- Preface to Volume 2
- The Mobilization of Performance: An Introduction to the Aesthetics of Mobile Music
- Treble Culture
- Of Sirens Old and New
- “Cars with the Boom”: Music, Automobility, and Hip-hop “Sub” Cultures
- Ding, Ding!: The Commodity Aesthetic of Ice Cream Truck Music
- There Must Be Some Relation Between Mushrooms and Trains: Alvin Curran’s Boletus Edulis—Musica Pendolare
- Creative Sonification of Mobility and Sonic Interaction with Urban Space: An Ethnographic Case Study of a GPS Sound Walk
- Soundwalking: Creating Moving Environmental Sound Narratives
- Gestural Choreographies: Embodied Disciplines and Digital Media
- (In)Visible Mediators: Urban Mobility, Interface Design, and the Disappearing Computer in Berlin-Based Laptop Performances
- Turning the Tables: Digital Technologies and the Remixing of DJ Culture
- Dancing Silhouettes: The Mobile Freedom of iPod Commercials
- Music, Mobility, and Distributed Recording Production in Turkish Political Music
- Rhythms of Relation: Black Popular Music and Mobile Technologies
- A History of Handheld and Mobile Video Game Sound
- The Chiptuning of the World: Game Boys, Imagined Travel, and Musical Meaning
- Rhythm Heaven: Video Games, Idols, and Other Experiences of Play
- The Mobile Phone Orchestra
- Creative Applications of Interactive Mobile Music
- The World Is Your Stage: Making Music on the iPhone
Abstract and Keywords
This chapter examines ice cream truck music from several perspectives. It explores the role of automobility in the use of ice cream truck music and describes how the experience of nostalgia in ice cream truck music through sound is achieved anamnesically. It argues that ice cream truck music is a highly specialized and refined form and explains that its sound organizes social networks of consumers while its timbre accrues ideological meaning through collective memory.
Daniel T. Neely is a musician and independent scholar based in New York City.
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