Titlebook: Live and Recorded; Music Experience in Yngvar Kjus Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Norway.Digital age.digit

Gratification

書目名稱Live and Recorded影響因子(影響力)




書目名稱Live and Recorded影響因子(影響力)學(xué)科排名




書目名稱Live and Recorded網(wǎng)絡(luò)公開度




書目名稱Live and Recorded網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Live and Recorded被引頻次




書目名稱Live and Recorded被引頻次學(xué)科排名




書目名稱Live and Recorded年度引用




書目名稱Live and Recorded年度引用學(xué)科排名




書目名稱Live and Recorded讀者反饋




書目名稱Live and Recorded讀者反饋學(xué)科排名

郊外

Yngvar KjusBased on interviews with artists, intermediaries or industry professionals, and audience members.Includes quantitative data on the use of online music services for live concert events.Presents a wide

ASTER

Pop Music, Culture and Identityhttp://image.papertrans.cn/l/image/587380.jpg

MUTED

978-3-319-88927-6The Editor(s) (if applicable) and The Author(s) 2018

有其法作用

Live and Recorded978-3-319-70368-8Series ISSN 2634-6613 Series E-ISSN 2634-6621

Recessive

Setting the Scene,on, which is a vanguard of new digital media. The rise of digital technology in music production has enabled sound recording and processing to occur more rapidly and in more places, including the live concert stage. Digital technology has also introduced new distribution and consumption technologies

使殘廢

Music, Media, and Mentalization,he rise of digital technologies has challenged this dichotomy and related notions of the temporal and spatial chasms between the live and the recorded. To begin to unpack the newly evolving relationship between live and recorded music, it promotes the study of musical subjects and their engagement w

Flatus

FOIL

Immersing in Performances and Recordings,h more speed in more places, thereby joining the experiential pleasures of recorded music with live music events in new ways. On the other hand, concert visitors are using their increasingly advanced mobile media (i.e., cellphones?and tablets) to make their own recordings of live performances and br

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