| Table des matières |
| | Preface | ix |
| | Introduction | xi |
| Section One | Live that survives | 1 |
| 1. | Live concerts and fan identity in the age of the Internet / R. Bennett | 3 |
| 1.1. | Introduction | 3 |
| 1.2. | Identity and live music | 5 |
| 1.3. | Live concerts and history | 6 |
| 1.4. | Live concerts and community | 8 |
| 1.5. | Live concerts and the individual | 11 |
| 1.6. | Conclusion | 13 |
| | References | 14 |
| 2. | Aura, iteration, and action: digital technology and the jouissance of live music / T. Harper | 17 |
| 2.1. | The territory: arguments about the technological mediation of cultural production | 17 |
| 2.2. | The expedition: experiences of jouissance through live music | 22 |
| | References | 27 |
| 3. | What's my scene: festival fandom and the applification of the Big Day Out stage / A. Jones | 29 |
| 3.1. | Introduction | 29 |
| 3.2. | A brief history of music festivals: 1960s--1990s | 30 |
| 3.3. | The 1990s to the 2000s | 32 |
| 3.4. | The 2000s: the app-plification of the BDO stage | 33 |
| 3.5. | The future of music festivals | 38 |
| | References | 39 |
| Section Two | Digital live | 41 |
| 4. | Live sound and the disappearing digital / J. Mulder | 43 |
| 4.1. | Introduction | 43 |
| 4.2. | Sound is analog | 44 |
| 4.3. | Digital processes in live sound | 45 |
| 4.4. | Global sound design | 46 |
| 4.5. | Dislocations and authenticity | 47 |
| 4.6. | Music computing and synthesis | 49 |
| 4.7. | Remote digital tools | 50 |
| 4.8. | Digital magic | 51 |
| 4.9. | Conclusion | 53 |
| | References | 53 |
| 5. | Live or Memorex? Changing perceptions of music practices / S. Mallinder | 55 |
| 5.1. | Introduction | 55 |
| 5.2. | Methodology | 57 |
| 5.3. | The loss of the tangible---capturing the moment 1 | 57 |
| 5.4. | Plus ca change---capturing the moment 2 | 60 |
| 5.5. | Liquid sounds---disseminating the experience | 61 |
| 5.6. | Keeping it real---live and digital | 64 |
| 5.7. | Dubstep or busted speakers? Changing auditory practices | 66 |
| 5.8. | Backward to the future | 68 |
| | References | 69 |
| 6. | Live from the ether: YouTube and live music video culture / A. Trainer | 71 |
| 6.1. | Introduction | 71 |
| 6.2. | Free-for-all: the YouTube model | 71 |
| 6.3. | It's all here: community and access | 73 |
| 6.4. | Another promotional tool: the official model | 74 |
| 6.5. | Identifying the fanvid: the amateur--professional divide | 76 |
| 6.6. | The heart of copy grey: the user-generated model | 77 |
| 6.7. | Offsetting copygrey: YouTube services | 79 |
| 6.8. | A live-streaming case study: Coachella | 80 |
| 6.9. | Conclusion | 82 |
| | References | 82 |
| 7. | Live music in a virtual world: exuberant flourishing and disability at Wheelies nightclub in Second Life / K. Ellis | 85 |
| 7.1. | Second Life: looking forward, looking back | 90 |
| 7.2. | Identity avatars and disability | 91 |
| 7.3. | Second Life, live music, and disability | 93 |
| 7.4. | Wheelies, live music, and engagement | 94 |
| 7.5. | Conclusion | 96 |
| | References | 96 |
| 8. | The sounds of Skyrim: a musical journey through gaming / S. Gallacher | 99 |
| 8.1. | Introduction | 99 |
| 8.2. | The music of Skyrim | 101 |
| 8.3. | Music and live-gaming experiences: a moment in time, a moment in mind | 103 |
| | References | 105 |
| Section Three | Live after death | 107 |
| 9. | Dead music in live music culture / F. Cull | 109 |
| 9.1. | Deadness in liveness | 111 |
| 9.2. | Retro-canonization and archivists | 112 |
| 9.3. | Collector interviews | 115 |
| 9.4. | Frank Fairfield---time traveler | 118 |
| | Acknowledgments | 120 |
| | References | 120 |
| 10. | Keepin' it real? Life, death, and holograms on the live music stage / S. Cross | 123 |
| 10.1. | Introduction | 123 |
| 10.2. | Presence | 124 |
| 10.3. | Genre | 125 |
| 10.4. | Ontology | 128 |
| 10.5. | Ethics | 133 |
| 10.6. | Conclusion | 136 |
| | References | 137 |
| | Coda | 139 |
| | Index | 141 |
