Eric Drott
Biographic Data
| ID | 308365 |
|---|---|
| NAME | Eric Drott |
| GIVEN NAMES | Eric |
| FAMILY NAME | Drott |
| SIGNATURE | DROTT E |
| AFFILIATIONS | The University of Texas at Austin |
| VERIFIED | No |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 16 |
| AUTHOR COUNT | 13 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
The Oxford Handbook of Protest Music
This handbook is currently in development, with individual articles publishing online in advance of print publication. At this time, we cannot add information about unpublished articles in this handbook; however, the table of contents will continue to grow as additional articles pass through the review process and are added to the site. Please note that the online publication date for this handbook is the date that the first article in the title …
Foundations, Market Failures and the Funding of New Music
In 1965, a short article entitled ‘On the Performing Arts: An Anatomy of their Economic Problems’ appeared in the American Economic Review, the flagship journal of the American Economic Association. 1 Written by two Princeton-affiliated economists, William J. Baumol and William G. Bowen, the article laid out in eight short pages a powerful explanation for why the operating costs of so many performing arts organizations consistently overran their …
Music and the Cybernetic Mundane
Few intellectual movements have been as influential as cybernetics was in the 1950s and ’60s. Fewer still have seen their stock fall so precipitously in the years since. Despite the growing body of literature that has reassessed this postwar “cybernetics moment” (Hayles, Kline, Pickering, Medina, et al.), its far-reaching impact remains curiously underappreciated, especially as regards music. This article seeks to redress this neglect, by focusin…
Copyright, compensation, and commons in the music AI industry
Since 2015 a number of startups has emerged seeking to commercialise music AI. Two types of firm stand out. One markets services directly to consumers, in the form of adaptive music that responds to contextual and/or activity-related cues; another group markets AI-generated music to cultural producers, in the form of algorithmically-generated, royalty-free production music. Initiatives like these have generated debate among legal scholars about n…
Fake Streams, Listening Bots, and Click Farms: Counterfeiting Attention in the Streaming Music Economy
Research Article| July 01 2020 Fake Streams, Listening Bots, and Click Farms: Counterfeiting Attention in the Streaming Music Economy Eric Drott Eric Drott Eric Drott is associate professor of music theory at the University of Texas at Austin. He is the author of Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968-1981 (University of California Press, 2011). Current projects include The Oxford Handbook of Pro…
Music in the Work of Social Reproduction
This article interrogates music’s role in the work of social reproduction by bringing into dialogue two seemingly antithetical approaches to thinking music’s relation to the social. One is historical materialism; the other is work informed by the “practice turn” in music sociology, exemplified by Tia DeNora’s studies of music as a “technology of the self.” By taking seriously the proposition that under certain conditions music may itself function…
Musical Contention and Contentious Music; or, the Drums of Occupy Wall Street
This paper addresses music’s role in social movements, using work in mediation, assemblage, and actor-network theories to address the complex, contradictory, and contentious status that music often assumes within political protest. Three premises guide the discussion. First, if music is multiply mediated, then it follows that music’s mediation of other activities (including protest) is likewise multiple. Second, this constellation of mediations m…
All ears: The Aesthetics of Espionage
Few books are so aptly named as Peter Szendy’s Sur ecoute. Esthetique de l’espionnage. In French, the phrase “sur ecoute” is pregnant with multiple meanings. It draws attention to the act of listen
Rereading Jacques Attali'sBruits
Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968-1981
The NÃ2va Cançon Occitana and the Internal Colonialism Thesis
This article examines the role played by the nòva cançon occitana (new Occitan song) in disseminating post-1968 regionalist ideologies, particularly the contention that Occitanie constituted an “internal colony” of France. While both the nòva cançon and the internal colonialism thesis proved instrumental in advancing the Occitanist cause, they also raised intractable problems. The depiction of Occitanie as a colonized territory consolidated a fra…
Free Jazz and the French Critic
From the mid-1960s to the early 1970s, free jazz was the subject of considerable public interest in France. The present article examines the conditions that fueled enthusiasm for American avant-garde jazz, focusing on the politicization of discourse surrounding the ‘new thing.’ Critics hostile to the movement felt that it undermined jazz's claim to universality, a cornerstone of postwar attempts to valorize the genre in the French cultural sphere…
Conlon Nancarrow and the Technological Sublime
It is largely acknowledged that Henry Cowell's book New Musical Resources exercised a profound influence on Conlon Nancarrow. Cowell's musings on polyrhythm and polymeter clearly inspired Nancarrow, as did his suggestions on how to realize such complex rhythmic formations. Cowell notes that [s]ome of the rhythms developed through the present acoustical investigation could not played by any living performer; but these highly engrossing rhythmical …
The Role of Triadic Harmony in Ligett's Recent Music
Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968-1981
Music in the Work of Social Reproduction
This article interrogates music’s role in the work of social reproduction by bringing into dialogue two seemingly antithetical approaches to thinking music’s relation to the social. One is historical materialism; the other is work informed by the “practice turn” in music sociology, exemplified by Tia DeNora’s studies of music as a “technology of the self.” By taking seriously the proposition that under certain conditions music may itself function…
Rereading Jacques Attali'sBruits
The Role of Triadic Harmony in Ligett's Recent Music
Musical Contention and Contentious Music; or, the Drums of Occupy Wall Street
This paper addresses music’s role in social movements, using work in mediation, assemblage, and actor-network theories to address the complex, contradictory, and contentious status that music often assumes within political protest. Three premises guide the discussion. First, if music is multiply mediated, then it follows that music’s mediation of other activities (including protest) is likewise multiple. Second, this constellation of mediations m…
The Role of Triadic Harmony in Ligett's Recent Music
Conlon Nancarrow and the Technological Sublime
It is largely acknowledged that Henry Cowell's book New Musical Resources exercised a profound influence on Conlon Nancarrow. Cowell's musings on polyrhythm and polymeter clearly inspired Nancarrow, as did his suggestions on how to realize such complex rhythmic formations. Cowell notes that [s]ome of the rhythms developed through the present acoustical investigation could not played by any living performer; but these highly engrossing rhythmical …
Free Jazz and the French Critic
From the mid-1960s to the early 1970s, free jazz was the subject of considerable public interest in France. The present article examines the conditions that fueled enthusiasm for American avant-garde jazz, focusing on the politicization of discourse surrounding the ‘new thing.’ Critics hostile to the movement felt that it undermined jazz's claim to universality, a cornerstone of postwar attempts to valorize the genre in the French cultural sphere…
Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968-1981
The NÃ2va Cançon Occitana and the Internal Colonialism Thesis
This article examines the role played by the nòva cançon occitana (new Occitan song) in disseminating post-1968 regionalist ideologies, particularly the contention that Occitanie constituted an “internal colony” of France. While both the nòva cançon and the internal colonialism thesis proved instrumental in advancing the Occitanist cause, they also raised intractable problems. The depiction of Occitanie as a colonized territory consolidated a fra…
Rereading Jacques Attali'sBruits
All ears: The Aesthetics of Espionage
Few books are so aptly named as Peter Szendy’s Sur ecoute. Esthetique de l’espionnage. In French, the phrase “sur ecoute” is pregnant with multiple meanings. It draws attention to the act of listen
Musical Contention and Contentious Music; or, the Drums of Occupy Wall Street
This paper addresses music’s role in social movements, using work in mediation, assemblage, and actor-network theories to address the complex, contradictory, and contentious status that music often assumes within political protest. Three premises guide the discussion. First, if music is multiply mediated, then it follows that music’s mediation of other activities (including protest) is likewise multiple. Second, this constellation of mediations m…
Music in the Work of Social Reproduction
This article interrogates music’s role in the work of social reproduction by bringing into dialogue two seemingly antithetical approaches to thinking music’s relation to the social. One is historical materialism; the other is work informed by the “practice turn” in music sociology, exemplified by Tia DeNora’s studies of music as a “technology of the self.” By taking seriously the proposition that under certain conditions music may itself function…
Fake Streams, Listening Bots, and Click Farms: Counterfeiting Attention in the Streaming Music Economy
Research Article| July 01 2020 Fake Streams, Listening Bots, and Click Farms: Counterfeiting Attention in the Streaming Music Economy Eric Drott Eric Drott Eric Drott is associate professor of music theory at the University of Texas at Austin. He is the author of Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968-1981 (University of California Press, 2011). Current projects include The Oxford Handbook of Pro…
Music and the Cybernetic Mundane
Few intellectual movements have been as influential as cybernetics was in the 1950s and ’60s. Fewer still have seen their stock fall so precipitously in the years since. Despite the growing body of literature that has reassessed this postwar “cybernetics moment” (Hayles, Kline, Pickering, Medina, et al.), its far-reaching impact remains curiously underappreciated, especially as regards music. This article seeks to redress this neglect, by focusin…
Copyright, compensation, and commons in the music AI industry
Since 2015 a number of startups has emerged seeking to commercialise music AI. Two types of firm stand out. One markets services directly to consumers, in the form of adaptive music that responds to contextual and/or activity-related cues; another group markets AI-generated music to cultural producers, in the form of algorithmically-generated, royalty-free production music. Initiatives like these have generated debate among legal scholars about n…
Foundations, Market Failures and the Funding of New Music
In 1965, a short article entitled ‘On the Performing Arts: An Anatomy of their Economic Problems’ appeared in the American Economic Review, the flagship journal of the American Economic Association. 1 Written by two Princeton-affiliated economists, William J. Baumol and William G. Bowen, the article laid out in eight short pages a powerful explanation for why the operating costs of so many performing arts organizations consistently overran their …
The Oxford Handbook of Protest Music
This handbook is currently in development, with individual articles publishing online in advance of print publication. At this time, we cannot add information about unpublished articles in this handbook; however, the table of contents will continue to grow as additional articles pass through the review process and are added to the site. Please note that the online publication date for this handbook is the date that the first article in the title …
Art (9 works) · Law (6 works) · Political science (6 works) · Aesthetics (5 works) · Music History and Culture (5 works) · Sociology (5 works) · Art history (4 works) · Computer Science (4 works) · Diverse Musicological Studies (4 works) · Musicology and Musical Analysis (4 works)