The Oxford Handbook of Mobile Music Studies consolidates an area of
scholarly inquiry that examines how electrical technologies and
their corresponding economies of scale have rendered music and
sound increasingly mobile - portable, fungible, and ubiquitous. At
once a marketing term, a common mode of everyday-life performance,
and an instigator of experimental aesthetics, "mobile music" opens
up a space for studying the momentous transformations in the
production, distribution, consumption, and experience of music and
sound that took place from the late nineteenth to the early
twenty-first centuries. The second volume of the handbook examines
the aesthetics of mobile music and its proliferating forms of
performance, incorporating epistemologies and methodologies from a
number of disciplines, including music studies, sound studies,
mobility studies, communication studies, new media studies,
performance studies, and more. The contributors draw on political
economy and economic sociology, ethnography and autoethnography,
musical and sonic transcription, analysis and hermeneutics, and
historical and archival research. The chapters treat a significant
number of devices, including the the flash drive, the field
recorder, the mobile phone, the handheld video game, the laptop
computer, the siren, and even a pair of shoes. The Handbook
likewise investigates the sonification and musicalization of
vehicles - boom cars, trains, and ice cream trucks - and the sonics
and musics of walking, texting, and commuting. Its chapters cover a
large swath of the world - the US, the UK, Japan, Brazil, Germany,
Turkey, Mexico, France, China, Jamaica, Iraq, the Philippines,
India - and a similarly broad array of musical styles and
practices, from the recondite and subcultural to the mass-popular
and global. The most comprehensive book of its kind, this handbook
is a necessary reference for scholars in multiple fields.
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