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Music and sound shape the emotional content of audio-visual media and carry different meanings. This volume considers audio-visual material as a primary source for historiography. By analyzing how the same sounds are used in different media contexts at different times, the contributors intend to challenge the linear perspective of (music) history based on canonic authority. The book discusses AV-Documents (analysis in context), methodological questions (implications for research, education, and popularization of knowledge), archives of cultural memory (from the perspective of Cultural Studies) as well as digitalization and its consequences (organization of knowledge).
About the author
Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the »Telling Sounds Project« as a postdoctoral researcher, investigating the use of music and discourses about music in the media.Elias Berner studied musicology at the University of Vienna and has been researcher (pre-doc) for the »Telling Sounds Project« since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah.
Summary
Music and sound shape the emotional content of audio-visual media and carry different meanings. This volume considers audio-visual material as a primary source for historiography. By analyzing how the same sounds are used in different media contexts at different times, the contributors intend to challenge the linear perspective of (music) history based on canonic authority. The book discusses AV-Documents (analysis in context), methodological questions (implications for research, education, and popularization of knowledge), archives of cultural memory (from the perspective of Cultural Studies) as well as digitalization and its consequences (organization of knowledge).
Report
»Wie der Titel vermuten lässt, stellt diese Kompilation aktueller empirischer Methoden und Diskurse eine wertvolle Ergänzung für die Musikwissenschaft dar sowie generell für Forscher_innen im Bereich der Digital Humanitites, da es die mannigfaltigen Möglichkeiten mediengestützter Erkenntniserreichung präsentiert und zeigt, wie transdisziplinäre Teams innovative Perspektiven und somit wiederum neue Erkenntnisse ermöglichen.«
Martina Kalser-Gruber, MEDIENwissenschaft, 2 (2022) 20220705
