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Music, Sound and MultimediaFrom the Live to the Virtual$
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Jamie Sexton

Print publication date: 2007

Print ISBN-13: 9780748625338

Published to Edinburgh Scholarship Online: September 2012

DOI: 10.3366/edinburgh/9780748625338.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 29 July 2021

Pop Music, Multimedia and Live Performance

Pop Music, Multimedia and Live Performance

Chapter:
(p.105) 6. Pop Music, Multimedia and Live Performance
Source:
Music, Sound and Multimedia
Author(s):

Jem Kelly

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748625338.003.0007

This chapter describes the ‘inter-medial’ pop concert, where live performance is combined with virtual representations of some kind, and it looks at how these can impact on what actually constitutes a live performance. It defines examples of past music/sound-driven performances by the Velvet Underground and Madonna, and analyses new techniques and intermedialities employed by the animated pop group Gorillaz. Co-presence of performer and spectator is an enduring generic convention in pop performance, proposing a shared experience, a sense of ‘being there’ in the moment. Gorillaz contribute to the demise of the modernist meta-narrative of authorial presence in pop performance. While the Warhol-influenced Velvet Underground used film projection experimentally, Madonna continues to exploit telematic and video playback technologies as a memory device, or memoria technica. In performance, the shadows, ghostings, repetitions and inter-medial interventions that develop a complex and engaging scopic experience make Gorillaz' Demon Days innovative.

Keywords:   pop concert, inter-medial interventions, live performance, Velvet Underground, Madonna, Gorillaz, video playback, Demon Days

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