By Raphaël Nowak
This booklet addresses the problem of song intake within the electronic period of applied sciences. It explores how members use song within the context in their daily lives and the way, in go back, song acquires yes roles inside of daily contexts and extra generally of their existence narratives.
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Additional resources for Consuming Music in the Digital Age: Technologies, Roles and Everyday Life
Some new stuff but some older stuff as well, stuff from the ’70s and ’80s that I remember Mum and Dad listened to. (Rodney, 25, finance clerk, May 2011) The clear objective was for Rodney to constitute a solid library of digital music files, which comprised both new releases and music from 22 Consuming Music in the Digital Age his past. This practice was echoed by multiple modes of consumption that made him listen to most of the content he downloaded, in order to extract his favorite hits and include them in playlists.
When asked about the modalities of his music consumption, Mike makes a material distinction based on the genres of music he likes. He sees metal as having a longer history that is intertwined with the CD format. On the other hand, the content 28 Consuming Music in the Digital Age that is released from the EDM scene mostly consists of single tracks that he can download online, either legally or illegally. The maturation of the digital age of music technologies sees a greater heterogeneity of modes of music consumption.
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.
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