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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

(p.105) 6. Pop Music, Multimedia and Live Performance
Music, Sound and Multimedia

Jem Kelly

Edinburgh University Press

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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