Book contents
- The Cambridge Companion to Music in Digital Culture
- Cambridge Companions to Music
- The Cambridge Companion to Music in Digital Culture
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- Introduction
- 1 Digital Technology and Cultural Practice
- Personal Take: Whatever Happened to Tape-Trading?
- 2 Toward a History of Digital Music: New Technologies, Business Practices and Intellectual Property Regimes
- Personal Take: On Serving as an Expert Witness in the ‘Blurred Lines’ Case
- 3 Shaping the Stream: Techniques and Troubles of Algorithmic Recommendation
- Personal Take: Being a Curator
- Personal Take: Can Machines Have Taste?
- 4 Technologies of the Musical Selfie
- Personal Take: Vaporwave is Dead, Long Live Vaporwave!
- 5 Witnessing Race in the New Digital Cinema
- Personal Take: Giving History a Voice
- 6 Digital Devotion: Musical Multimedia in Online Ritual and Religious Practice
- Personal Take: Technicians of Ecstasy
- Personal Take: Live Coded Mashup with the Humming Wires
- Personal Take: Algorave: Dancing to Algorithms
- 7 Rethinking Liveness in the Digital Age
- Personal Take: Augmenting Musical Performance
- Personal Take: Digital Demons, Real and Imagined
- Personal Take: Composing with Sounds as Images
- Personal Take: Compositional Approaches to Film, TV and Video Games
- 8 Virtual Worlds from Recording to Video Games
- 9 Digital Voices: Posthumanism and the Generation of Empathy
- Personal Take: In the Wake of the Virtual
- 10 Digital Inequalities and Global Sounds
- 11 The Political Economy of Streaming
- Bibliography
- Index
Personal Take: - Giving History a Voice
Published online by Cambridge University Press: 30 August 2019
- The Cambridge Companion to Music in Digital Culture
- Cambridge Companions to Music
- The Cambridge Companion to Music in Digital Culture
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- Introduction
- 1 Digital Technology and Cultural Practice
- Personal Take: Whatever Happened to Tape-Trading?
- 2 Toward a History of Digital Music: New Technologies, Business Practices and Intellectual Property Regimes
- Personal Take: On Serving as an Expert Witness in the ‘Blurred Lines’ Case
- 3 Shaping the Stream: Techniques and Troubles of Algorithmic Recommendation
- Personal Take: Being a Curator
- Personal Take: Can Machines Have Taste?
- 4 Technologies of the Musical Selfie
- Personal Take: Vaporwave is Dead, Long Live Vaporwave!
- 5 Witnessing Race in the New Digital Cinema
- Personal Take: Giving History a Voice
- 6 Digital Devotion: Musical Multimedia in Online Ritual and Religious Practice
- Personal Take: Technicians of Ecstasy
- Personal Take: Live Coded Mashup with the Humming Wires
- Personal Take: Algorave: Dancing to Algorithms
- 7 Rethinking Liveness in the Digital Age
- Personal Take: Augmenting Musical Performance
- Personal Take: Digital Demons, Real and Imagined
- Personal Take: Composing with Sounds as Images
- Personal Take: Compositional Approaches to Film, TV and Video Games
- 8 Virtual Worlds from Recording to Video Games
- 9 Digital Voices: Posthumanism and the Generation of Empathy
- Personal Take: In the Wake of the Virtual
- 10 Digital Inequalities and Global Sounds
- 11 The Political Economy of Streaming
- Bibliography
- Index
Summary
‘Giving history a voice’ explores the process of designing sound installations for heritage sites. It discusses the role of technology in communicating intangible cultural heritage by focusing on a case study based on research on the acoustics linked to the medieval drama cycle known as the York Mystery Plays.
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- The Cambridge Companion to Music in Digital Culture , pp. 147 - 149Publisher: Cambridge University PressPrint publication year: 2019