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POP MUSIC, CULTURE AND IDENTITY Somatechnics and Popular Music in Digital Contexts Laura Glitsos Pop Music, Culture and Identity Series Editors Steve Clark Graduate School Humanities and Sociology University of Tokyo Bunkyo-ku, Tokyo, Japan Tristanne Connolly Department of English St Jerome’s University Waterloo, ON, Canada Jason Whittaker School of English & Journalism University of Lincoln Lincoln, Lincolnshire, UK Pop music lasts. A form all too often assumed to be transient, commercial and mass-cultural has proved itself durable, tenacious and continually evolving. As such, it has become a crucial component in defining various forms of identity (individual and collective) as influenced by nation, class, gender and historical period. Pop Music, Culture and Identity investigates how this enhanced status shapes the iconography of celebrity, provides an ever-expanding archive for generational memory and accelerates the impact of new technologies on performing, packaging and global market- ing. The series gives particular emphasis to interdisciplinary approaches that go beyond musicology and seeks to validate the informed testimony of the fan alongside academic methodologies. More information about this series at http://www.palgrave.com/gp/series/14537 Laura Glitsos Somatechnics and Popular Music in Digital Contexts Laura Glitsos Faculty of Humanities Edith Cowan University Perth, Australia Pop Music, Culture and Identity ISBN 978-3-030-18121-5 ISBN 978-3-030-18122-2 (eBook) https://doi.org/10.1007/978-3-030-18122-2 © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2019 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institu- tional affiliations. Cover illustration: Danil Cetvericov / Alamy Stock Vector This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG. The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland For Cain, and all the other music fiends A cknowledgements In some senses, this project has been 37 years in the making, as old as I am at the time of its publication. I say this because it is the culmination of all the impacts and experiences which have shaped my thinking and academic world up until this point. However, my academic mind is shaped not only by that which I have read and researched but also by the depth of sub- stance from the unique people in my life. I have been lucky enough to receive the highest level of mentorship and support from the widest range of creative, inquiring and scholarly minds. I wish to thank these individu- als with the deepest gratitude. I thank my partner Cain Cressall, who continues to challenge and support me. This book would not be possible without his patience and wisdom. I thank the Glitsos Family for their support in my academic career and for the continuing homecooked meals when I have been buried in writing. I would also like to thank the Cressall Family. I thank my mentors. Professor Jon Stratton, who is always ready to reply to my endless emails and respond to my questions about the writing and publishing process. This work derives somewhat from my doctoral dissertation, which started with his support. I thank Professor Suvendrini Perera for her guidance in finishing my thesis and for introducing me to the field of somatechnics, from which I have gained so much. I thank all my friends, who have provided indelible love and laughter over the years—you all know who you are. Trudging through sometimes laborious research work has been alleviated by these friendships. I also thank my friends for their patience when I have been locked away working on my research, and for welcoming me back with open arms when I vii viii ACKNOWLEDGEMENTS re- emerge. I would especially like to thank my Mum, Patricia and my brother, Will. I would like to make a very special acknowledgement to Tammy Geddes, whose courage and passion inspires me always. I would also like to make a very special acknowledgement to Anthony Roe, who never let me give up on myself and whose laughter helps me to face the world. I would like to thank my colleagues: Mr James Hall, Dr Jessica Taylor, and Associate Professor Panizza Allmark at Edith Cowan University. Thank you to my colleagues at Curtin University, in particular, Dr Christina Chau, Dr Francis Russell, Mr Chris Mason, Dr Tama Leaver, Dr Eleanor Sandry and Dr Jo Jones. Thank you to Dr Madison Magladry for the help in the editing process. Thank you to all the supportive colleagues beyond, especially Dr Catherine Hoad, Associate Professor Andrew Hickey, Professor David Hesmondhalgh, and Professor Andy Bennett. A very special thank you to Dr Karyn Morrissey. I wish to also thank Shaun Vigil, Glenn Ramirez, Camille Davies, and the whole team at Palgrave for their fantastic and professional expertise which has made the publishing process a pleasure. c ontents 1 Introduction: Listening Through the Body 1 2 Materiality, the Bodymind, and Music Listening 19 3 Liveness in the Age of Digitization 49 4 Screen as Skin: The Somatechnics of Touchscreen Music Media 77 5 The ‘Creative Listener:’ Internet, Music, and the Computer-Bodymind Somatechnic 99 6 Future Bodies, Future Music 123 7 Conclusion: Music as Somatechné 145 Index 157 ix A A bout the uthor Laura Glitsos is a Senior Adjunct Research Fellow in the School of Arts and Humanities at Edith Cowan University in Perth, Western Australia. In addition to her expertise in the media and music industries, she has worked as a professional vocalist for which she was honoured with two Western Australian Music Awards. Dr Glitsos has published peer-review research in media studies, cultural studies, and popular music studies. Somatechnics and Popular Music in Digital Contexts is her first sole-authored book. She continues to lecture in media and cultural studies in Western Australia. xi