Alessandro Bratusis senior lecturer in the Department of Musicology and Cultural Heritage at the University of Pavia.

• Introduction: Theoretically Live: Performance and Mediation between Experience, Intermediality, and AuthenticityChapter 1: Live Once, and Witness Forever: The Analytical FrameworkChapter 2: The Many Lives of Jimi: Recordings and Utopian Spaces in Hendrix’s Posthumous AlbumsChapter 3: So Empty without Me? Heritage, Realness and Memory in Tupac Shakur’s Posthumous RecordsChapter 4: Identity as Timbre: Johnny Cash’s Expansive Identity in the American Recordings and BeyondChapter 5: A Conversation with No Speakers: Live without AudienceChapter 6: Live EDM: Audiovisual Performativity for Bodies and MachinesCoda: (Living?) In the Material World: The In-Betweenness of Michael Jackson’s This Is It

Bratus' book provides a worthwhile contribution to the growing body of research on mediatized uses of music in the popular domain. This book is theoretically strong and well-argued throughout, extending our understanding of several uniquely contemporary phenomena with reference to current theory on musicology, sound studies, media studies, and cultural studies. Bratus is well informed about the issues he discusses, bearing on questions of performance, technology, gender and the body, temporality, authenticity, and other key areas of concern. Anyone interested in delving deeper into current thinking on mediatized performances of popular music in the present historical moment would be advised to read this book.

Alessandro Bratusis senior lecturer in the Department of Musicology and Cultural Heritage at the University of Pavia.

• Introduction: Theoretically Live: Performance and Mediation between Experience, Intermediality, and AuthenticityChapter 1: Live Once, and Witness Forever: The Analytical FrameworkChapter 2: The Many Lives of Jimi: Recordings and Utopian Spaces in Hendrix’s Posthumous AlbumsChapter 3: So Empty without Me? Heritage, Realness and Memory in Tupac Shakur’s Posthumous RecordsChapter 4: Identity as Timbre: Johnny Cash’s Expansive Identity in the American Recordings and BeyondChapter 5: A Conversation with No Speakers: Live without AudienceChapter 6: Live EDM: Audiovisual Performativity for Bodies and MachinesCoda: (Living?) In the Material World: The In-Betweenness of Michael Jackson’s This Is It

Bratus' book provides a worthwhile contribution to the growing body of research on mediatized uses of music in the popular domain. This book is theoretically strong and well-argued throughout, extending our understanding of several uniquely contemporary phenomena with reference to current theory on musicology, sound studies, media studies, and cultural studies. Bratus is well informed about the issues he discusses, bearing on questions of performance, technology, gender and the body, temporality, authenticity, and other key areas of concern. Anyone interested in delving deeper into current thinking on mediatized performances of popular music in the present historical moment would be advised to read this book.

Alessandro Bratusis senior lecturer in the Department of Musicology and Cultural Heritage at the University of Pavia.

• Introduction: Theoretically Live: Performance and Mediation between Experience, Intermediality, and AuthenticityChapter 1: Live Once, and Witness Forever: The Analytical FrameworkChapter 2: The Many Lives of Jimi: Recordings and Utopian Spaces in Hendrix’s Posthumous AlbumsChapter 3: So Empty without Me? Heritage, Realness and Memory in Tupac Shakur’s Posthumous RecordsChapter 4: Identity as Timbre: Johnny Cash’s Expansive Identity in the American Recordings and BeyondChapter 5: A Conversation with No Speakers: Live without AudienceChapter 6: Live EDM: Audiovisual Performativity for Bodies and MachinesCoda: (Living?) In the Material World: The In-Betweenness of Michael Jackson’s This Is It

Bratus' book provides a worthwhile contribution to the growing body of research on mediatized uses of music in the popular domain. This book is theoretically strong and well-argued throughout, extending our understanding of several uniquely contemporary phenomena with reference to current theory on musicology, sound studies, media studies, and cultural studies. Bratus is well informed about the issues he discusses, bearing on questions of performance, technology, gender and the body, temporality, authenticity, and other key areas of concern. Anyone interested in delving deeper into current thinking on mediatized performances of popular music in the present historical moment would be advised to read this book.