{"title":"Reflecting on Participation through Livestreaming Music Events in Times of Pandemic","authors":"Francesca Cireddu","doi":"10.1558/jwpm.26384","DOIUrl":null,"url":null,"abstract":"In January 2020, the beginning of the Covid-19 pandemic led to the interruption of a high number of aggregation-based human activities, such as in-presence live music concerts. One temporary alternative to the problem was the organization of livestreaming music events, which allow only a limited degree of interaction; such a solution fit the needs of those performances where there is little or no need at all for participation, but music practices with a participatory nature were at a disadvantage. Another issue pertains to the overall dimension of live experience: how is the “here and now” of a live music performance shaped in an online setting? Analysing two examples of livestreaming music events that took place in 2020 in Italy and England, this article aims to invite a reflection on how “participation” can come to be understood in online music practices.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of World Popular Music","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1558/jwpm.26384","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
In January 2020, the beginning of the Covid-19 pandemic led to the interruption of a high number of aggregation-based human activities, such as in-presence live music concerts. One temporary alternative to the problem was the organization of livestreaming music events, which allow only a limited degree of interaction; such a solution fit the needs of those performances where there is little or no need at all for participation, but music practices with a participatory nature were at a disadvantage. Another issue pertains to the overall dimension of live experience: how is the “here and now” of a live music performance shaped in an online setting? Analysing two examples of livestreaming music events that took place in 2020 in Italy and England, this article aims to invite a reflection on how “participation” can come to be understood in online music practices.
期刊介绍：
Journal of World Popular Music is a peer-reviewed academic journal that publishes research and scholarship on recent issues and debates surrounding international popular musics, also known as World Music, Global Pop, World Beat or, more recently, World Music 2.0. The journal provides a forum to explore the manifestations and impacts of post-globalizing trends, processes, and dynamics surrounding these musics today. It adopts an open-minded perspective, including in its scope any local popularized musics of the world, commercially available music of non-Western origin, musics of ethnic minorities, and contemporary fusions or collaborations with local ‘traditional’ or ‘roots’ musics with Western pop and rock musics. Placing specific emphasis on contemporary, interdisciplinary, and international perspectives, the journal’s special features include empirical research and scholarship into the global creative and music industries, the participants of World Music, the musics themselves and their representations in all media forms today, among other relevant themes and issues; alongside explorations of recent ideas and perspectives from popular music, ethnomusicology, anthropology, musicology, communication, media and cultural studies, sociology, geography, art and museum studies, and other fields with a scholarly focus on World Music. The journal also features special, guest-edited issues that bring together contributions under a unifying theme or geographical area.
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