Musical Interface Agendas. Musical Appropriation via Technological Pre-configuration

Publikation: Beiträge in SammelwerkenKapitel

Standard

Musical Interface Agendas. Musical Appropriation via Technological Pre-configuration. / Wernicke, Carsten.
Arts and Power: Policies in and by the Arts. Hrsg. / Lisa Gaupp; Alenka Barber-Kersovan; Volker Kirchberg. Wiesbaden: Springer, 2022. S. 311-324 (Kunst und Gesellschaft).

Publikation: Beiträge in SammelwerkenKapitel

Harvard

Wernicke, C 2022, Musical Interface Agendas. Musical Appropriation via Technological Pre-configuration. in L Gaupp, A Barber-Kersovan & V Kirchberg (Hrsg.), Arts and Power: Policies in and by the Arts. Kunst und Gesellschaft, Springer, Wiesbaden, S. 311-324. https://doi.org/10.1007/978-3-658-37429-7_15

APA

Wernicke, C. (2022). Musical Interface Agendas. Musical Appropriation via Technological Pre-configuration. In L. Gaupp, A. Barber-Kersovan, & V. Kirchberg (Hrsg.), Arts and Power: Policies in and by the Arts (S. 311-324). (Kunst und Gesellschaft). Springer. https://doi.org/10.1007/978-3-658-37429-7_15

Vancouver

Wernicke C. Musical Interface Agendas. Musical Appropriation via Technological Pre-configuration. in Gaupp L, Barber-Kersovan A, Kirchberg V, Hrsg., Arts and Power: Policies in and by the Arts. Wiesbaden: Springer. 2022. S. 311-324. (Kunst und Gesellschaft). doi: 10.1007/978-3-658-37429-7_15

Bibtex

@inbook{b87cfa19c6a04f94a887fdc3ea1d6d9c,
title = "Musical Interface Agendas. Musical Appropriation via Technological Pre-configuration",
abstract = "The use and implementation of software and digital-material controllers in conjunction with protocols indispensable for the process change the aesthetic experiences and capacities of musical and creative expression potentials in musical practices. What is first established as a constructed naturalness of individual music practices is challenged and disrupted by the digitality-specific multiplicity of the musical interface complex (hardware/software/protocol). The role of the empty-world hypothesis as a hidden agenda of these devices will be examined in more detail with the aid of a self-produced video documenting the use of the digital-material interface ROLI Seaboard by a musician playing in an “Arabic” idiom. Due to its dialectic framing character, the ROLI device will have to be described as a culturally expanding facilitator on the one hand and as a cultural capitalist artifact on the other.",
keywords = "Cultural Distribution/Cultural Organization, Didactics of art education",
author = "Carsten Wernicke",
year = "2022",
doi = "10.1007/978-3-658-37429-7_15",
language = "English",
isbn = "978-3-658-37428-0",
series = "Kunst und Gesellschaft",
publisher = "Springer",
pages = "311--324",
editor = "Lisa Gaupp and Alenka Barber-Kersovan and Volker Kirchberg",
booktitle = "Arts and Power",
address = "Germany",

}

RIS

TY - CHAP

T1 - Musical Interface Agendas. Musical Appropriation via Technological Pre-configuration

AU - Wernicke, Carsten

PY - 2022

Y1 - 2022

N2 - The use and implementation of software and digital-material controllers in conjunction with protocols indispensable for the process change the aesthetic experiences and capacities of musical and creative expression potentials in musical practices. What is first established as a constructed naturalness of individual music practices is challenged and disrupted by the digitality-specific multiplicity of the musical interface complex (hardware/software/protocol). The role of the empty-world hypothesis as a hidden agenda of these devices will be examined in more detail with the aid of a self-produced video documenting the use of the digital-material interface ROLI Seaboard by a musician playing in an “Arabic” idiom. Due to its dialectic framing character, the ROLI device will have to be described as a culturally expanding facilitator on the one hand and as a cultural capitalist artifact on the other.

AB - The use and implementation of software and digital-material controllers in conjunction with protocols indispensable for the process change the aesthetic experiences and capacities of musical and creative expression potentials in musical practices. What is first established as a constructed naturalness of individual music practices is challenged and disrupted by the digitality-specific multiplicity of the musical interface complex (hardware/software/protocol). The role of the empty-world hypothesis as a hidden agenda of these devices will be examined in more detail with the aid of a self-produced video documenting the use of the digital-material interface ROLI Seaboard by a musician playing in an “Arabic” idiom. Due to its dialectic framing character, the ROLI device will have to be described as a culturally expanding facilitator on the one hand and as a cultural capitalist artifact on the other.

KW - Cultural Distribution/Cultural Organization

KW - Didactics of art education

U2 - 10.1007/978-3-658-37429-7_15

DO - 10.1007/978-3-658-37429-7_15

M3 - Chapter

SN - 978-3-658-37428-0

T3 - Kunst und Gesellschaft

SP - 311

EP - 324

BT - Arts and Power

A2 - Gaupp, Lisa

A2 - Barber-Kersovan, Alenka

A2 - Kirchberg, Volker

PB - Springer

CY - Wiesbaden

ER -

DOI