Last week the students in my technomusicology class submitted their video études. The assignment was relatively straightforward: make a montage of YouTube-sourced videos interlinked by some (musical) subject, theme, or tune. One additional challenge, if made far easier by Ableton’s video capacity, was to attempt to bring the various performances into a kind of musical coherence via tempo-warping and key-modulation, with the ultimate goal of producing a video that follows a specific thread in order to give an audible and visible sense of the vast world of musicking on YouTube — spanning professional and amateur domains, innumerable contexts, and a wide variety of genres, including some that are downright YouTube-specific — and, importantly, is also engaging to watch.
Longtime W&W readers will no doubt hear echoes of my own experiments in this regard — namely, Gasodoble & Bump con Choque — and perhaps a little bit of YouTube collage master, Kutiman, as well. Despite that I have not found many other examples along these lines, I think there’s great potential for this sort of form, or method even, to demonstrate and delve into the wide, weird world of YouTube — which is to say, the wide, weird world, period — despite that the site is also an incomplete, ephemeral, willy-nilly archive hosted on corporate servers.
As you’ll see in selected submissions below, students embraced the assignment with panache, producing wonderful little documents of the varied social and cultural lives of such things as recent pop hits, well-worn war-horses, video game themes, public domain experiments, and Elvis impersonators.
First, a veritable YouTube chorus performing the 2012 pop hit, “Call Me Maybe,” showing how quickly a popular song can enter into myriad genres of performance, presentation, and play (including some YouTube-specific ones, like stitching together political speeches to make presidents stutter along too):
Or this one, combining a handful of home versions of the Halo theme, seeking specifically to document the “resurgence” (or at least newfound visibility) of “amateur” musical practice and appreciating how even people’s mistakes “actually add some character” to the performances —
Another student sought to plumb the YouTube depths for impersonations of Elvis, uncovering in the process not simply the expected plethora of examples but an interesting recent wrinkle: most of these would-be Kings are lip-synching not to an original Elvis recording but to Junkie XL’s popular 2002 remix of Presley’s “A Little Less Conversation.” My student found it notable that so many of the Elvises he encountered on YouTube “aren’t so orthodox in their impersonation”; I do too!
Several students went beyond the American pop repertory (which provides no end of subjects thanks to its imperial ubiquity) in order to explore YouTube instantiations of tunes that originated and enjoy rich social lives elsewhere.
Take, for example, this beat-matched collection of performances of “Asa Branca,” which my student describes as “a classic Brazilian baião composed by accordionist Luiz Gonzaga and lyricist Humberto Teixeira in 1947.” He continues —
This song has become so emblematic of so many things — Northeastern Brazilian regionalism, Brazilian diasporic identity, environmentalist movements, Brooklyn world music hipness — that I wanted to juxtapose as wide a variety of interpretations as I could, while choosing versions that retained the pulse of the original. From Korean fusion to muscle-metal play-along to small-town talent shows to arena Tropicália, with Gonzagão himself making the occasional approving cameo as a backup singer.
Or this one, documenting the variegated “going public” of a recent lullaby from Taiwan. (Notably, the student has only made the video semi-public — requiring a direct link — given concerns about unauthorized use of children’s performances, which she’s seeking explicit permission to include. Such ethical questions have been a recurring theme of the course, and I always encourage students to think about them as they record, copy, and manipulate the sounds and images of others.)
Finally, here’s a montage of a tune popular in both Turkey and Greece (and in both Turkish and Greek): “Kalenin Bedenleri” / “Siko Horepse Koukli Mou.” One curious thing that emerges here is how songs outside of the (Western) pop canon tend to be characterized on YouTube less by remixxy, YouTubey confections and more by familiar stagings of home, community, and local TV contexts. That said, a few clips of webcam-style pedagogy — a popular YouTube genre to be sure — make it into the mix too.
Here’s hoping that our experiments might lead to others in this vein and beyond. No doubt there is material aplenty to work with: YouTube reports (currently anyway; these figures keep changing) that 72 hours of video are uploaded to YouTube every minute. What a willy-nilly, wonderful world!