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The Social Life of Sounds argues for the agency of sounds and music and the acceleration of their social lives in the Digital Age. Drawing upon research with composers, producers, record collectors, DJs and record labels, the book problematises the notion of artistic authorship as it is framed in Western systems of property. Acknowledging that ‘things’ – sounds, samples, and recorded music – and people are co-constituted and that personhood is distributed through things and their reuse, Maalsen makes a case for understanding sound as multibiographical and challenges the possessive individual that is the basis of artistic copyright.
The Social Life of Sounds argues for the agency of sounds and music and the acceleration of their social lives in the Digital Age. Drawing upon research with co
Crossley argues that music is a form of social interaction, interwoven in the fabric of society and in constant interplay with its other threads. Musical intera
In 'Music as Social Life', Thomas Turino explores why it is that music and dance are so often at the centre of our most profound personal and social experiences
This book is about how you listen and what you hear, about how to have a dialogue with the sounds around you. Marcia Jenneth Epstein gives readers the impetus a
The power of music to influence mood, create scenes, routines and occasions is widely recognised and this is reflected in a strand of social theory from Plato t
