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Musica Mobilis, Musical Mediality in the Age of Technological Reproducibility: Study on Cassette Culture in the 1970s and 1980s

Song, Hawsuk 1

1한양대학교

Candidate

ABSTRACT

“Music, which anytime and anywhere can be reproduced” means that the one-off musical experience could beyond the limit of specific time and space. It indicates, on the one hand, mass replication and boundless reproduction of music based on the invention of recording technology and on the other the impossibility of musical experience fixed to an only one coordinate. According to Hosokawa Shuhei, who the idea in his theoretical study on walkman conceptualizes, musica mobilis signifies “music whose source voluntarily or involuntarily moves from on point to another, coordinated by the corporal transportation of the source owner(s).” As the definition, musica mobilis implies that the musical experience surrounded in not the one, but the different processes of context-construction, namely decontextualisation-recontextualisation. It is the characteristic that divers layers of musica mobilis from portable radio (cassette) to MP3. Based on such discussion about musica mobilis, this paper focuses on cassette culture in the 1970s and 1980s. Even though cassette emerges in this time as the decisive music media, existing researches, that mainly concentrate on authorship hit songs, and chronicle, have dismissed cassette culture. Especially since the recording is regarded as ‘the unity of artistic works in discoid form’ and ‘the text ensuring of authenticity author or artistic quality’, cassette is seen as subordinated and wastingly. As the counterpose, this study try to critically examine discourses about cassette culture in this times, verify the importance of this media culture, and consequentially attempt to approach to “the others history of music media.”

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* References for papers published after 2024 are currently being built.

This paper was written with support from the National Research Foundation of Korea.
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