Networked Music Cultures: Contemporary Approaches, Emerging Issues

258 Pages·2016·2.854 MB·English

by  Raphaël Nowak, Andrew Whelan (eds.)

Networked Music
Cultures
Contemporary Approaches,
Emerging Issues
Edited by
Raphaël Nowak and
Andrew Whelan
Pop Music, Culture and Identity
Pop Music, Culture and Identity
Series Editors
Steve   Clark
Graduate School Humanities and Sociology
University of Tokyo
Bunkyo-ku ,   Tokyo, Japan
Tristanne   Connolly
Department of English
St Jerome’s University
Waterloo ,   Ontario, Canada
Jason   Whittaker
School of English & Journalism
University of Lincoln
Lincoln ,   Lincolnshire , United Kingdom
Pop music lasts. A form all too often assumed to be transient, commer-
cial and mass-cultural has proved itself durable, tenacious and continually
evolving. As such, it has become a crucial component in defi ning various
forms of identity (individual and collective) as infl uenced by nation, class,
gender and historical period. Pop Music, Culture and Identity investigates
how this enhanced status shapes the iconography of celebrity, provides
an ever-expanding archive for generational memory and accelerates the
impact of new technologies on performing, packaging and global market-
ing. The series gives particular emphasis to interdisciplinary approaches
that go beyond musicology and seeks to validate the informed testimony
of the fan alongside academic methodologies.
More information about this series at
http://www.springer.com/series/14537
Raphaël Nowak • A ndrew Whelan
Editors
Networked Music
Cultures
Contemporary Approaches, Emerging Issues
Editors
Raphaël Nowak Andrew Whelan
SPAIS University of Wollongong
University of Bristol Wollongong, New South Wales
Bristol, UK Australia
Pop Music, Culture and Identity
ISBN 978-1-137-58289-8 ISBN 978-1-137-58290-4 (eBook)
DOI 10.1057/978-1-137-58290-4
Library of Congress Control Number: 2016952438
© The Editor(s) (if applicable) and The Author(s) 2 016
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Kingdom
C
ONTENTS
1 Editors’ Introduction 1
Raphaël Nowak and A ndrew Whelan
2 The People’s Mixtape: Peer-to-Peer File Sharing without
the Internet in Contemporary Cuba 13
Tom Astley
3 Musica Analytica: The Datafi cation of Listening 31
Robert Prey
4 The Legacy of Napster 49
Matthew David
5 Streaming Music in Japan: Corporate Cultures
as Determinants of Listening Practice 6 7
Noriko Manabe
6 Making Sense of Acquiring Music in Mexico City 77
Víctor Ávila-Torres
v
vi CONTENTS
7 Reading Songs, Experiencing Music: Co-creation,
Materiality and Expertise in Beck’s Song Reader 95
Antoni Roig and G emma San Cornelio
8 The Digital Music Boundary Object 113
Raphaël Nowak and A ndrew Whelan
9 ‘A Step Back to the Dark Ages of the Music
Industry’: Democratisation of Record
Production and Discourses on Spotify
in Kuka Mitä Häh? 1 33
Juho Kaitajärvi-Tiekso
10 Off the Charts: The Implications of Incorporating
Streaming Data into the Charts 151
Steve Collins and P at O’Grady
11 Rethinking the Digital Playlist: Mixtapes, Nostalgia
and Emotionally Durable Design 171
Kieran Fenby-Hulse
12 A Song for Ireland? Policy Discourse and Wealth
Generation in the Music Industry in the Context
of Digital Upheavals and Economic Crisis 1 89
Jim Rogers and A nthony Cawley
13 Pachelbel This Ain’t: Mashups and Canon (De)formation 209
Anthony Cushing
14 Music Streaming the Everyday Life 2 27
Anja Nylund Hagen
Index 247
C B
ONTRIBUTOR IOGRAPHIES
Tom   Astley is a writer and musician from County Durham. He currently works as
a teaching assistant in the International Centre for Musical Study and Combined
Honours Centre, Newcastle University. Astley has published articles and essays on
Cuban popular music and identity, and has an interest in the continuing cultural
capital of ‘obsolete’ technologies, particularly the cassette. He runs a micro-cas-
sette label: ‘Paper Ball Gown Recordings’.
Víctor   Á vila-Torres is a PhD student at the Sociology Department in the
University of York. His previous education includes a Master in Communication
(UIA, Mexico) and a Bachelor in Communication Sciences (UDLAP, Puebla). His
teaching experience includes Video and Audio production for Multimedia Design
departments, as well as Communication and Technology and Media History for
Communication students. Víctor has experience in music journalism, multimedia
production, public relations for educative institutions and editorial assistance for
academic journals. His doctoral research is a comparative study between Mexico
and the UK, regarding how the notions of value, ownership and quality has been
transformed for music by technological circulation and consumption. His research
interests include technology, music, culture, media and digital culture, mainly
from an STS point of view. Contact: [email protected].
Anthony   Cawley lectures in the Department of Media and Communication at
Liverpool Hope University, UK. Previously, he worked as a Research Scholar at the
Institute for the Study of Knowledge in Society (ISKS) at the University of
Limerick, Ireland. His research interests include news-media framing
vii
viii CONTRIBUTOR BIOGRAPHIES
of current affairs, media industry innovation, and online journalism. His research
has been published in international peer-review journals.
Steve   C ollins is a Senior Lecturer in the Department of Media, Music,
Communication and Cultural Studies at Macquarie University, Sydney. He is the
co-author of B eyond 2.0: The Future of Music and his research focuses on copyright
law, creativity, digital technologies, music and disruption.
Anthony   Cushing A native of Halifax, Nova Scotia, Anthony Cushing received
his PhD in musicology from the University of Western Ontario in 2013. In 2003,
he had the distinction of being the fi rst graduate student in music at the University
of Southern Maine where he studied composition with J. Mark Scearce, Elliott
Schwartz, and Daniel Sonenberg. His compositions have been performed exten-
sively across North America and on the long-running Canadian Broadcasting
Corporation (CBC) radio show “Choral Concert.” His current research interests
are divided into music mashups and Canadian pianist Glenn Gould’s S olitude
Trilogy radio documentaries. He is currently a visiting researcher at Western
University.
Matthew   David teaches sociology at Durham University (UK). He is the author
of Owning the World of Ideas (with Debbie Halbert, Sage 2015) P eer to Peer and
the Music Industry: The Criminalization of Sharing (Theory, Culture and Society
Monograph Series, 2010), Social Research: An Introduction (second edition, with
Carole D. Sutton, Sage 2011), Science in Society (Palgrave 2005) and K nowledge
Lost in Information (with David Zeitlyn and Jane Bex, Offi ce of Humanitites Press
1998). He recently completed editing (with Debora Halbert, Sage 2014) T he Sage
Handbook of Intellectual Property and (with Peter Millward, Sage 2014) the four-
volume R esearching Society Online . His research on fi le-sharing, live-streaming and
new media has been published in British Journal of Sociology; European Journal of
Social Theory; Sport in Society; Perspectives on Global Development and Technology;
and Crime, Media, Culture ; as well as in the Oxford Handbook of Internet Studies
(edited by William H. Dutton, 2013). Research on other aspects of science and
technology in society has been published in Sociological Research Online; New
Genetics and Society; Current Sociology; International Sociology; Telematics and
Informatics; Systemica ; and Sociology Compass . He is interested in the potential for
sharing in an age beyond scarcity and is currently writing a book, to be called
Sharing: Crime against Capitalism? (Polity 2017).
Kieran   Fenby-Hulse is the Programme Manager for Early and Middle Career
Researcher Development at Coventry University. He is responsible for coaching,
training, and providing development opportunities for researchers across a broad
range of disciplines. His research focuses on Ethics and Integrity, Research Impact
and Enterprise, Artistic and Digital Research Methods, and issues of Equality,
CONTRIBUTOR BIOGRAPHIES ix
Diversity, and Inclusion in Research. Kieran has published articles and delivered
papers on artistic research, the professional doctorate, narrative, and digital music
listening, and is currently a member of the editorial board for Vistas , ARMA’s
Professional Journal of Research Management and Administration. He has been
invited to deliver workshops and training programmes at universities internation-
ally, including King’s College London (UK), the Orpheus Institute (Belgium),
and Universidad de Concepción (Chile).
Anja   Nylund   Hagen (PhD) teaches in media and music studies at the University
of Oslo. Her research focuses on uses of music-streaming services and how audi-
ences experience and make sense of music with online listening technologies. She
has published articles in Popular Music and Society and F irst Monday , and her dis-
sertation Using Music Streaming Services: Practices, Experiences and the Lifeworld
of musicking  is among the fi rst empirical, qualitative studies about streaming tech-
nology and music listening.
Juho   K aitajärvi-Tiekso was born in Tampere, Finland in 1979. He graduated as
an MA (in ethnomusicology) in 2005. After 6 years of playing music and working
in various music-related jobs, Kaitajärvi-Tiekso began his PhD project, ‘Dynamics
of Democratization and Digitalisation of Record Production in Finland in the
2010s’, in 2011. He currently works on the project in the School of Communication,
Media and Theatre in University of Tampere, under the supervision of Professor
Tarja Rautiainen-Keskustalo.
Noriko   Manabe is Associate Professor of Music Studies at Temple University,
with interests in music and social movements, Japanese popular music, and the
music business. Her fi rst monograph, T he Revolution Will Not Be Televised: Protest
Music After Fukushima (Oxford), explores how musicians countered a pronuclear
political economy and structure of feeling in cyberspace, demonstrations, festivals,
and recordings. Her second monograph (Oxford, forthcoming) discusses the role
of intertextuality in protest songs. She has published on Japanese hip-hop, mobile
technologies, and children’s songs in Ethnomusicology, Popular Music, The
Cambridge Companion to Hip-Hop , The Oxford Handbook of Mobile Music Studies,
and The Oxford Handbook of Children’s Musical Cultures. She is co-editing The
Oxford Handbook of Protest Music (with Eric Drott) and S onic Contestations of
Nuclear Power (with Jessica Schwartz), and is Series Editor of 33-1/3 Japan, a
series of short books on popular music, for Bloomsbury Press.
Raphaël   Nowak is a cultural sociologist interested in issues of music consumption
and technologies. He currently teaches in popular music, social theory and cultural
sociology at the University of Bristol. He published his fi rst manuscript, Consuming
Music in the Digital Age, in 2015 with Palgrave.