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This title in other editions

Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity

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Synopses & Reviews

Publisher Comments:

"Anahid Kassabian offers us a way of thinking about listening that is dynamic, unique, timely and original. Kassabian reimagines listening for our age; she constructs new objects and asks fresh questions. Ubiquitous Listening offers a new foundation for understanding music in contemporary life ."—Jonathan Sterne, author of MP3: The Meaning of a Format and The Audible Past: Origins of Sound Reproduction

"[This work] is an important study of a phenomenon that has a wide-ranging significance... [Kassabian's] approach to the subject incorporates insights and poses challenges to existing paradigms in a range of interconnected fields, and is a model of interdisciplinary scholarship at its most innovative."—Steve Waksman, author of Instruments of Desire: the Electric Guitar and the Shaping of Musical Experience

“A leading light in the burgeoning field of sound studies, Anahid Kassabian has richly expanded the field with the many insights of Ubiquitous Listening. Brilliantly comparing and contrasting how we hear ubiquitous sound with how we listen to music, Kassabian deepens our understanding of affect, technologies of attention and distributed subjectivities. A must read for those of us doing critical theory in these times.”—Patricia Ticineto Clough, editor of The Affective Turn

Synopsis:

How does the constant presence of music in modern life—on iPods, in shops and elevators, on television—affect the way we listen? With so much of this sound, whether imposed or chosen, only partially present to us, is the act of listening degraded by such passive listening? In Ubiquitous Listening, Anahid Kassabian investigates the many sounds that surround us and argues that this ubiquity has led to different kinds of listening. Kassabian argues for a new examination of the music we do not normally hear (and by implication, that we do), one that examines the way it is used as a marketing tool and a mood modulator, and exploring the ways we engage with this music.

About the Author

Anahid Kassabian is the James and Constance Alsop Chair of Music at the Institute of Popular Music and the School of Music at the University of Liverpool. She is the author of Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music (Routledge 2001).

Table of Contents

Acknowledgments

Introduction

1. Ubiquitous Listening

2. Listening to Video Art and the Problem of Too Many Homelands

3. The Sound of a New Film Form

4. Musicals Hit the Small Screen: Attention, Listening, and TV Musical Episodes

5. Improvising Diasporan Identities: Armenian Jazz

6. Would You Like Some World Music with Your Latte?: Starbucks, Putumayo, and Distributed Tourism

Conclusion

Works Cited

Notes

Index

Product Details

ISBN:
9780520275164
Author:
Kassabian, Anahid
Publisher:
University of California Press
Subject:
General Music
Subject:
Music-Music Appreciation
Copyright:
Edition Description:
Cloth
Publication Date:
20130331
Binding:
TRADE PAPER
Language:
English
Illustrations:
2 tables, 1 music example
Pages:
182
Dimensions:
9.25 x 6.25 in

Related Subjects

Arts and Entertainment » Music » General
Arts and Entertainment » Music » Instruction and Study » Music Appreciation
Arts and Entertainment » Music » Instruction and Study » Theory

Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity New Trade Paper
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$36.75 In Stock
Product details 182 pages University of California Press - English 9780520275164 Reviews:
"Synopsis" by ,
How does the constant presence of music in modern life—on iPods, in shops and elevators, on television—affect the way we listen? With so much of this sound, whether imposed or chosen, only partially present to us, is the act of listening degraded by such passive listening? In Ubiquitous Listening, Anahid Kassabian investigates the many sounds that surround us and argues that this ubiquity has led to different kinds of listening. Kassabian argues for a new examination of the music we do not normally hear (and by implication, that we do), one that examines the way it is used as a marketing tool and a mood modulator, and exploring the ways we engage with this music.
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