Table Of Content

The Oxford Handbook of M U S I C A N D V I RT UA L I T Y The Oxford Handbook of MUSIC AND VIRTUALITY Edited by SHEILA WHITELEY and SHARA RAMBARRAN 1 3 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trademark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © Oxford University Press 2016 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data The Oxford handbook of music and virtuality / edited by Sheila Whiteley and Shara Rambarran. pages cm Includes bibliographical references and index. ISBN 978–0–19–932128–5 (hardcover : alk. paper) 1. Music and the Internet. 2. Music—Computer network resources. I. Whiteley, Sheila, 1941– editor. II. Rambarran, Shara, editor. ML74.7.O94 2016 780.285—dc23 2015022089 1 3 5 7 9 8 6 4 2 Printed in the United States of America on acid-free paper Printed by Sheridan Sheila Whiteley (1941–2015) During a late stage of the preparation of this book, Sheila Whiteley, my co-editor, passed away on Saturday, June 6, 2015, in Hove, East Sussex, UK. Sheila leaves a special legacy. She graduated from the Open University (UK) in music with First Class Honours, and later earned a PGCE and Ph.D. at the same institution. She then became a music advisory teacher in Birmingham, before returning to the Open University as a music lecturer. Sheila is famously known for being associated with the University of Salford in Greater Manchester, UK. She joined the university in 1991, and helped to develop the degree in popular music and recording, the first program of its kind in the UK. Sheila’s contribution and dedication to the degree and research was highly recognized and applauded by the university, and she was awarded the UK’s first-ever Chair in Popular Music in 2000. This outstanding recognition generated global media interest. For example, she made appearances on broadcasting channels such as the BBC and Channel 4 (UK), and Arte (France/Germany), as well as participating in interviews for the press. Sheila’s expertise and talents as an extraordinary lecturer, musicologist, writer, editor, and researcher specializing in feminism, gender, sexuality, 1960s counterculture, and popular music gained her an international reputation in the academia. She published on women, gender, and sexuality in popular music; rock music and counterculture; age and identity in popular music; and critically and musically analyzed the works of Jimi Hendrix, Pink Floyd, Queen, and Björk. She also wrote articles and chapters on Britpop, copyright, the music industry, and popular culture. Before she died, she was working on a chapter on one of her much-loved music groups, the Rolling Stones. Along with her various academic roles, Sheila was the general secretary of the International Association for the Study of Popular Music (1999–2001), and served on the organizing committee for the Biennial International Conferences in Finland (2001) and Canada (2003). After retiring from the University of Salford in 2006, she went to live in her hometown, Brighton. She became professor emerita (University of Salford) as well as a visiting professor at the University of Åarhus (Denmark), the University of Brighton (UK), University of Southampton Solent (UK), and Bader International Study Centre, Queen’s University (Canada). As well as attaining many exceptional achievements, Sheila had a passion for music that exerted a lasting influence on undergraduate and postgraduate students at the University of Salford and international institutions. She happily shared her love, knowl- edge, and expertise in the subject with her students, and encouraged them to further their skills in music. Her interest and dedication in music and in her job have also inspired her colleagues at work and academics alike. Her intelligence, generosity, and devotion in music drew in many friends from the international academia. She was a well-loved and respected colleague, lecturer, writer, and friend, and her unique person- ality, intellect, energy, and determination will forever be praised and treasured. Sheila leaves behind her devoted husband, Graham, a beautiful family, and many friends, among them the contributors to this book. I will always cherish Sheila’s mentorship, support, joyfulness, kindness, and great friendship. I am very grateful to have known her. This book is dedicated to Sheila Whiteley. Sweet dreams, my academic mother Shara Rambarran, June 2015 Contents Figures and Tables xi Preface xv Foreword—Andy Bennett xvii Acknowledgments xxi Contributors xxiii About the Companion Website xxxiii Introduction 1 Sheila Whiteley PART ONE THE PRE-DIGITAL VIRTUAL 1. “Seventeenth Heaven”: Virtual Listening and Its Discontents 17 Christian Lloyd 2. “Nothing Is Real”: The Beatles as Virtual Performers 35 Philip Auslander and Ian Inglis 3. Tom, Jerry, and the Virtual Virtuoso 52 Sheila Whiteley 4. Bring That Beat Back: Sampling as Virtual Collaboration 65 Rowan Oliver 5. An Analysis of Virtuality in the Creation and Reception of the Music of Frank Zappa 81 Paul Carr PART TWO VOCALOIDS, HOLOGRAMS, AND VIRTUAL POP STARS 6. Vocaloids and Japanese Virtual Vocal Performance: The Cultural Heritage and Technological Futures of Vocal Puppetry 101 Louise H. Jackson and Mike Dines viii Contents 7. Hatsune Miku and Japanese Virtual Idols 111 Rafal Zaborowski 8. Hatsune Miku, 2.0Pac, and Beyond: Rewinding and Fast-Forwarding the Virtual Pop Star 129 Thomas Conner 9. “Feel Good” with Gorillaz and “Reject False Icons”: The Fantasy Worlds of the Virtual Group and Their Creators 148 Shara Rambarran PART THREE SECOND LIFE 10. Avatar Rockstars: Constructing Musical Personae in Virtual Worlds 171 Trevor S. Harvey 11. Performing Live in Second Life 191 Justin Gagen and Nicholas Cook 12. Live Opera Performance in Second Life: Challenging Producers, Performers, and the Audience 210 Marco Antonio Chávez-Aguayo PART FOUR AUTHORSHIP, CREATIVITY, AND MUSICIANSHIP 13. “We Are, The Colors”: Collaborative Narration and Experimental Construction of a Nonexistent Band 233 Alon Ilsar and Charles Fairchild 14. Music in Perpetual Beta: Composition, Remediation, and “Closure” 248 Paul Draper and Frank Millward 15. Justin Bieber Featuring Slipknot: Consumption as Mode of Production 266 Ragnhild Brøvig-Hanssen 16. Human After All: Understanding Negotiations of Artistic Identity through the Music of Daft Punk 282 Cora S. Palfy Contents ix 17. Virtual Bands: Recording Music under the Big Top 306 David Tough PART FIVE COMMUNITIES AND THE WORLD WIDE WEB 18. “Uploading” to Carnegie Hall: The First YouTube Symphony Orchestra 335 Shzr Ee Tan 19. The Listener as Remixer: Mix Stems in Online Fan Community and Competition Contexts 355 Samantha Bennett 20. Sample Sharing: Virtual Laptop Ensemble Communities 377 Benjamin O’Brien 21. Stone Tapes: Ghost Box, Nostalgia, and Postwar Britain 392 David Pattie 22. From Hypnagogia to Distroid: Postironic Musical Renderings of Personal Memory 409 Adam Trainer 23. Bands in Virtual Spaces, Social Networking, and Masculinity 428 Danijela Bogdanovic PART SIX SONIC ENVIRONMENTS AND MUSICAL EXPERIENCE 24. From Environmental Sound to Virtual Environment Enhancing: Consuming Ambiance as Listening Practice 455 Thomas Brett 25. App Music 477 Jeremy Wade Morris 26. Alternative Virtuality: Independent Micro Labels Facing the Ideological Challenge of Virtual Music Culture—The Case of Finnish Ektro Records 495 Juho Kaitajärvi-Tiekso