I’ll be talking twice in the next two days about a thing I’ve been calling technomusicology.
If in a previous moment bi-musicality represented cutting edge musicological literacy, today’s tech-suffused world would seem to call for the development of something akin to technomusicology — which might also include a sort of technomusicality.
Aside from bringing into conversation work that focuses on the entanglements of music and technology, a crucial dimension of technomusicology — at least as I’m proposing — should also entail exploring new modes of tech-assisted research and publication (and obviously I’m thinking in terms of digital and networked tech at this point).
Indeed, I’m currently developing a course called “Technomusicology” for the fall. Beginning by reading across the growing lit that attends to music in the age of its technological reproducibility (Lysloff & Gay, Meintjes, Katz, Suisman, Sterne, et al.), in the second half of the course we will appraise and attempt a variety of new forms and practices — mashups and remixes, DJ-style mixes and audio & video collages, multimedia storytelling, archival representation — as potential openings for new directions in music scholarship, with a final project that engages some new form and aims for publication in range of new venues for such work. More about that in a few!
Anyway, if you want to hear more — literally! — and you’re in New England, you’ll have two chances in the next couple of days, beginning this afternoon! (Pardon the late notice. It’s been a busy month.) Here’s the deets:
My talk today is entitled “Technomusicology” and I’ll be discussing the practice as both musicological and creative endeavor, demonstrating and explicating a number of projects in this vein. Thanks much to Matan Rubinstein for the invitation.
Here I’m giving a brief presentation as part of a roundtable discussion called “Ethno Tech Talk” alongside the venerable David Locke and Eric Galm. I like that the title evokes the somewhat horrid 90s phenom “ethnotechno,” but I believe we’ll mainly be talking about pedagogical strategies — the subtitle is “A Conversation about Applied Technology within Ethnomusicology” — and I don’t think anyone is going to mention Enigma or Deep Forest (though now I’m tempted to).