Melissa Avdeeff

Assistant Professor Coventry University

  • Coventry

Popular culture, specialising in pop music; music technology and society; social media and fandom.

Contact

Social

Biography

Melissa Avdeeff is an Assistant Professor of Communications, Culture, & Media at Coventry University. Her dissertation at the University of Edinburgh examined iPod culture and eclecticism of musical tastes, and the impacts on identity formation, and technologically-mediated sociability. Recently, she’s published book chapters on: Beyoncé’s Instagram use and presentation of self; the critical reception of the Twilight Saga soundtracks and trivialization of girl fandom; Beyoncé’s ‘7/11’ and the importance of the YouTube reaction videos in the evolution of girl/bedroom culture; and artificial intelligence popular music as a form of audio uncanny valley through a case study of SKYGGE’s Hello World.

Areas of Expertise

Artifical Intelligence and music
Popular Music
Popular Culture
Music Technology and Society
Fandom
Social Media
Media & Culture
Gender in Media
Beyonce
computational creativity

Education

University of Edinburgh

PhD

Musicology

2011

Thesis: Finding Meaning in the Masses: Issues of Taste, Identity, and Sociability in Digitality

McMaster University

MA

Music Criticism

2006

Thesis: From Girl Next Door To Sex Symbol: Representations of Women in Popular Music Magazines

University of Alberta, Augustana Faculty

BMus

Musicology

2004

Affiliations

  • Coventry University

Media Appearances

Professors from the School of Beyonce talk Lemonade

The Toronto Star  print

2016-05-24

Beyoncé’s surprise visual album Lemonade has been a lightning rod for discussion since its April 23 release — and we’re not just talking about the “who is Becky?” mystery probed by the tabloids. There’ also been a powerful academic reaction ... three professors who teach the way of the Bey share their Beyoncé 101.

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Nelly Furtado's singing of O Canada defended

Time Colonist  print

2016-02-14

Victoria’s Nelly Furtado turned in a unique performance of O Canada at the NBA all-star game in Toronto on Sunday, one that made the Grammy winner a trending topic on Twitter for all the wrong reasons ... “Personally, I’m not sure why people are so upset about it,” said Melissa Avdeeff, a popular-music-studies lecturer at the University of Victoria. “She altered the melody in a couple of places, but that didn’t entirely detract from the overall sense of the song.”

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Nelly Furtado National Anthem

CFAX Radio  radio

2016-02-16

Interview with Matthew Brennae discussing Nelly Furtado's contentious version of the National Anthem.

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Event Appearances

"We're So Much More Than Pointless Fixtures, Instagram Pictures: Beyonce and Pop Music Authenticity Through Social Media"

PCA/ACA National Conference  Seattle, US

2016-03-25

"Beyonce: Social Media, Authenticity, and the Presentation of Self"

IASPM Canada Conference  Ottawa, ON

2015-05-25

"A Tribe Called Red: Aboriginal Popular Music and Social Media as a Potential Site of Cultural Exchange and Preservation"

Popular Culture Association of Canada Conference  Calgary, AB

2014-05-26

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Articles

The Music of Twilight: Battling for Authenticity

Intellect

2016-12-22

Chapter in: Fan Phenomena: The Twilight Saga. Edited by Laurena Isaker

What happens when young female fandoms come up against the cultural elitism of indie music? This chapter explores how the Twilight soundtracks were received in the mainstream press. Through an examination of reviews and commentaries from established news sources, it is demonstrated that a division exists between critics. On the one hand, we find those who attempt to disassociate the indie aesthetics of the music from the feminized Twilight saga fandom, and on the other hand, recognition of the importance of mood and emotional engagement with music. Music is emotional, and so is reading the Twilight series; recognizing that these emotions are not just female reactions is important in bringing more acknowledgment of the credibility of young females’ fan experiences.

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Beyonce and Social Media: Authenticity and Presentation of Self

McFarland Publishirs

2016-12-22

Chapter in: The Beyonce Effect: Essays on Secuality, Race, and Feminism. Edited by Adrienne Trier-Bieniek

This chapter primarily focuses on Beyoncé’s Instagram use, as it presents an interesting case study of the use of visual-based social media sites in celebrity branding, and a re-negotiation of the fan/artist relationship. This chapter explores different approaches to studying celebrity social media use, including Goffman’s presentation of self, parasocial interaction, and the circuit of culture, using Beyoncé as a case study. Superficially, Beyoncé’s social media relationship with fans appears to be primarily parasocial, but in examining aspects of follower reception, it is demonstrated that her Instagram use actually incorporates a form of reciprocal relationship with fans, as seen in her choice of thematic material, and presentation of identity.

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Young People's Musical Engagement and Technologies of Taste

Palgrave MacMillan UK

2016-12-22

Chapter in: Mediated Youth Cultures: The Internet, Belonging and New Cultural Configurations. Edited by Andy Bennett, Brady Robards.

The relationship between youth and music, as mediated through technology, has been evolving since the advent of transistor technology and the production of portable music players. With the ability to take music into personal spaces, such as the bedroom, youth’s relationship with music began to alter dramatically. Today, smartphones, MP3 players and iPods, complete with ear buds and built-in speakers, dominate the technological landscape. The ways in which these technologies are incorporated into social relationships reshape not only how youth listen to and find meaning in music, but also how they define their musical tastes and, to a large extent, their behaviour in social situations. Through the results of a large-scale, empirical study, this chapter explores how taste and sociability are highly intertwined, with boundaries becoming increasingly blurred between people and technology, music and genre definitions, and artist and fan. Throughout, youth are categorised as those under 30, and while having only two broad demographics can be seen as problematic, the dataset showed statistically significant differences in mobile music device use and behaviours between those over and under the age of 30.

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