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The digitalization of music culture: A case study examining the musician/listener relationship with digital technology.

机译：音乐文化的数字化：一个案例研究，研究音乐家/听众与数字技术的关系。

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摘要

This dissertation explores how the rise of widely available digital technology impacts the way music is produced, distributed, promoted, and consumed, with a specific focus on the changing nature of the relationship between artists and audiences new technology has engendered. Through in-depth interviewing, focus group interviewing, and discourse analysis, this case study explores the contemporary artist-audience relationship. This study demonstrates that digital technology impacts the relationship by making it closer and more multidimensional. This is intensified by the fact that everyone is participating; the audience and artist actively engage each other. The omnipresence of music culture combined with the omnipresence of technology is particularly salient. Media consumers are simultaneously engaged with music through technology, and technology through music and this happens on many different levels. Taken as a whole, artist and audience's musical lives are fragmented as they occur in multiple online and offline places, at multiple times, and are continuous. They create, download, stream, listen, share, burn, and build upon content while engaging in multiple personal and social practices. And, in the process, they experience rich meaning making attached to particular life events, people, places, and times. Engagement in a music community is not just listening to music, or consuming music, but participating in a culture. The nature of contemporary music culture is best characterized by community and as such, this dissertation argues we might better think of the audience as accomplices to the artist.
机译：本文探讨了广泛可用的数字技术的兴起如何影响音乐的生产，发行，推广和消费方式，特别着眼于艺术家与观众之间关系的不断变化的性质。通过深入的访谈，焦点小组访谈和话语分析，本案例研究探索了当代艺术家与听众的关系。这项研究表明，数字技术通过使关系更紧密和更多维来影响关系。每个人都参加的事实加剧了这一情况。观众和艺术家积极互动。音乐文化的无处不在与技术的无处不在特别重要。媒体消费者同时通过技术与音乐互动，并通过音乐与技术互动，这种情况发生在许多不同的层次上。总的来说，艺术家和听众的音乐生活是分散的，因为它们出现在多个在线和离线位置，多次并且是连续的。他们在参与多种个人和社交实践的同时，创建，下载，流式传输，收听，共享，刻录和建立内容。并且，在此过程中，他们体验到与特定生活事件，人物，地点和时间相关的丰富含义。参与音乐社区不仅仅是听音乐或消费音乐，而是参与一种文化。当代音乐文化的本质最好以社区为特征，因此，本文认为我们最好将听众视为艺术家的帮凶。

著录项

  • 作者

    Ray, Mary Elizabeth.;

  • 作者单位

    Temple University.;

  • 授予单位 Temple University.;
  • 学科 Communication.;Music.;Social structure.
  • 学位 Ph.D.
  • 年度 2012
  • 页码 222 p.
  • 总页数 222
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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