Hostname: page-component-78c5997874-g7gxr Total loading time: 0 Render date: 2024-11-03T08:31:56.820Z Has data issue: false hasContentIssue false
  • English
  • Français

Music, Multimedia and Spectacle: The one-man band and audience relationships in the digital age

Published online by Cambridge University Press:  16 November 2015

Julian Whittam
Julian Whittam*
Affiliation:
Université de Montréal, 2900 Boulevard Edouard-Montpetit, Montréal, QC H3T 1J4, Canada
*
Email: [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

The one-man band is a highly performative musical practice which combines visual spectacle and musical production. As digital and electronic technologies play an increasingly important role in our lives and change the ways in which music is produced, performed and consumed, the traditional one-man band with a bass drum on his back and cymbals between his knees provides an interesting model through which to examine both our relationship with technology and the importance of embodiment and visual spectacle in developing and maintaining audience/performer relationships. Furthermore, for digital performance artists, the model of the traditional one-man band can provide interesting inspiration for new works.

Type
Articles
Information
Organised Sound , Volume 20 , Issue 3: Aesthetic Radicalism, Future and Past , December 2015 , pp. 349 - 356
Copyright
© Cambridge University Press 2015 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

ARS Electronica. 2013. ARS Electronica – Center. www.aec.at/center/en/ (accessed 31 January 2013).Google Scholar
Aubert, L. 2001. La musique de l’autre: les nouveaux défis de l’ethnomusicologie. Geneva: Georg/Ateliers d’ethnomusicologie.Google Scholar
Augé, M. 1992. Non-lieux: introduction à une anthropologie de la supermodernité. Paris: Seuil.Google Scholar
Auslander, P. 2000. Liveness, Mediatization, and Intermedial Performance. Degrés: Revue de synthèse à orientation sémiologique 101(Spring).Google Scholar
Auslander, P. 2006. Music as Performance: Living in the Immaterial World. Theatre Survey 47(2): 261–269.Google Scholar
Austen, J. 2002. One Man Band Encyclopedia. Roctober! 34: 10.Google Scholar
Austin, J. 1975. How to do Things with Words. Cambridge, MA: Harvard University Press.CrossRefGoogle Scholar
Bauman, R. 1977. Verbal Art as Performance. Rowley, MA: Newbury House.Google Scholar
Bauman, R. 1992. Performance. In Folklore, Cultural Performances, and Popular Entertainments: A Communications-centered Handbook. New York: Oxford University Press.CrossRefGoogle Scholar
Beeman, W. O. 1993. The Anthropology of Theatre and Spectacle. Annual Review of Anthropology 22: 369–393.CrossRefGoogle Scholar
Brackett, D. 1995. Interpreting Popular Music. Berkeley: University of California Press.Google Scholar
Bricka, R. 2007. Mes traversées pacifiques. Paris: Éditions du Rocher.Google Scholar
Butler, J. 1988. Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory. Theatre Journal 40(4): 519–531.CrossRefGoogle Scholar
Calogirou, C., Cipriani-Crauste, M. and Touché, M. 1997. Les Vermandel, hommes-orchestres de père en fils depuis 120 ans. In F. Gétreau and M. Colardelle (eds.) Musiciens des rues de Paris: Musée national des arts et traditions populaires, 18 novembre 1997–27 avril 1998. Paris: Réunion des musées nationaux.Google Scholar
Canadian Broadcasting Corporation (CBC) 2012. AI: The Answer to Cosmic Loneliness. Tapestry. Canada: Canadian Broadcasting Corporation.Google Scholar
Cascone, K. 2003. Grain, Sequence, System: Three Levels of Reception in the Performance of Laptop Music. Contemporary Music Review 22(4): 101–104.CrossRefGoogle Scholar
Chapman, D. 2013. The ‘One-man Band’ and Entrepreneurial Selfhood in Neoliberal Culture. Popular Music 32(03): 451–470.CrossRefGoogle Scholar
Cross, G. 1990. A Social History of Leisure Since 1600. State College, PA: Venture Publishing.Google Scholar
Delalande, F. 1988. Le geste, outil d’analyse: Queslques enseignements d’une recherche sur la gestique de Glenn Gould. Analyse musicale 10: 43–46.Google Scholar
Eadicicco, L. and Weinberger, M. 2015. Google is Partnering with Levi’s to Create Smart Pants that can Control your Phone. Business Insider. www.businessinsider.com/google-partners-with-levis-for-smart-pants-2015–5 (accessed 20 June 2015).Google Scholar
Emerson, D. and Emerson, H. 2003. Let Me Be Your Band. Canada: One Eye Blinking.Google Scholar
Fabian, J. 1990. Power and Performance: Ethnographic Explorations through Proverbial Wisdom and Theater in Shaba, Zaire. Madison: University of Wisconsin Press.Google Scholar
Fournel, V. 1867. Ce qu’on voit dans les rues de Paris. Paris: E. Dentu.Google Scholar
Gellez, A.-C., Guezet, B. and Pernis, A. 2013. We are a One Man Band. Canada: Vidéo Femmes.Google Scholar
Gétreau, F. 2000. L’homme orchestre: deux siècles de tradition française. Revue du Louvre: la revue des musées de France 50(5): 67–76.Google Scholar
Gille, B. 1978. Histoire des techniques. Paris: Gallimard.Google Scholar
Godlovitch, S. 1993. The Integrity of Musical Performance. The Journal of Aesthetics and Art Criticism 51(4): 573–587.CrossRefGoogle Scholar
Goffman, E. 1959. The Presentation of Self in Everyday Life. Garden City, NY: Doubleday.Google Scholar
Hankin, L. 2012. Female Subway Musicians a Rarity. Global Art Laid Out, 29 June.Google Scholar
Harris, D. 2012. Head, Hands and Feet: A Book of One Man Bands. Victoria, BC: Dave Harris.Google Scholar
Hymes, D. 1981. In Vain I Tried to Tell You: Essays in Native American Ethnopoetics. Lincoln: University of Nebraska Press.CrossRefGoogle Scholar
Inomata, T. and Coben, L. 2006. Overture: An Invitation to the Archaeological Theater. In T. Inomata and L. S. Coben (eds.) Archeology of Performance: Theaters of Power, Community, and Politics. Toronto: Alta Mira Press.Google Scholar
Jordà, S. 2002. Afasia: The Ultimate Homeric One-man-multimedia-band. NIME-02. Dublin: NIME.Google Scholar
Kemp, A. D. 1998. This Black Body in Question. In P. Phelan and J. Lane (eds.) The End of Performance. New York: New York University Press.Google Scholar
Leveratto, J.-M. 2006. Introduction à l’anthropologie du spectacle. Paris: La Dispute.Google Scholar
MacAloon, J. J. 1984. Olympic Games and the Theory of Spectacle in Modern Societies. In J. J. MacAloon (ed.) Rite, Drama, Festival, Spectacle: Rehearsals Toward a Theory of Cultural Performance. Philadelphia: Institute for the Study of Human Issues.Google Scholar
McNamee, D. 2014. ‘Technology Addiction’ – How should it be Treated?’ www.medicalnewstoday.com/articles/278530.php (accessed 31 August 2015).Google Scholar
Oliver, P. 2003. One-Man Band. In J. Shepard, D. Horn, D. Laing, P. Oliver and P. Wicke (eds.) Continuum Encyclopedia of Popular Music of the World. Volume 2: Performance and Production. London: Continuum.Google Scholar
Paine, G. 2008. Gesture and Morphology in Laptop Music Performance. In R. T. Dean (ed.) The Oxford Companion of Computer Music and Digital Sound Culture. Oxford: Oxford University Press.Google Scholar
Rammel, H. 1990. Joe Barrick’s One-Man Band: A History of the Piatarbajo and Other One-Man Bands. Musical Traditions 8. www.mustrad.org.uk/articles/barrick.htm (accessed 31 August 2015).Google Scholar
Schafer, R. M. 1977. The Tuning of the World. New York: Alfred A. Knopf.Google Scholar
Schechner, R. 2006. Performance Studies: An Introduction. New York: Routledge.Google Scholar
Schilling, C. 2005. The Body in Culture, Technology & Society. Thousand Oaks: Sage.CrossRefGoogle Scholar
Schloss, W. A. 2003. Using Contemporary Technology in Live Performance: The Dilemma of the Performer. Journal of New Music Research 32(3): 239–242.CrossRefGoogle Scholar
Singer, M. 1972. When a Great Tradition Modernizes: An Anthropological Approach to Indian Civilization. New York: Praeger.Google Scholar
Storey, J. 1997. An Introduction to Cultural Theory and Popular Culture. Hempstead: Harvester Wheatsheaf.Google Scholar
Tait, S. M. 2015 [1999]. McRorie Live Electronic. www.mcrorie.ca (accessed 12 May 2015).Google Scholar
Thompson, W. F., Graham, P. and Russo, F. A. 2005. Seeing Music Performance: Visual Influences on Perception and Experience. Semiotica 156: 203–227.Google Scholar
Turner, V. 1977. Process, System, and Symbol: A New Anthropological Synthesis. Daedalus 106(3): 61–80.Google Scholar
Turner, V. 1986. The Anthropology of Performance. New York: PAJ.Google Scholar
Whitecross, M. 2014. A Sky Full of Stars (video).Google Scholar
Whittam, J. 2014. L’homme-orchestre et le corps en musique. In M. Desroches, S. Stévance and S. Lacasse (eds) Quand la musique prend corps. Montréal: Les Presses de l’Université de Montréal.Google Scholar
Wilcox, D. 2012. ‘robotcowboy.com.’ http://robotcowboy.com/ (accessed 1 October 2012).Google Scholar
Wilcox, D. 2007. robotcowboy: A One-Man Band Musical Cyborg. Master’s thesis, Göteborg University.Google Scholar
Wilson-Bokowiec, J. and Bokowiec, M. A. 2006. Kinaesonics: The Intertwining Relationship of Body and Sound. Contemporary Music Review 25: 47–57.CrossRefGoogle Scholar