The two volumes of The Oxford Handbook of Mobile Music Studies
consolidate an area of scholarly inquiry that addresses how
mechanical, electrical, and digital 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 between the late nineteenth and the early twenty-first
centuries. Taken together, the two volumes cover a large swath of
the world-the US, the UK, Japan, Brazil, Germany, Turkey, Mexico,
France, China, Jamaica, Iraq, the Philippines, India, Sweden-and a
similarly broad array of the musical and nonmusical sounds
suffusing the soundscapes of mobility. Volume 1 provides an
introduction to the study of mobile music through the examination
of its devices, markets, and theories. Conceptualizing a long
history of mobile music extending from the late nineteenth century
to the present, the volume focuses on the conjunction of human
mobility and forms of sound production and reproduction. The
volume's chapters investigate the MP3, copyright law and digital
downloading, music and cloud computing, the iPod, the transistor
radio, the automated call center, sound and text messaging, the
mobile phone, the militarization of iPod usage, the cochlear
implant, the portable sound recorder, listening practices of
schoolchildren and teenagers, the ringtone, mobile music in the
urban soundscape, the boombox, mobile music marketing in Mexico and
Brazil, music piracy in India, and online radio in Japan and the
US.
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