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

By Raphaël Nowak

This publication addresses the difficulty of song intake within the electronic period of applied sciences. It explores how contributors use tune within the context in their daily lives and the way, in go back, tune acquires yes roles inside daily contexts and extra commonly of their existence narratives.

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

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Interviewee Scarlett, also interviewed twice (in July 2010 and June 2014), mentions an important change in her life situation as well (moving from an urban environment to the countryside) to explain how accessing the Internet (and therefore downloading music illegally) has become more difficult for her: The other thing that happened when I moved out in the country is that I got very limited Internet access… I was never someone who downloaded illegal movies or whatever. But just in the past couple of years, I can’t download anything because I’ve only got 4go a month to play with.

The different options at his disposal certainly enable him to browse through music and experiment with music content that he would not pay for. Downloading music for free gives Robert an entry point to content he would otherwise not pay attention to. As such, his uses of various technologies represent a gradual access to music in accordance with his preferences (see Nowak, 2014b). The core of his music preference constitutes an economic investment worth making. As Bahanovic and Collopy (2009, 2013) remark, despite the greater digitization of music and the increasing popularity of streaming services, ownership over content remains an important element that individuals take into consideration to access various music contents.

The Material Modalities of Music Consumption 37 Other music technologies, like CDs and vinyl discs, primarily exist through their physical and aesthetic affordances in comparison with digital music files. In other words, one reason why digital music files have not fully conquered all modes of music consumption – as quantitative inquiries show (see American Assembly, 2012; Bahanovic and Collopy, 2009, 2013; IFPI, 2011, 2012, 2013; Nielsen, 2013; Statista, 2014) – lies in the set of affordances of such technologies (see Nowak, 2014a).

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