MP3 Player and Digital Music

2018 ◽  
pp. 197-199
Author(s):  
Gerard O’Regan
Keyword(s):  
Digital Music ◽  
Mp3 Player

The MP3 Player as a Mobile Digital Music Collection Portal

2011 ◽  
pp. 637-641
Author(s):  
David Beer
Keyword(s):  
Digital Music ◽  
Future Research ◽  
The Social ◽  
Mobile Music ◽  
Cultural Implications ◽  
Mp3 Players ◽  
Digital Compression ◽  
Music Collection ◽  
Technical Details ◽  
Mp3 Player

MP3 players are often described as music collections in our pockets or the pocket jukebox. Indeed, it would seem that MP3 players have significantly transformed music collections, music collecting practices, and contemporary understandings of the music collection. The MP3 player may be used to store, retrieve, and reproduce digital music files, and, therefore, it can be described as a portal—if we define the term portal as an entrance, doorway, or gateway—into these simulated (Baudrillard, 1983) mobile music collections. It is an interface between the human body and archives of digitally compressed music. This can perhaps be understood as constituting a kind of musical cyborg, a cybernetic organism, a hybrid of human and machine (Haraway, 1991). The MP3 player, in this hybridised sense, is a gateway into the digital, virtual, or simulated (Baudrillard, 1983) material cultural realm of music, a mobilised cyber-collection. The question then is what becomes of the music collection and the music collector when music shifts from the objectified disc and spool to the digital compression format and MP3 player portal? And, what are the social and cultural implications of the MP3 player portal’s increasing pervasiveness and embeddedness in the flows of everyday life? The purpose of this article is to briefly introduce and discuss these questions alongside some of the technical details of the MP3 player. This article aims to use the material and technical details and definitions of the MP3 player to open up a range of possible questions that may be pursued in future research in this area. I will begin by defining the MP3 and the MP3 player.

The MP3 Player as a Mobile Digital Music Collection Portal

2009 ◽  
pp. 1168-1174
Author(s):  
David Beer
Keyword(s):  
Digital Music ◽  
Future Research ◽  
The Social ◽  
Mobile Music ◽  
Cultural Implications ◽  
Mp3 Players ◽  
Digital Compression ◽  
Music Collection ◽  
Technical Details ◽  
Mp3 Player

MP3 players are often described as music collections in our pockets or the pocket jukebox. Indeed, it would seem that MP3 players have significantly transformed music collections, music collecting practices, and contemporary understandings of the music collection. The MP3 player may be used to store, retrieve, and reproduce digital music files, and, therefore, it can be described as a portal—if we define the term portal as an entrance, doorway, or gateway—into these simulated (Baudrillard, 1983) mobile music collections. It is an interface between the human body and archives of digitally compressed music. This can perhaps be understood as constituting a kind of musical cyborg, a cybernetic organism, a hybrid of human and machine (Haraway, 1991). The MP3 player, in this hybridised sense, is a gateway into the digital, virtual, or simulated (Baudrillard, 1983) material cultural realm of music, a mobilised cyber-collection. The question then is what becomes of the music collection and the music collector when music shifts from the objectified disc and spool to the digital compression format and MP3 player portal? And, what are the social and cultural implications of the MP3 player portal’s increasing pervasiveness and embeddedness in the flows of everyday life? The purpose of this article is to briefly introduce and discuss these questions alongside some of the technical details of the MP3 player. This article aims to use the material and technical details and definitions of the MP3 player to open up a range of possible questions that may be pursued in future research in this area. I will begin by defining the MP3 and the MP3 player.

Using Capacity Analysis to Evaluate the Effect of MP3 Player Usage on Driver Behavior

2010 ◽  
Author(s):  
Shannon C. Roberts ◽  
John D. Lee ◽  
Joshua D. Hoffman
Keyword(s):  
Driver Behavior ◽  
Capacity Analysis ◽  
Mp3 Player

BRAIN RESPONSES TO DIGITAL MUSIC: AN FNIRS STUDY

2018 ◽  
Vol 2018 ◽  
pp. 693-695
Author(s):  
Eun-Ju Lee ◽  
◽  
Kyeong Cheon Cha ◽  
Minah Suh
Keyword(s):  
Digital Music ◽  
Brain Responses

Resale of Digital Music: Capitol Records v. Redigi

2012 ◽  
Author(s):  
Matthias Marcus Glatthaar
Keyword(s):  
Digital Music

MP3 player listening habits of 17 to 23 year old university students

2010 ◽  
Vol 128 (2) ◽  
pp. 646-653 ◽  
Author(s):  
Kylie McNeill ◽  
Stephen E. Keith ◽  
Katya Feder ◽  
Anne T. M. Konkle ◽  
David S. Michaud
Keyword(s):  
University Students ◽  
Listening Habits ◽  
Mp3 Player

Digital Musical Interactions: Performer–system relationships and their perception by spectators

2011 ◽  
Vol 16 (2) ◽  
pp. 166-175 ◽  
Author(s):  
Michael Gurevich ◽  
A. Cavan Fyans
Keyword(s):  
Musical Instruments ◽  
Digital Systems ◽  
Digital Music ◽  
Musical Interactions ◽  
Ecological View ◽  
The Relationship

This article adopts an ecological view of digital musical interactions, considering first the relationship between performers and digital systems, and then spectators’ perception of these interactions. We provide evidence that the relationships between performers and digital music systems are not necessarily instrumental in the same was as they are with acoustic systems, and nor should they always strive to be. Furthermore, we report results of a study indicating that spectators may not perceive such interactions in the same way as performances with acoustic musical instruments. We present implications for the design of digital musical interactions, suggesting that designers should embrace the reality that digital systems are malleable and dynamic, and may engage performers and spectators in different modalities, sometimes simultaneously.

John Philip Sousa’s Historic Resistance to Technology in Music Learning

2021 ◽  
pp. 153660062110339
Author(s):  
Matthew D. Thibeault
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Digital Music ◽  
Washington Dc ◽  
Music Learning ◽  
Sound Recordings ◽  
Us Congress ◽  
The Us

In this article, I explore John Philip Sousa’s historic resistance to music technology and his belief that sound recordings would negatively impact music education and musical amateurism. I review Sousa’s primary arguments from two 1906 essays and his testimony to the US Congress from the same year, based on the fundamental premise that machines themselves sing or perform, severing the connection between live listener and performer and thus rendering recordings a poor substitute for real music. Sousa coined the phrase “canned music,” and I track engagement with this phrase among the hundreds of newspapers and magazines focused on Sousa’s resistance. To better understand the construction of Sousa’s beliefs, I then review how his rich musical upbringing around the US Marine Band and the theaters of Washington DC lead to his conception of music as a dramatic ritual. And I examine the curious coda of Sousa’s life, during which he recanted his beliefs and conducted his band for radio, finding that in fact these experiences reinforced Sousa’s worries. The discussion considers how Sousa’s ideas can help us better to examine the contemporary shift to digital music by combining Sousa’s ideas with those of Sherry Turkle.

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