Consuming Music in the Digital Age: Technologies, Roles and by Raphaël Nowak

By Raphaël Nowak

This e-book addresses the problem of track intake within the electronic period of applied sciences. It explores how contributors use song within the context in their daily lives and the way, in go back, song acquires yes roles inside daily contexts and extra extensively of their existence narratives.

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Extra resources for Consuming Music in the Digital Age: Technologies, Roles and Everyday Life

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When choosing the technology through which he listens to music at home, Carlos bases his selection over how ‘bothered’ he is. He uses different technologies because of how he emotionally feels about the technology he uses. Indeed, in contrast with the convenience of digital technologies (an entire music library one click away), vinyl discs require a careful handling. , 2000) examines individuals’ bodily gestures while they interact with music. ’ While it is certain that individuals’ body gestures are preponderant in the way they respond to music in individualistic practices or social settings (see Nowak and Bennett, 2014), the gestures developed to interact with the materiality of music technologies participate in such response.

And I download through one of the sites, or I would get a master copy off another DJ and go through and pick and choose which ones that I wanted. Basically, with the EDM and that, I never paid for any of that. It was just through other means. If I hear a track and I like it, I get hold of it somehow. Or if I had a DJ who said ‘Listen to this remix/ track,’ I might listen to it and grab a copy of it. (Mike, 31, chef, June 2014) I interviewed Mike twice – in February 2011 and in June 2014. Between both interviews, Mike has had an experience as a DJ and announcer at a local radio station.

In all, the meanings of material interactions with music technologies are not only an explanation for the heterogeneous modes of music consumption that are measured by quantitative inquiries (see American Assembly, 2012; Bahanovic and Collopy, 2009, 2013; IFPI, 2011, 2012, 2013; Nielsen, 2013; Statista, 2014), they are also the differentiated means through which music is consumed. This chapter has attempted to discuss the notion of the ‘digital age’ of music technologies and the changes induced by the introduction of new technologies that enable free exchanges of music between peers, outside the scope of music industry bodies.

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