Carlo Nardi received his PhD in Sciences of Music from the University of Trento in 2005. He is Research Associate at Rhodes University and teaches at CDM – Centro Didattico MusicaTeatroDanza. His work has focused on the use of technology from a sensory perspective, authorship in relation to technological change, the organization of labour in music-making and screen sound. Between 2011 and 2013 he was General Secretary of IASPM, the International Association for the Study of Popular Music. He is member of the international research network Sound in Media Culture and editor of IASPM Journal since 2009.
"The Mockumentary Sitcom: The Discomfort of Fake Realism". In Music in Comedy Television: Notes on Laughs, ed. Liz Giuffre and Philip Hayward, 73–87, New York and Abingdon: Routledge, 2017.
"Sound and Racial Politics". In Sound as Popular Culture: A Research Companion, ed. Jens Gerrit Papenburg and Holger Schulze, 77–87, Cambridge, MA: MIT Press, 2016.
"Critical Listening". In Sound as Popular Culture: A Research Companion, edited by Jens Gerrit Papenburg and Holger Schulze, 395–402, Cambridge, MA: MIT Press, 2016.
"I Say, ‘Sweetie’, You Hear, ‘Machine Gun’: Challenging the Rhetoric of Reconciliation on a South African Campus". In Unsichtbare Landschaften/Invisible Landscapes: Populäre Musik und Räumlichkeit/Popular Music and Spatiality, edited by Giacomo Bottà, 147–160, Münster: Waxmann, 2016.
"Students Perceiving Risk: A Quantitative Assessment on Three South African University Campuses", with Rau et al. African Sociological Review 18(1): 65–90, 2014.
"Gateway of Sound: Reassessing the Role of Audio Mastering in the Art of Record Production". Dancecult 6(1): 8–25, 2014.
"The Scene of Scenes: Berlin Underground Parties, Neither Movement nor Institution". In 'Poor, but Sexy': Reflections on Berlin Scenes, ed. Geoff Stahl, 83–101, Bern: Peter Lang, 2014.
"Mediating Fictional Crimes: Music, Morality and Liquid Identification in Breaking Bad". In Analyzing Breaking Bad: Critical Essays on the Contexts, Politics, Style, and Reception of the Television Series, ed. David Pierson, 173–189, Lanham, MD and Plymouth: Lexington Books, 2014.
"Library Music: Technology, Copyright and Authorship". In Current Issues in Music Research: Copyright, Power and Transnational Musical Processes, ed. Susana Moreno Fernández et al., 73–83, Lisbon: Colibri, 2012.
"Performing Electronic Dance Music: Mimesis, Reflexivity and the Commodification of Listening". Contemporanea 10(1): 81–98, 2012.
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