Titlebook: Consuming Music in the Digital Age; Technologies, Roles Raphaël Nowak Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Music

Canyon

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acquisition

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https://doi.org/10.1007/978-3-658-16430-0ayer. In looking towards his seat, I noticed that he was not in fact listening to any music, but he was reading a music score. I then assumed that this man was a conductor, and he was on his way to Paris to lead a recital or a symphonic concert.

ESPY

老巫婆

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Adriana Galderisi,Giada Limongiby the question of who they are. In partaking in individuals’ everyday lives, music is said to contribute to constructing self-identities. For example, as Peter Martin states, ‘… [music] is often an important factor for the assertion or imputation of identity, both for individuals and social groups’

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,Vergleich des Widerstandserhöhungsfaktors,es on the . of resources that music embodies and the reasons why music is interacted with in the first place. However, the non-linearity of everyday life and its various layers or interstices only further highlight the differentiation of roles that music holds for individuals.

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The Material Modalities of Music Consumption,chnologies have contributed to configuring the ways in which music is written, recorded, produced, marketed, and listened to. Over the last couple of decades, technological innovations that are usually assembled under the umbrella term ‘digital’ have induced new modalities of musical consumption. In