Keywords: cultural production, digital culture, mediations, hypermodern, popular music, software This moves music onto terrains that threaten, stretch and play with boundaries between human and machine, as well as real and simulated, although not always in expected ways. I want to suggest that an examination of recent production techniques and technologies labelled ‘digital’ can tell us significant things about contemporary musical cultures, including how they are meeting broader tendencies towards flexibility and de-materialisation in social practices at large, but that this meeting takes place in an extended moment of cultural acceleration and intensity – a hypermodern moment. ![]() ![]() The basic argument is that we can learn a lot about where we are in the history of popular music by looking at conditions of cultural production, not merely at single styles, techniques or devices such as the sampler. In this article I examine music’s technological mediations, linking this to recent attempts to theorise the shifting nature of contemporary popular music.
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