By Kenton O'Hara, Barry Brown
Hearing, paying for and sharing tune is an immensely vital a part of lifestyle. but fresh technological advancements are more and more altering how we use and eat tune. This publication collects jointly the latest reviews of song intake, and new advancements in tune know-how. It combines the views of either social scientists and expertise designers, uncovering how new song applied sciences are literally getting used, in addition to discussions of recent tune applied sciences nonetheless in improvement. With a particular specialise in the social nature of song, the booklet breaks new flooring in bringing jointly discussions of either the social and technological features of song use. Chapters hide subject matters equivalent to using the iPod, tune applied sciences which motivate social interplay in public locations, and track sharing at the internet.
A precious assortment for a person all in favour of the way forward for song know-how, this booklet may be of specific curiosity to these designing new tune applied sciences, these operating within the tune undefined, besides scholars of song and new expertise.
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Extra resources for Consuming Music Together Social and Collaborative Aspects of Music Consumption Technologies
The sharing of music between friends for personal use is legal (Plumleigh, 1990), although even this ‘fair use’ protentction has been called into question by recent legistlation. In this article we refrain from taking a judgemental stance on copying practices. Instead we seek to understand what is involved in the changing practices involved in copying, and how this fits into the broader practices around music listening. These issues have been cast into sharp relief with the advent of online music sharing technologies.
However, this is not to say that those who copied music, did not buy music. We found no significant correlation (negative or otherwise) between the amount of copied material people owned and the amount they bought. ” While this could be a feature of our sample (we chose individuals who frequently purchased music), Mintel has also reported that only 2% of their sample of the UK population copy music regularly but did not buy music regularly (ibid). The major source for material to copy came from friends.
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