity post-2008, synthesizer design and manufacturing as an agent of neoliberal capitalism, and the nature of commodity fetishism and gearlust in an era of plugins, sample packs, and other types of downloadable content.","PeriodicalId":409022,"journal":{"name":"The Oxford Handbook of Electronic Dance Music","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125277867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0