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

By Raphaël Nowak

This publication addresses the problem of tune intake within the electronic period of applied sciences. It explores how members use tune within the context in their daily lives and the way, in go back, track acquires convinced roles inside daily contexts and extra greatly of their lifestyles narratives.

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Additional info for Consuming Music in the Digital Age: Technologies, Roles and Everyday Life (Pop Music, Culture and Identity)

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The definition of music consumption comprises not only the access to technologies, but also the actual diffusion of music and therefore its association and mediation with the different elements that compose this everyday life (see Chapter 2), and individuals’ tastes and repertoires of preferences (see Chapter 4). The various technological means through which individuals access music are a response to these considerations. Heterogeneous modes of consumption intertwine the materiality of technologies with individuals’ repertoires of musical preferences.

But just in the past couple of years, I can’t download anything because I’ve only got 4go a month to play with. (Scarlett, 28, university tutor, June 2014) Scarlett has moved between different part-time jobs (from freelance model to radio announcer, and now university tutor), and to a different living situation (from a small urban flat to a larger countryside house). Her trajectory contributes in altering the conditions of her music consumption modes. Hence, the material modalities through which she accesses music subsequently adapt to such contextual changes.

I bought Joni Mitchell because her work is really cool but I never really listen to it much, I bought Tina Turner, George Michael … Raphaël: So it’s just a collector thing? Emily: Yes I really like the artwork and I listen to those albums in different ways, but I don’t listen to them on vinyl. (Emily, 25, Justice Department employee, January 2011) The examples of Scarlett and Emily show how modes of music consumption and their affective responses consist of much more than just listening to music.

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