Paula Harper
Biographic Data
| ID | 3921929 |
|---|---|
| NAME | Paula Harper |
| GIVEN NAMES | Paula |
| FAMILY NAME | Harper |
| SIGNATURE | HARPER P |
| AFFILIATIONS | Washington University in St. Louis |
| ORCID | 0000-0001-5479-8992 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 5 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1985 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Touching Music
Autoplaying, Unmuting, Attending
In this article, I analyse the implications of autoplaying video as a driver of ‘audile techniques’ in the 2010s digital ecosystem – in particular, techniques that respond to the realities of the separability of image and sound, even in media that contain both elements. I then examine a number of strategies through which this audio/visual split has been negotiated, monetized, and creatively bridged by consumers, creators, and corporate personnel …
Introduction to the Special Issue on Listening In
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Let me just share my screen”
When asked to pinpoint the date that the full seriousness of the COVID-19 pandemic dawned for me, personally, I tend to use the March 17, 2020, launch of Music Scholarship at a Distance (MSaaD or #MusicColloq for short)—a virtual daily colloquium series that I co-organized with fellow musicologist Will Robin. While just a few days prior I had been negotiating spring-break travel plans, the cascading announcements of institutional closures, travel…
Viral Musicking
Cats at keyboards. Dancing hamsters. A photo of a dress, and videos set to “Harlem Shake.” The above are recognizable as “viral” phenomena—artifacts of the early twenty-first century whose production and dissemination were facilitated by the internet, proliferating social media platforms, and ubiquitous digital devices. In this paper, I argue that participation in such phenomena (producing, consuming, circulating, or “sharing” them) constitutes a…
Receiving, Remixing, Recuperating “Rebecca Black—Friday”
Research Article| July 01 2020 Receiving, Remixing, Recuperating "Rebecca Black—Friday" Paula Harper Paula Harper Paula Clare Harper is a musicologist who studies music, sound, and the internet. She received her PhD from Columbia University and currently holds an appointment as a postdoctoral teaching fellow at Washington University in St. Louis. Her work has appeared in the journals Popular Music and Society, Sound Studies, and The Soundtrack, a…
Asmr
A woman taps her fingernails against the bristles of a hairbrush. A young man snaps his fingers on either side of a visible binaural microphone. A girl speaks softly, almost whispering; each of her
Beyoncé
This article explicates the assemblage of devices, software, and human action that enabled the riotous success of BEYONCÉ, a “visual album” released in December 2013 without prior fanfare. Drawing on concepts of media and bodily “techniques,” this study posits the networks and planes of social media as key sites of circulation, discourse, and meaning-making for the album. However, despite the novel apparatus of the album’s circulation, I push aga…
The First Feminist Art Program
Asmr
A woman taps her fingernails against the bristles of a hairbrush. A young man snaps his fingers on either side of a visible binaural microphone. A girl speaks softly, almost whispering; each of her
Beyoncé
This article explicates the assemblage of devices, software, and human action that enabled the riotous success of BEYONCÉ, a “visual album” released in December 2013 without prior fanfare. Drawing on concepts of media and bodily “techniques,” this study posits the networks and planes of social media as key sites of circulation, discourse, and meaning-making for the album. However, despite the novel apparatus of the album’s circulation, I push aga…
The First Feminist Art Program
The First Feminist Art Program
Beyoncé
This article explicates the assemblage of devices, software, and human action that enabled the riotous success of BEYONCÉ, a “visual album” released in December 2013 without prior fanfare. Drawing on concepts of media and bodily “techniques,” this study posits the networks and planes of social media as key sites of circulation, discourse, and meaning-making for the album. However, despite the novel apparatus of the album’s circulation, I push aga…
Viral Musicking
Cats at keyboards. Dancing hamsters. A photo of a dress, and videos set to “Harlem Shake.” The above are recognizable as “viral” phenomena—artifacts of the early twenty-first century whose production and dissemination were facilitated by the internet, proliferating social media platforms, and ubiquitous digital devices. In this paper, I argue that participation in such phenomena (producing, consuming, circulating, or “sharing” them) constitutes a…
Receiving, Remixing, Recuperating “Rebecca Black—Friday”
Research Article| July 01 2020 Receiving, Remixing, Recuperating "Rebecca Black—Friday" Paula Harper Paula Harper Paula Clare Harper is a musicologist who studies music, sound, and the internet. She received her PhD from Columbia University and currently holds an appointment as a postdoctoral teaching fellow at Washington University in St. Louis. Her work has appeared in the journals Popular Music and Society, Sound Studies, and The Soundtrack, a…
Asmr
A woman taps her fingernails against the bristles of a hairbrush. A young man snaps his fingers on either side of a visible binaural microphone. A girl speaks softly, almost whispering; each of her
Autoplaying, Unmuting, Attending
In this article, I analyse the implications of autoplaying video as a driver of ‘audile techniques’ in the 2010s digital ecosystem – in particular, techniques that respond to the realities of the separability of image and sound, even in media that contain both elements. I then examine a number of strategies through which this audio/visual split has been negotiated, monetized, and creatively bridged by consumers, creators, and corporate personnel …
Introduction to the Special Issue on Listening In
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Let me just share my screen”
When asked to pinpoint the date that the full seriousness of the COVID-19 pandemic dawned for me, personally, I tend to use the March 17, 2020, launch of Music Scholarship at a Distance (MSaaD or #MusicColloq for short)—a virtual daily colloquium series that I co-organized with fellow musicologist Will Robin. While just a few days prior I had been negotiating spring-break travel plans, the cascading announcements of institutional closures, travel…
Touching Music
Art (5 works) · Computer Science (5 works) · Sociology (5 works) · Music History and Culture (4 works) · Visual arts (4 works) · Cinema and Media Studies (3 works) · Library science (3 works) · Political science (3 works) · World Wide Web (3 works) · Active listening (2 works)