dc.contributor.advisor | Hawkins, Stan | |
dc.contributor.advisor | Aareskjold-Drecker, Jon Marius | |
dc.contributor.author | Bresler, Zack | |
dc.date.accessioned | 2023-01-05T13:55:51Z | |
dc.date.available | 2023-01-05T13:55:51Z | |
dc.date.created | 2022-10-04T11:37:48Z | |
dc.date.issued | 2022 | |
dc.identifier.citation | Bresler, Z. (2022). Immersed in Pop! Excursions into Compositional Design [PhD. thesis]. University of Agder. | en_US |
dc.identifier.isbn | 978-82-8427-061-6 | |
dc.identifier.issn | 1504-9272 | |
dc.identifier.uri | https://hdl.handle.net/11250/3041312 | |
dc.description.abstract | Recent changes in consumer audio and music technology and distribution - for example the addition of 3D audio formats such as Dolby Atmos to music streaming services, the recent release of “Spatial Audio” on Apple and Beats products, the proliferation of musical content in virtual reality and 360º videos, etc. - have reignited a public discourse on concepts of immersion and interactivity in popular music and media. This raises questions and necessitates a deepening of popular musicological discourse in these areas. This thesis thus asks: what is the relationship between so-called immersive media and immersive experience? How are immersive and interactive experiences of audiovisual popular music compositionally designed? And to what degree do interpretations of immersion and interactivity in popular music imply agency on part of the listener/viewer? To address these questions, Bresler has authored or co-authored four articles and book chapters on music in immersive and interactive media with a focus on compositional design and immersion in pop music. In the framing chapter, these articles are contextualized through the coining of the term immersive staging, which is a framework for understanding how the perceived relationship between the performer and listener is mediated through technology, performativity, audiovisual compositional design, and aesthetics. Additionally, the chapter makes a case for the hermeneutic methodologies employed throughout. | en_US |
dc.language.iso | eng | en_US |
dc.publisher | University of Agder | en_US |
dc.relation.ispartofseries | Doctoral Dissertations at the University of Agder; no. 352 | |
dc.relation.haspart | Paper I: Bresler, Z. (2021). Immersed in Pop : 3D Music, Subject Positioning, and Compositional Design in The Weeknd’s “Blinding Lights” in Dolby Atmos. Journal of Popular Music Studies, 33(3), 84-103. https://doi.org/10.1525/jpms.2021.33.3.84. Accepted manuscript. Full-text is available in AURA as a separate file: https://hdl.handle.net/11250/2832885. | en_US |
dc.relation.haspart | Paper II: Bresler, Z. & Hawkins, S. (2022). ‘A Swarm of Sound’: Audiovisual Immersion in Björk’s VR Video ‘Family’. Music, Sound, and the Moving Image, 16(1), 29-52. https://doi.org/10.3828/msmi.2022.2. Accepted manuscript. Full-text is available in AURA as a separate file: . | en_US |
dc.relation.haspart | Paper III: Bresler, Z. (Forthcoming). Pop Music Diegesis and the 360º Video. Submitted version. Full-text is not available in AURA as a separate file. | en_US |
dc.relation.haspart | Paper IV: Bresler, Z. & Hawkins, S. (Forthcoming). “Hope to Die” : Compositional Design and Queer Subjectivity in the Music Videos of Orville Peck. Accepted manuscript. Full-text is available in AURA as a separate file: . | en_US |
dc.rights | Attribution-NonCommercial-NoDerivatives 4.0 Internasjonal | * |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/4.0/deed.no | * |
dc.title | Immersed in Pop! Excursions into Compositional Design | en_US |
dc.type | Doctoral thesis | en_US |
dc.description.version | publishedVersion | en_US |
dc.rights.holder | © 2022 Zack Bresler | en_US |
dc.subject.nsi | VDP::Humaniora: 000::Musikkvitenskap: 110 | en_US |
dc.source.pagenumber | 171 | en_US |
dc.source.issue | 352 | en_US |
dc.identifier.cristin | 2058285 | |