Northampton Electronic Collection of Theses and Research

Performing electronic dance music: mimesis, reflexivity and the commodification of listening

Nardi, C. (2012) Performing electronic dance music: mimesis, reflexivity and the commodification of listening. Contemporanea. 10(1), pp. 80-98. 1809-9386.

Item Type: Article
Abstract: Recent changes in the economy of music have induced some musicians in the electronic dance scene to adapt their repertoire to concert performance. However, this conversion is far from being unproblematic, as electronic dance music, being based on additive operations, programming and merging of roles, resists, to an extent, live performance. I will then examine some of the strategies that musicians adopt in order to bring into the performance an element of actuality, focusing on the sensorial implications of this process. The stage concert, however, challenges not only the modes of production, but also the ideology of club culture, which is based on participation and inclusiveness. Mimesis, as a means to establish contact with the audience through identification, allows overcoming the division drawn by the stage. On the other hand, reflexivity, as a way to acknowledge the different roles at play, counteracts the role of mimesis and restores the distinction between audience and performer, thus substantiating the condition that prompted this transformation and that entails, in the first place, the commodification of musical experience.
Uncontrolled Keywords: Electronic dance music; reflexivity; mimesis; intersensoriality; commodification; performance
Subjects: M Music and Books on Music > ML Literature on music > ML430 Composition and performance
M Music and Books on Music > ML Literature on music > ML3400 Dance music
Creators: Nardi, Carlo
Publisher: Universidade Federal da Bahia
Faculties, Divisions and Institutes: University Faculties, Divisions and Research Centres - OLD > Faculty of Arts, Science & Technology
Date: 2012
Date Type: Publication
Page Range: pp. 80-98
Journal or Publication Title: Contemporanea
Volume: 10
Number: 1
Language: English
ISSN: 1809-9386
Status: Published / Disseminated
Refereed: Yes
References: Bull, Michael; Back, Les (eds.). The Auditory Culture Reader. Oxford: Berg, 2003. Chion, Michel. Audio-Vision: Sound on Screen, trans. Claudia Gorbman. New York: Columbia University Press, 1994. Classen, Constance. Worlds of Sense: Exploring the Senses in History and Across Cultures. London: Routledge, 1993. Classen, Constance (ed.). The Book of Touch. Oxford and New York: Berg, 2005. Demby, Eric. 2003. Learn to Turntable. The Washington Post, Sunday 13 July 2009, p. M09. Denora, Tia. Music in Everyday Life. Cambridge: Cambridge University Press, 2000. Fabbri, Franco. Il suono in cui viviamo. Milano: il Saggiatore, 2008, third edition. Fikentscher, Kai. ‘There’s not a problem I can’t fix, ‘cause I can do it in the mix’: On the performative technology of 12-inch Vinyl. In René T. A. Lysloff and Leslie C. Gay, Jr. (eds.) Music and Technoculture. Middletown, CT.: Weslyan University Press, 2003, pp. 290–315. Fletcher, Christopher. Dystoposthesia: Emplacing Environmental Sensitivities. In Howes, 2005, op. cit., pp. 380-396. Gholz, Carleton S. Maintaining “Synk” in Detroit: Two Case Studies in the Remix Aesthetic. Dancecult, vol. 2, No. 1, pp. 45–62. Goffman, Erving. Encounters: Two Studies in the Sociology of Interaction. Indianapolis: Bobbs-Merril, 1961. Goldman, Laurence R. Child’s Play: Myth, Mimesis and Make-Believe. New York, NY: Berg, 1998. Goodwin, Andrew. Rationalization and Democratization in the New Technologies of Popular Music. In James Lull (ed.), Popular Music and Communication, Newbury Park, CA: SAGE, 1992, pp. 75-100. Howes, David. Sensual Relations. Engaging the Senses in Culture and Social Theory. Ann Arbor: The University of Michigan Press, 2004. Howes, David (ed.). Empire of the Senses. The Sensual Culture Reader. Oxford, New York: Berg, 2005. Katz, Mark. Capturing Sound: How Technology Has Changed Music. Berkeley and Los Angeles, CA. University of California, 2010, revised edition. Katz, Mark. Groove Music. The Art and Culture of the Hip-Hop DJ. New York, Oxford University Press, 2012 (forthcoming). Kealy, Edward R. From Craft to Art: The Case of Sound Mixers and Popular Music. Sociology of Work and Occupations, Vol. 6, No. 1, 1979, pp. 3-29. Kendon, Adam. Movement coordination in social interaction: some examples described. Acta Psychologica, Vol. 32, 1970, pp. 100-125. Kugiumutzakis, Giannis et al. Emotions in early mimesis. In Jacqueline Nadel and Darwin Muir (eds.) Emotional Development. Oxford: Oxford University Press, 2005, pp. 161-182. McAngus Todd, Neil P. Motion in Music: A Neurobiological Perspective. Music Perception, Vol. 17, No. 1, 1999, pp. 115-126. McLuhan, Marshall. Inside the Five Sense Sensorium. The Canadian Architect, Vol. 6, 1961, pp. 49-54. Mead, George Herbert. Mind Self and Society. Chicago: University of Chicago Press, 1934. Middleton, Richard. Studying Popular Music. Buckingham: Open University Press, 1990. Montano, Ed. Festival Fever and International DJs. The Changing Shape of DJ Culture in Sydney’s Commercial Electronic Dance Music Scene. Dancecult, vol. 2, No. 1, 2010a, pp. 63–89. Montano, Ed. ‘How do you know he’s not playing Pac-Man while he’s supposed to be DJing?’: technology, formats and the digital future of DJ culture. Popular Music, Vol. 29, No. 3, 2010b, pp. 397-416. Munhall, Kevin G. et al. Visual Prosody and Speech Intelligibility: Head Movement Improves Auditory Speech. Psychological Science, Vol. 15, No. 2, 2004, pp. 133-137. Nardi, Carlo. Fare musica: un processo intersensoriale. Critica Sociologica, Vol. XLI, No. 162, 2007, pp. 79-93. Nardi, Carlo. The scene of scenes: Berlin underground parties, neither movement nor institution. In Geoff Stahl (ed.) ‘Poor But Sexy’: Reflections on Berlin Scenes, Peter Lang, 2012 (forthcoming). Ng, Kia. Music via Motion: Transdomain Mapping of Motion and Sound for Interactive Performances. Proceedings of the IEEE, Vol. 92., No. 4, April 2004, pp. 645-655. NME. Madonna signs deal with Live Nation. Tuesday 16 October 2007. Available: Accessed 27/02/2012. Pagis, Michal. Embodied Self-Reflexivity. Social Psychology Quarterly, Vol. 72, No. 3, 2009, pp. 265-283. Peixoto Ferreira, Pedro. When Sound Meets Movement: Performance in Electronic Dance Music. Leonardo Music Journal, Vol. 18, 2008, pp. 17-20. Rosengerg, Morris. Reflexivity and Emotions. ocial Psychology Quarterly, Vol. 53, No. 1, 1990, pp. 3-12. Serres, Michel. Les cinq sens. Paris: Hachette, 1998. Sacks, Oliver. The Man Who Mistook His Wife For a Hat. New York: Harper and Row, 1985. Schafer, R. Murray. The New Soundscape. Toronto: Berandol, 1968. Simon, Sherry. Accidental Voices: The Return of the Countertenor, in Jim Drobnick (ed.), Aural Cultures, Toronto: YYZ Books, pp. 110-119. Smith, Murray. Triangulating Aesthetic Experience. In Arthur P. Shimamura and Stephen E. Palmer (eds.) Aesthetic Science: Connecting Minds, Brains, and Experience. Oxford: Oxford University Press, 2012, pp. 80-106. Sorce Keller, Marcello. Siamo tutti compositori. Alcune riflessioni sulla distribuzione sociale del processo compositivo. Schweizer Jahrbuch für Musikwissenschaft, Vol. 18, 1998, pp. 259-311. Soto-Faraco, Salvador. Moving Multisensory Research along: Motion Perception across Sensory Modalities. Current Directions in Psychological Science, Vol. 13, No. 1, 2004, pp. 29-32. Stern, Daniel. The Interpersonal World of the Infant: A View from Psychoanalysis and Developmental Psychology. New York, NY: Basic Books, 1985. Stewart, Susan. Prologue: From the Museum of Touch. In Marius Kwint et al (eds.), Material Memories: Design and Evocation, Oxford: Berg, 1999, pp. 17-36. Taussig, Michael. Mimesis and Alterity: A Particular History of the Senses. New York: Routledge, 1993. Théberge, Paul. Any Sound You Can Imagine: Making Music/Consuming Technology. Hanover and London: Wesleyan University Press, 1997. Thornton, Sarah. Club Culture: Music, Media, and Subcultural Capital. Middletown, CT: Wesleyan University Press, 1996. Warner, Timothy. Pop Music: Technology and Creativity. Aldershot: Ashgate, 2003

Actions (login required)

Edit Item Edit Item