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By Raphaël Nowak

This e-book addresses the difficulty of track intake within the electronic period of applied sciences. It explores how participants use tune within the context in their daily lives and the way, in go back, track acquires definite roles inside of daily contexts and extra greatly of their existence narratives.

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Extra resources for Consuming Music in the Digital Age: Technologies, Roles and Everyday Life

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Tori, 31, public servant, July 2014) Tori buys fewer CDs than she used to. From about 50 a year, she now purchases about 15 CDs a year on average. However, she still appreciates the aesthetic display of her collection of CDs. The format takes an inherent part in how Tori consumes music and contributes in her emotional responses to it. Once again, the question of gesture is critical in explaining such a phenomenon. Tori manipulates her CDs to listen to music. Interacting with the materiality of the device becomes an aspect of her consumption mode.

So I do spend a lot of time with earphones in, which somehow makes it hard for people to talk to me. But that’s sort of what I prefer in a way. Yeah I listen to music nearly all day long, really if I can. If I’m in the lab, I have the radio, so I listen to that. And I guess … But actually when I get home from work, I don’t listen to music, and because I live with my boyfriend, and he works in the city so he usually gets home quite a fair bit after me, so I do like my silence when I come home from work.

You must still have them somewhere. I do, it’s sitting at home in a hard-drive that’s just full of music. So you don’t do that anymore, right? No. Pretty much the only music I download is the top 40 once a month. Man it’s been a while since I downloaded it out. (Sarah, 30, technical writer, and Rodney, 28, accountant, June 2014) The first interest of providing a longitudinal perspective – as in the case of the quantitative data provided by Bahanovic and Collopy (2009, 2013) – resides in the explanation of some changes that have occurred over time in relation to the adoption and use of digital music technologies.

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