This analysis takes into account the influence the international industries of Latin music and world music had on their musical decisions. Combining ethnographic with musical analysis, this dissertation examines how, in making musical decisions, musicians implicated issues of identity. Thus, the essays collected provide critical readings through which the authors provide answers to questions, such as what is the relationship between sound and vision? And what is music's potential for communicating meaning into understanding?Ībstract This study focuses on the arranging strategies of five Cuban musicians who, having migrated to Canada between 1997 to 2000, were attempting to adapt and establish their careers in the competitive, multicultural city of Toronto. What we attempt to put forward in this book is not a solution to the analysis of sound and vision, but rather, a list of possibilities and approaches through which interpretation can be undertaken. Chapters are organised thematically around the headings Avant-garde aesthetics, Re-sounding soundtracks, Televisual intertexts, Interrogating the mainstream, and Personal politics and embodied performance. In this way, the book addresses a cluster of concerns that pertain to audiovisual production, performance and consumption in a variety of present day contexts. The focus of the essays is exclusively contemporary. A thread that runs through the chapters is the recognition of audiovisual performance as a central theoretical category. And yet, very little has been published that recognises its relevance to a wide range of practices, including music videos, film and television music, video art, and gaming music. Hunter, Jason Scott, Stijn Joye, Eli Horwatt, Emma Cocker, Sérgio Dias Branco, Brigid Cherry, Darren Elliott, Jordan Lavender-Smith, Austin Fisher, Neelam Sidhar Wright, and Pamela Atzori.įor several years audiovisual analysis has been a growth area in musicology and cultural studies. Shifting focus onto more imitative forms of appropriation, Part III focuses on 'Modes of Parody and Pastiche.' Finally, in Part IV, the focus shifts away from the predominant focus on US media to consider the contribution that 'Transnational Screen Cultures' can make to our understandings of the adaptive act. Part II looks to the future and examines the contemporary practice of 'Found Footage and Remix Culture'.
Part I examines 'Hollywood Cinema and Artistic Imitation' and provides three complimentary historical accounts of the development of adaptation within US cinema.
The issue is organised in four sections, each dealing with a different form of cultural borrowing.
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