« For those investigating any musical activity after about 1994, the main sources of research data will not be print archives or discrete media – they will be World Wide Web media. The Internet Archive, the web’s library, today holds over 525 billion archived web pages, while API and post-API archiving initiatives make social web platforms accessible as research databases. At first glance, no other archive is more inclusive in terms of whose voices it represents, and none more comprehensive in terms of the insights it provides into the thoughts, desires and musical tastes of ordinary people. To paraphrase the web historian Ian Milligan, whose recent book provides the title and framing for this conference, we might suggest that in its scale, granularity and plurality, the web represents the music historian’s dream (Milligan 2019: 1). Many researchers are now using the abundance of musical opinion data online as way of examining the reception of musical works and performances (Cook 2013; Mangaoang 2014; Edgar 2016; Spencer 2017; Moore 2019; Bell 2020; Lamont et al. 2020), while others have introduced digital methods to analyse net-native music genres (Born & Haworth 2018) and harvested user-generated music videos with preservation and future research in mind (Smith-Sivertsen 2020). »
Date limite de soumission : 7 mai 2021.
Pour plus de détails, voir l’appel en ligne.