Musics Immanent Future

The conversations generated by the chapters in Music's Immanent Future grapple with some of music's paradoxes: that music of the Western art canon is viewed as timeless and universal while other kinds of music are seen as transitory and ephemeral; that in order to make sense of music we need descriptive language; that to open up the new in music we need to revisit the old; that to arrive at a figuration of music itself we need to posit its starting point in noise; that in order to justify our creative compositional works as research, we need to find critical languages and theoretical frameworks with which to discuss them; or that despite being an auditory system, we are compelled to resort to the visual metaphor as a way of thinking about musical sounds. Drawn to musical sound as a powerful form of non-verbal communication, the authors include musicologists, philosophers, music theorists, ethnomusicologists and composers. The chapters in this volume investigate and ask fundamental questions about how we think, converse, write about, compose, listen to and analyse music. The work is informed by the philosophy primarily of Gilles Deleuze and Felix Guattari, and secondarily of Michel Foucault, Julia Kristeva and Jean-Luc Nancy. The chapters cover a wide range of topics focused on twentieth and twenty-first century musics, covering popular musics, art music, acousmatic music and electro-acoustic musics, and including music analysis, music's ontology, the noise/music dichotomy, intertextuality and music, listening, ethnography and the current state of music studies. The authors discuss their philosophical perspectives and methodologies of practice-led research, including their own creative work as a form of research. Music's Immanent Future brings together empirical, cultural, philosophical and creative approaches that will be of interest to musicologists, composers, music analysts and music philosophers.

The conversations generated by the chapters in Music's Immanent Future grapple with some of music's paradoxes: that music of the Western art canon is viewed as timeless and universal while other kinds of music are seen as transitory and ephemeral; that in order to make sense of music we need descriptive language; that to open up the new in music we need to revisit the old; that to arrive at a figuration of music itself we need to posit its starting point in noise; that in order to justify our creative compositional works as research, we need to find critical languages and theoretical frameworks with which to discuss them; or that despite being an auditory system, we are compelled to resort to the visual metaphor as a way of thinking about musical sounds. Drawn to musical sound as a powerful form of non-verbal communication, the authors include musicologists, philosophers, music theorists, ethnomusicologists and composers. The chapters in this volume investigate and ask fundamental questions about how we think, converse, write about, compose, listen to and analyse music. The work is informed by the philosophy primarily of Gilles Deleuze and Felix Guattari, and secondarily of Michel Foucault, Julia Kristeva and Jean-Luc Nancy. The chapters cover a wide range of topics focused on twentieth and twenty-first century musics, covering popular musics, art music, acousmatic music and electro-acoustic musics, and including music analysis, music's ontology, the noise/music dichotomy, intertextuality and music, listening, ethnography and the current state of music studies. The authors discuss their philosophical perspectives and methodologies of practice-led research, including their own creative work as a form of research. Music's Immanent Future brings together empirical, cultural, philosophical and creative approaches that will be of interest to musicologists, composers, music analysts and music philosophers.

"Studies of affect and emotions have blossomed in recent decades across the humanities, neurosciences, and social sciences. In music scholarship, they have often built on the discipline's attention to what music theorists since the Renaissance have described as music's unique ability to arouse passions in listeners. In this timely volume, the editors seek to combine this 'affective turn' with the 'sound turn' in the humanities, which has profitably shifted attention from the visual to the aural, as well as a more recent 'philosophical turn' in music studies. Accordingly, the volume maps out a new territory for research at the intersection of music, philosophy, and sound studies. The essays in Sound and Affect look at objects and experiences in which correlations of sound and affect reside, in music and beyond: the voice as it speaks, stutters, cries, or sings; music, whether vocal, instrumental, or electronic; our sonic environments, whether natural or man-made, and our responses to them. As argued here, far from being stable, correlations of sound and affect are influenced by factors as diverse as race, class, gender, and social and political experience. Examining these factors is key to the project, which gathers contributions from a cross-disciplinary roster of scholars including both established as well as a wealth of new voices. The essays are grouped thematically into sections that move from politics and ethics, to reflections on pre-and post-human "musicking," to the notions of affective listening and music temporalities, to are examination of historical understandings of music and affect. This agenda-setting collection will prove indispensable to anyone interested in innovative approaches to the study of sound and its many intersection with affect and emotions"--

This essay sheds light on the future of the music industry and explicates how emerging technologies will revolutionize the music industry. Moreover, the benefits of leveraging robots in the music industry are demystified in this essay. Furthermore, how to earn substantial money online so that you can afford to procure your own concert tickets is expounded upon in this essay. The future of the music industry will not only be characterized by dynamism as it continues to metaphorically evolve, but will also be eminently auspicious for customers and musicians. Technological advancements are profoundly changing the music industry and are rendering it all the more technology driven. The behemoth music industry shows no signs of decelerating anytime in the imminent future. "In 2019, the total revenue of the recorded music industry amounted to $21,500,000,000. Streaming made up 56% percent of total revenue of the recorded music industry, bringing in $11,900,000,000 globally. Between 2016 and 2021, music streaming is expected to grow by 20.7% on an annual basis. However, digital music downloading is expected to fall by 19.2% in the same period. Moreover, physical recorded music is expected to suffer and fall by 11.6% annually" (Watson, 2020). In the digital era, a market for physical music albums still exists even though more and more customers are preferring to utilize music streaming services over buying physical music albums. "In 2015, the sales of vinyl records for instance reached a healthy $416,00,000 worldwide, an amount which had been steadily rising since 2007 which indicates a spectacular revival for the phonograph record" (Watson, 2020). The music industry is preordained to have a robust and lucrative future, especially since music is something that the global population as an aggregate relishes listening to in their spare time. While sales of physical music albums may have reached their peak amid 2000, music will not be disappearing from the customer's household anytime soon. "In 2000, more than 942,000,000 CDs were shipped in the United States" (Watson, 2020). Much to the dismay of music industry retailers, music album CDs have experienced (Watson, 2020) "a large decline in popularity in each year since" (Watson, 2020) 2000. Physical music album sales have reached their pinnacle decades ago. It is unlikely that even a resurgence of rekindled interest in physical media will culminate in physical music album sales ever again coming close to reaching $13,360,000,000 in sales revenue in the coming years. In the digital era, more customers will transition to embracing digital media over physical media. As this industry trend unfolds, the future of the music industry will still be prosperous for musicians. Much to the benefit of musicians, in the digital era, musicians do not need to rely upon earning physical music album sales in order to draw forth sales revenue. Customers are profusely embracing digital media over physical media and the vast majority of customers are unlikely to revert back to consuming physical media over digital media. This ultimately means that it is easier than anytime in history for upcoming musicians to generate revenue since they do not need to sell physical music album CDs, cassette tapes, nor physical vinyl records to generate revenue from their songs. In the digital era, musicians are able to earn royalties from having their songs distributed onto e-commerce music stores and music streaming services. In the coming years, more musicians will leverage music streaming service platforms to host their songs onto and more musicians will also have their songs distributed onto e-commerce music stores. Successful musicians will profoundly benefit from having their songs hosted on music streaming service platforms. Musicians are able to earn royalties from having their songs played on music streaming service platforms, such as Spotify and Pandora. Per-play royalty rates can be low.

Dealing with the interconnections between music and the written word, this volume brings into focus an updated range of analytical and interpretative approaches which transcend the domain of formalist paradigms and the purist assumption of music’s non-referentiality. Grouped into three thematic sections, these fifteen essays by Italian, British and American scholars shed light on a phenomenological network embracing different historical, socio-cultural and genre contexts and a variety of theoretical concepts, such as intermediality, the soundscape notion, and musicalisation. At one end of the spectrum, music emerges as a driving cultural force, an agent cooperating with signifying and communication processes and an element functionally woven into the discursive fabric of the literary work. The authors also provide case studies of the fruitful musico-literary dialogue by taking into account the seminal role of composers, singer-songwriters, and performers. From another standpoint, the music-in-literature and literature-in-music dynamics are explored through the syntax of hybridisations, transcoding experiments, and iconic analogies.

With the shift towards online education, teaching and learning music has evolved to incorporate online environments. However, many music instructors, faculty, and institutions are being challenged on how to evolve their curriculum to meet these demands and successfully foster students. Pedagogy Development for Teaching Online Music is a critical scholarly resource that examines the nature of teaching and learning music in the online environment at the post-secondary level. Featuring a broad range of topics such as online and face-to-face instruction, instructional design, and learning management system, this book is geared towards educators, professionals, school administrators, academicians, researchers, and students seeking current research on designing online music courses using a social constructivist framework.