Digitamorphosis of Music Consumption Practices

2009 ◽  
Vol 20 (3) ◽  
pp. 287-314
Author(s):  
Fabien Granjon ◽  
Clément Combes
2011 ◽  
Vol 11 (1) ◽  
pp. 15-36 ◽  
Author(s):  
Paolo Magaudda

Dematerialization of artefacts and material objects is a relevant issue in consumer studies, especially when we consider the ongoing changes regarding the consumption of cultural goods. This article adopts a theory-of-practice approach to analyse the consequences of dematerialization on the practices of digital music consumption. From an empirical point of view, the article is based on data collected during research into the appropriation of digital music technologies and based on 25 in-depth narrative semi-structured interviews with young Italian digital music consumers. The analysis mainly focuses on the appropriation of three specific technologies involved into the contemporary consumption of music: the iPod, the external hard drive and the vinyl disc. In order to understand the role of materiality in the age of dematerialization, the article adopts the ‘circuit of practice’, an explicative model that enables empirical analysis and that is aimed at highlighting the changing relationships between materiality and social practices. The analysis shows that music digitalization does not mean less materiality in the actual practice of listeners, that material ‘stuffs’ still occupy a relevant position in digital music, and that materiality nowadays seems to ‘bite back’, being even more crucial in shaping consumers’ practices.


2014 ◽  
Vol 8 (4) ◽  
pp. 426-442 ◽  
Author(s):  
Raphaël Nowak ◽  
Andy Bennett

This article develops the notion of ‘sound environment’ as a new way of theorizing the relationship between music, audiences and everyday life. The article draws on findings from an empirical case study conducted with young people between the ages of 21 and 32. In focusing on this age range, we consider ‘mundane’ music consumption practices in contrast to the more ‘spectacular’ forms of youth cultural music consumption often documented in academic work. In an age characterized by the increasing omnipresence of music, young people hear or listen to music in various configurations, for example, by mobilizing a particular music technology and content or hearing music while shopping in a department store, visiting a friend at home, or travelling in an elevator. Drawing on the concept of the ‘sound environment’, this article looks at variables of space, time and body to explain the contextualization of music in everyday life.


Young ◽  
2020 ◽  
Vol 28 (4) ◽  
pp. 347-362
Author(s):  
Raphaël Nowak ◽  
Andy Bennett

This article is interested in a techno-cultural moment usually summarized by the phrase ‘digital age’. We explore how people who belong to Generation Y and were young at the time of the development of digital music technologies have adopted and used those new technological possibilities while maintaining a relationship with other media and technologies, such as the compact disc (CD), the vinyl disc and, eventually, the cassette tape. We situate our approach against arguments that either frame digital technologies as a ‘revolution’ that swept across all other technologies or stipulate that generations are tied to particular technological innovations. Drawing on qualitative methods, we defend an argument of technological eclecticism to understand the intra-variations and nuances that define individuals’ adoption and uses of music technologies in their consumption practices. This article provides a sociocultural perspective on the uses of music technologies by individuals whose music consumption practices have been largely essentialized.


Author(s):  
Constanza Abeillé

La pregunta por la popularidad del álbum como principio organizador frente a la forma breve de la canción comercial es una de las claves para comprender el modo de funcionamiento del mercado de la música popular en los tiempos que corren y su trasposición ideológica al concepto de creatividad artística. Los nuevos modos de consumo de la música están modificando los contenidos de los mensajes y generan nuevos interrogantes: ¿Continúan los oyentes teniendo la práctica de comprar y escuchar un álbum íntegro? ¿Qué lugar ocupa la forma breve de la canción pop en las prácticas de consumo actuales?The argument on the musical album as an organising principle against the commercial song’s popularity is one of the keys to understand the functioning of the popular music market these days, and its ideological transposition to artistic creativity concepts. The new modes of music consumption are changing the messages’ contents and they are introducing new questions on the subject: do people still buy full albums and listen to them as a whole? What role does the short form -the pop song- play in the current consumption practices?


2017 ◽  
Vol 5 (1) ◽  
pp. 25-43
Author(s):  
Deniz Özalpman

Since the mid-2000s, Turkish television drama series have been exported to many countries and attracted an unprecedented transnational audience. However, despite popularity, there is paucity of research focusing on the transnational understanding(s) of Turkish television drama audiences in different geographies. Through a reception analysis of three mostly cited television series among participants Muhteşem Yüzyıl (Magnificent Century), Aşk-ı Memnu (Forbidden Love), Kuzey Güney (North South), this study aimed at offering an understanding beyond overly stated cultural/religious proximity explanations to ascertain traces and elements of empowerment that citizens feel coming through their act of consuming Turkish dramas. For that purpose, in-depth interviews were conducted with Iranian viewers of Turkish television series living in the Austrian capital Vienna. Interpretation of that collected qualitative material suggests re-thinking of the transnational audience’s consumption practices that expand tourism and trade flows and other related businesses between the two countries. 


Author(s):  
Shailesh Shukla ◽  
Jazmin Alfaro ◽  
Carol Cochrane ◽  
Cindy Garson ◽  
Gerald Mason ◽  
...  

Food insecurity in Indigenous communities in Canada continue to gain increasing attention among scholars, community practitioners, and policy makers. Meanwhile, the role and importance of Indigenous foods, associated knowledges, and perspectives of Indigenous peoples (Council of Canadian Academies, 2014) that highlight community voices in food security still remain under-represented and under-studied in this discourse. University of Winnipeg (UW) researchers and Fisher River Cree Nation (FRCN) representatives began an action research partnership to explore Indigenous knowledges associated with food cultivation, production, and consumption practices within the community since 2012. The participatory, place-based, and collaborative case study involved 17 oral history interviews with knowledge keepers of FRCN. The goal was to understand their perspectives of and challenges to community food security, and to explore the potential role of Indigenous food knowledges in meeting community food security needs. In particular, the role of land-based Indigenous foods in meeting community food security through restoration of health, cultural values, identity, and self-determination were emphasized by the knowledge keepers—a vision that supports Indigenous food sovereignty. The restorative potential of Indigenous food sovereignty in empowering individuals and communities is well-acknowledged. It can nurture sacred relationships and actions to renew and strengthen relationships to the community’s own Indigenous land-based foods, previously weakened by colonialism, globalization, and neoliberal policies.


Author(s):  
Sunil Bhatia

This chapter describes how the transnationally oriented elite and upper-class urban Indian youth are negotiating their everyday experiences with globalization. It shows how the college-age elite youth psychologically imagine themselves as being world-class citizens not just by going abroad but also by reimagining new forms of Indianness through their active participation in specific cultural practices of watching American media, shopping at exclusive malls, and constructing emancipatory narratives of globalization. The transnational urban youth’s narratives are hybrid and are organized around an Indianness that is mobile, multicultural, connected to consumption practices, and crosses borders easily. Being a global Indian means displaying a kind of transnational cultural difference that has the right currency and credibility and that can be transported to other countries, where it is accepted as legitimate, valid, and as having a world-class standing. Selected parts of Indian culture can be adopted in their travels and study-abroad stints.


Author(s):  
Sidsel Karlsen

This chapter aims to understand the phenomenon of leisure-time music activities from the perspective of musical agency. It explores how individuals’ and groups’ recreational practices involving music can be seen as a means for expanding their capacities for acting in the lived-in world. The exploration proceeds through theoretical and experiential accounts. It first draws on literature from general sociology, music sociology, and the sociology of music education in order to elaborate on the broader notion of agency, as well as the more field-specific concept of musical agency. It then explores various music-related agency modes through narrating the author’s own experiences of participating in, leading, and observing leisure-time music activities. The chapter aims to dissolve the binary opposition between recreational music production and music consumption. It argues that the two poles instead can be understood as inseparably intertwined venues for the constitution of agency, musical taste and music-related learning trajectories.


Author(s):  
Ann Werner

This chapter explores identity issues in commercial streaming services, which have grown steadily in the 2010s to become the dominant form of music consumption in the Nordic countries, with about 60% of all Internet users in 2015. The chapter offers an alternative to the dominant trend in music industry studies by focusing not on the industry’s interests but instead on broader cultural issues. The chapter presents case studies of two female Sámi artists and their representations on Spotify, YouTube, MySpace, and artists’ websites, taking various aspects of the services into account, including the interface and the algorithm-based recommendations. Informed by feminist cultural studies, the argument is that the industry continues a history of reinforcing stereotypes of ethnicity, indigeneity, and femininity. Thus, commercial streaming is not only making music available to global audiences, it is also selling images of Otherness within an unequal capitalist global media system.


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