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Tracy mcmullen is a saxophonist, composer, and associate professor of american vernacular music at bowdoin college. Her 2019 book, haunthenticity: musical replay and the fear of the real (wesleyan univ. Press) contextualizes live musical reenactments (pop tribute bands,.
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Review: haunthenticity: musical replay and the fear of the real by tracy mcmullen. Bruce haack and esther nelson’s experimental electronic music collaborations.
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Haunthenticity: musical replay and the fear of the real author tracy mcmullen the search for medieval music in africa and germany, 1891-1961: scholars, singers, missionaries.
Haunthenticity: musical replay and the fear of the an interdisciplinary and existential exploration of live musical reenactmentin this persuasive study, tracy mcmullen draws on philosophy, psychology, musicology, performance studies, and popular music studies in order to analyze the rise of obsessively precise live musical reenactments in the united.
Tracy mcmullen, haunthenticity: musical replay and the fear of the real.
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Tracy mcmullen is a saxophonist, composer, and associate professor of american vernacular music. Her 2019 book, haunthenticity: musical replay and the fear of the real (wesleyan university press) contextualizes live musical reenactments (pop tribute bands, jazz revivals) within postmodern conceptions and fears about identity and difference. She is currently conducting research on jazz pedagogy and inclusivity for her second book project.
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In this persuasive study, tracy mcmullen draws on philosophy, psychology, musicology, performance studies, and popular music studies in order to analyze the rise of obsessively precise live musical reenactments in the united states at the turn of the millennium. She investigates this practice, what she terms, replay, in popular music, jazz, and performance art arguing that it is a symptom of deep-seated fears of the fleeting nature of identity.
Saxophonist tracy mcmullen is an associate professor of music at bowdoin college. Her book, haunthenticity: musical replay and the fear of the real, will be released in spring 2019 on wesleyan university press.
Haunthenticity musical replay and the fear of the real ultimately argues for a new way of conceiving subjectivity and identity within critical and cultural studies, moving beyond western epistemologies.
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The scholarship is wide-ranging and ties theory and evidence from diverse fields and experiences together seamlessly and convincingly. Haunthenticity musical replay and the fear of the real ultimately argues for a new way of conceiving subjectivity and identity within critical and cultural studies, moving beyond western epistemologies.
), portland, maine, wrote the book haunthenticity: musical replay and the fear of the real (wesleyan university press), which explores the growth of live musical re-enactment in relation to late 20th-century anxieties. She is associate professor of music at bowdoin college, a saxophonist and composer.
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Tracy mcmullen, haunthenticity: musical replay and the fear of the real: wesleyan university press, 2019.
From authenticity, our book reviews this issue move to haunthenticity with barry shank on tracy mcmullen’s study of tribute bands and other forms of musical reproduction, emphasizing “replay,” meaning “intensified re-performance, a form of artistic engagement that anchors authority and meaning in the past and that grounds that anchor in the painstaking reconstruction of endlessly accurate details.
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Among those quoted in the article is associate professor of music tracy mcmullen, whose book haunthenticity: musical replay and the fear of the real (due to be published next year by wesleyan university press), considers the growth and role of live musical reenactment.
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Haunthenticity musical replay and the fear of the real, paperback by mcmullen, tracy, isbn 0819578533, isbn-13 9780819578532, brand new, free shipping in the us mcmullen argues that reenactment bands fetishize the live capture of the past-as-object as a way to establish ground in a world that feels unmoored.
A delightfully ambitious and thought-provoking book, tracy mcmullen's haunthenticity gives us so much more than a critique of twenty-first century musical reproductions and tribute bands. Above all, this is a book about our fear of the real, and it offers a more healthy and productive way of living with the real. At its most stimulating, this book urges us to face the conceptual and affective.
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Tracy mcmullen, una saxofonista, compositora y autora del ensayo haunthenticity: musical replay and the fear of the real (2019), ha detectado algo de chiste posmoderno y una sospecha hacia lo subjetivo en el disco de mopdtk. Disco que, por otra parte, incluye como “transcripción” en sus notas internas fragmentos de “pierre menard, autor del quijote”, de borges.
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Parker woods's reworking of ice music/cello into iced bodies reframed the hermeneutic possibilities haunthenticity: musical replay and the fear of the real.
A scale is a set of musical notes ordered as a well-defined sequence of intervals (tones and semitones). A semitone is the minimum distance between two consecutive notes in any tempered scale (12 equal semitones per octave). In other words, a semitone is also the distance between two consecutive keys on the piano.
1 mar 2020 a delightfully ambitious and thought-provoking book, tracy mcmullen's haunthenticity gives us so much more than a critique of twenty-first.
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Tracy mcmullen, an associate professor of music at bowdoin college examines these tribute bands for her upcoming book, haunthenticity: musical replay and the fear of the real.
American music and politics in the early nation (oxford university press); supported by the claire and barry brook endowment. Tracy mcmullen, haunthenticity: musical replay and the fear of the real (wesleyan university press); supported by the endowment.
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Paul: one of the reasons why i loved the theatre metaphor was because it meant there might be the possibility to get a little musical number into rare replay! originally in the game we wanted to include a feature called ‘rare: the musical!’ which would take the player on a musical history tour of the games.
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