Music Consumption and Technological Eclecticism: Investigating Generation Y’s Adoption and Uses of Music Technologies

Young ◽  
2020 ◽  
Vol 28 (4) ◽  
pp. 347-362
Author(s):  
Raphaël Nowak ◽  
Andy Bennett
Keyword(s):  
Qualitative Methods ◽  
Generation Y ◽  
Digital Technologies ◽  
Digital Age ◽  
Digital Music ◽  
Technological Innovations ◽  
Sociocultural Perspective ◽  
Cassette Tape ◽  
Music Consumption ◽  
Consumption Practices

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.

When materiality ‘bites back’: Digital music consumption practices in the age of dematerialization

2011 ◽  
Vol 11 (1) ◽  
pp. 15-36 ◽  
Author(s):  
Paolo Magaudda
Keyword(s):  
Point Of View ◽  
Digital Music ◽  
Structured Interviews ◽  
Cultural Goods ◽  
Theory Of Practice ◽  
Music Consumption ◽  
Practice Approach ◽  
Consumption Practices ◽  
Empirical Point

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.

MATHEMATICS TEACHER EDUCATION AND THE FLEXIBLE USE OF TECHNOLOGIES IN DIGITAL AGE

2019 ◽  
Vol 8 (2) ◽  
Author(s):  
Hans-Georg Weigand
Keyword(s):  
Teacher Education ◽  
Mathematics Teacher ◽  
Industrial Revolution ◽  
Empirical Studies ◽  
Mathematics Teacher Education ◽  
Digital Technologies ◽  
Digital Age ◽  
Competence Model ◽  
Advantages And Disadvantages ◽  
Concept Representations

Advantages and disadvantages of the use of digital technologies (DT) in mathematics lessons are worldwidedissussed controversially. Many empirical studies show the benefitof the use of DT in classrooms. However, despite of inspiringresults, classroom suggestions, lesson plans and research reports,the use of DT has not succeeded, as many had expected during thelast decades. One reason is or might be that we have not been ableto convince teachers and lecturers at universities of the benefit ofDT in the classrooms in a sufficient way. However, to show thisbenefit has to be a crucial goal in teacher education because it willbe a condition for preparing teachers for industrial revolution 4.0.In the following we suggest a competence model, which classifies– for a special content (like function, equation or derivative) –the relation between levels of understanding (of the concept),representations of DT and different kind of classroom activities.The flesxible use of digital technologies will be seen in relationto this competence model, results of empirical investigations willbe intergrated and examples of the use of technologies in the upcoming digital age will be given.

scholarly journals The changing role of multilateral forums in regulating armed conflict in the digital age

2020 ◽  
Vol 102 (913) ◽  
pp. 261-285
Author(s):  
Amandeep S. Gill
Keyword(s):  
Armed Conflict ◽  
Digital Technologies ◽  
Digital Age ◽  
Problem Analysis ◽  
Recent Experience ◽  
Cyber Warfare ◽  
Humanitarian Law ◽  
Human Machine Interaction ◽  
Cyber Conflict ◽  
Changing Role

AbstractThis article examines a subset of multilateral forums dealing with security problems posed by digital technologies, such as cyber warfare, cyber crime and lethal autonomous weapons systems (LAWS).1 It identifies structural issues that make it difficult for multilateral forums to discuss fast-moving digital issues and respond in time with the required norms and policy measures. Based on this problem analysis, and the recent experience of regulating cyber conflict and LAWS through Groups of Governmental Experts, the article proposes a schema for multilateral governance of digital technologies in armed conflict. The schema includes a heuristic for understanding human–machine interaction in order to operationalize accountability with international humanitarian law principles and international law applicable to armed conflict in the digital age. The article concludes with specific suggestions for advancing work in multilateral forums dealing with cyber weapons and lethal autonomy.

Digitamorphosis of Music Consumption Practices

2009 ◽  
Vol 20 (3) ◽  
pp. 287-314
Author(s):  
Fabien Granjon ◽  
Clément Combes
Keyword(s):  
Music Consumption ◽  
Consumption Practices

Music Everywhere: Setting a Digital Music Trap

2017 ◽  
Vol 45 (4-5) ◽  
pp. 617-630
Author(s):  
David Arditi
Keyword(s):  
Mobile Technologies ◽  
Digital Music ◽  
Recording Industry ◽  
Digital Capitalism ◽  
Digital Era ◽  
Music Consumption

Before the digital era, music consumption was limited to purchasing LPs, tapes and CDs, or attending concerts. With digitization and mobile technologies in tow, the consumption of music exploded. Music is now literally everywhere—but none of it is actually free. Our consumption of it on television and cable, through games on our computers and our phones, through subscriptions or sites with built-in never-ending streams of advertising always has a price. Music is everywhere, but how did this happen? How has digital distribution and production changed the recording industry? What are the consequences of ubiquitous music? In this article, I argue that the digital music trap is an outgrowth of digital capitalism that commodifies our everyday existence.

scholarly journals Music consumption in Brazil: an analysis of streaming reproductions

2020 ◽  
Vol 10 (19) ◽  
pp. 141
Author(s):  
Gabriel Borges Vaz de Melo ◽  
Ana Flávia Machado ◽  
Lucas Resende de Carvalho
Keyword(s):  
Digital Music ◽  
Replacement Model ◽  
Music Consumption ◽  
Musical Taste ◽  
Streaming Services ◽  
Musical Genres ◽  
The Way

Music is one of the cultural segments that most adapts and innovates, as observed in the recent rise of streaming services. The consumption of digital music has altered the dynamics of the market and the way people enjoy it. The aim of this article is to show trends and tastes of Brazilian individuals, taking into account musical genres. For this purpose, it uses data of playlists collected from the Spotify streaming platform through its API. The results show that genres such as sertanejo universitário and international pop have great national reach. However, other national genres and artists with less popularity have a relevant and distinct demand in some Brazilian cities. Our analysis indicates both the maintenance of the traditional consumption as the rise of the mass-replacement model. Therefore, a regionalization of the musical taste in Brazil is evidenced,which suggests a potential of musical niches in the context of the streaming market.

scholarly journals Cultural Divergence in popular music: the increasing diversity of music consumption on Spotify across countries

2021 ◽  
Vol 8 (1) ◽  
Author(s):  
Pablo Bello ◽  
David Garcia
Keyword(s):  
Popular Music ◽  
Large Scale ◽  
Global Perspective ◽  
Digital Music ◽  
Upward Trend ◽  
Music Consumption ◽  
Cultural Markets ◽  
Cross Country ◽  
The Moment ◽  
Music Distribution

AbstractThe digitization of music has changed how we consume, produce, and distribute music. In this paper, we explore the effects of digitization and streaming on the globalization of popular music. While some argue that digitization has led to more diverse cultural markets, others consider that the increasing accessibility to international music would result in a globalized market where a few artists garner all the attention. We tackle this debate by looking at how cross-country diversity in music charts has evolved over 4 years in 39 countries. We analyze two large-scale datasets from Spotify, the most popular streaming platform at the moment, and iTunes, one of the pioneers in digital music distribution. Our analysis reveals an upward trend in music consumption diversity that started in 2017 and spans across platforms. There are now significantly more songs, artists, and record labels populating the top charts than just a few years ago, making national charts more diverse from a global perspective. Furthermore, this process started at the peaks of countries’ charts, where diversity increased at a faster pace than at their bases. We characterize these changes as a process of Cultural Divergence, in which countries are increasingly distinct in terms of the music populating their music charts.

scholarly journals Becoming clowns: How do digital technologies contribute to young children’s play?

2019 ◽  
pp. 146394911986420
Author(s):  
Tove Lafton
Keyword(s):  
Early Childhood ◽  
Digital Technologies ◽  
Digital Age ◽  
Early Years ◽  
Digital Tools ◽  
Early Childhood Setting ◽  
Material World ◽  
Children's Play ◽  
Children’S Play

Research concerning play and technology is largely aimed at expanding the knowledge of what technological play may be and, to a lesser extent, examines what happens to children’s play when it encounters digital tools. In order to explore some of the complexity in play, this article elaborates on how Latour’s concepts of ‘translation’ and ‘inscription’ can make sense of a narrative from an early childhood setting. The article explores how to challenge ‘taken-for-granted knowledge’ and create different understandings of children’s play in technology-rich environments. Through a flattened ontology, the article considers how humans, non-humans and transcendental ideas relate to one another as equal forces; this allows for an understanding of play as located within and emerging from various networks. The discussion sheds light on how activation of material agents can lead us to look for differences and new spaces regarding play. Play and learning are no longer orchestrated by what is already known; rather, they become co-constructed when both the children and the material world have a say in constructing the ambiguity of play. Lastly, the discussion points to how early years practitioners need tools to challenge their assumptions of what play might become in the digital age.

Soundtracking: music listening practices in the digital age

2019 ◽  
Vol 53 (3) ◽  
pp. 483-503 ◽  
Author(s):  
Christian Fuentes ◽  
Johan Hagberg ◽  
Hans Kjellberg
Keyword(s):  
Practice Theory ◽  
Contemporary Music ◽  
Qualitative Interviews ◽  
Digital Age ◽  
Alternative View ◽  
Music Listening ◽  
Audio Quality ◽  
Everyday Practices ◽  
Music Consumption

Purpose The purpose of this paper is to further develop the conceptualization of music consumption in the digital age by examining how contemporary music listening is interweaved with other practices, how it shapes those practices and how it is in turn shaped by them. Design/methodology/approach The paper draws on extensive, qualitative interviews with 15 Swedish music consumers. During the course of these interviews, specific situations of everyday music listening were discussed in detail. Findings Drawing on practice theory and more specifically the concepts of dispersed and integrative practices, the authors identify and explore a mode of music listening that they term soundtracking, which involves choosing and listening to music mainly to accompany other everyday practices. Research limitations/implications As soundtracking grows in importance, music is increasingly consumed as an affective-practical resource. Its significance is then not derived from its ability to demarcate difference and construct consumer identities but from its capacity to evoke emotions and moods than enable and enrich a set of everyday practices. Practical implications When music is consumed as part of soundtracking, issues such as the audio quality of music or ownership of material music media become less important, while aspects such as mobility, accessibility and the adaptability of music increase in importance. This has important implications for how and what music should be produced and marketed. Originality/value This paper offers an alternative view of contemporary music consumption compared to previous research, which has considered music listening primarily as an integrative practice on which the practitioner is fully focussed. The paper also contributes to practice theory by offering an empirically based understanding of a dispersed practice, showing that such practices are neither without shape nor necessarily very simple in their structure.

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