Please use this identifier to cite or link to this item: http://dx.doi.org/10.14279/depositonce-6188
|Main Title:||Sound, materiality and embodiment challenges for the concept of 'musical expertise' in the age of digital mediatization|
|Abstract:||Within academic music research, 'musical expertise' is often employed as a 'moderator variable' when conducting empirical studies on music listening. Prevalent conceptualizations typically conceive of it as a bundle of cognitive skills acquired through formal musical education. By implicitly drawing on the paradigm of the Western classical live concert, this ignores that for most people nowadays, the term 'music' refers to electro-acoustically generated sound waves rendered by audio or multimedia electronic devices. Hence, our article tries to challenge the traditional musicologist's view by drawing on empirical findings from three more recent music-related research lines that explicitly include the question of media playback technologies. We conclude by suggesting a revised musical expertise concept that extends from the traditional dimensions and also incorporates expertise gained through ecological perception, material practice and embodied listening experiences in the everyday. Altogether, our contribution shall draw attention to growing convergences between musicology and media and communications research.|
|DDC Class:||070 Publizistische Medien, Journalismus, Verlagswesen|
|Journal Title:||Convergence : the international journal of research into new media technologies|
|Publisher Place:||London [u.a.]|
|Notes:||Dieser Beitrag ist mit Zustimmung des Rechteinhabers aufgrund einer (DFG geförderten) Allianz- bzw. Nationallizenz frei zugänglich.|
This publication is with permission of the rights owner freely accessible due to an Alliance licence and a national licence (funded by the DFG, German Research Foundation) respectively.
|Appears in Collections:||FG Audiokommunikation » Publications|
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