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Digital Formations of Popular Music
15 references·4 citing·38 second hop
Digital Formations of Popular Music (2012)Digital Formations of Popular MusicProduction, Consumption, Prosumption (2010)Production, Consumption, Pros…“The Rise of the New Amateurs: Popular Music, Digital Technology and the Fate of Cultural Production” (2010)“The Rise of the New Amateurs…Software Sequencers and Cyborg Singers: Popular Music in the Digital Hypermodern (2009)Software Sequencers and Cybor…Serious leisure: a perspective for our time (2007)Serious leisure: a perspectiv…Cybersounds : essays on virtual music culture (2006)Cybersounds : essays on virtu…Stylistic Morphing: Notes on the Digitisation of Contemporary Music Culture (2005)Stylistic Morphing: Notes on …Knowing Capitalism (2005)Knowing Capitalism"Should One Applaud?" Breaches and Boundaries in the Reception of New Technology in Music (2003)"Should One Applaud?" Breache…5. The Practice of Everyday Life (2000)5. The Practice of Everyday L…Rock Formation: Music, Technology, and Mass Communication (1992)Rock Formation: Music, Techno…Rock Culture in Liverpool: Popular Music in the Making. (1992)Rock Culture in Liverpool: Po…Rock Culture in Liverpool (1992)Rock Culture in LiverpoolWhy 1955? Explaining the advent of rock music (1990)Why 1955? Explaining the adve…The Hidden Musicians: Music-Making in an English Town (1989)The Hidden Musicians: Music-M…Purity and Danger (1966)Purity and DangerL’expérience de la musique en régime numérique : continuité ou disruption ? (2020)L’expérience de la musique en…L’autoformation, nouveau paradigme de développement de carrière dans le contexte numérique ? Regards sur le milieu musical montréalais (2020)L’autoformation, nouveau para…L’économie de la découverte musicale à l’ère numérique (2019)L’économie de la découverte m…Le virage numérique, un tournant pour l’étude des musiques populaires ? (2018)Le virage numérique, un tourn…Studies in Ethnomethodology. (1968)Institutional Ecology, `Translations' and Boundary Objects: Amateurs and Professionals in Berkeley's Museum of Vertebrate Zoology, 1907-39 (1989)Music in Everyday Life (2000)The Elusive Allure of “Aura”: Sample-based Music and Benjamin’s Practice of Quotation (2011)Kick It (2020)Empty Minds: Innovating Audience Participation in Symphonic Practice (2021)Cycles in Symbol Production: The Case of Popular Music (1975)Sound Effects: Youth, Leisure, and the Politics of Rock `n' Roll. (1982)Innovation and Diversity in the Popular Music Industry, 1969 to 1990 (1992)Producing Artistic Value: The Case of Rock Music (1994)The Production of Culture Perspective (2004)Capitalism, Socialism and Democracy. (1943)Capitalism, Socialism and Democracy (1997)Co-creation experiences: The next practice in value creation (2004)Algorithmic Labor and Information Asymmetries: A Case Study of Uber’s Drivers (2016)Platform capitalism: The intermediation and capitalisation of digital economic circulation (2017)Social Sustainability: A New Conceptual Framework (2017)‘Insider Research’ in the Study of Youth Cultures (2005)Effects of group singing and performance for marginalized and middle-class singers (2005)Music Scenes: Local, Translocal, and Virtual (2011)Club cultures: music, media and subcultural capital (1996)Places around us: embodied lay geographies in leisure and tourism (2000)Mutual Learning and Democratic Action in Instrumental Music Education (2003)People as Infrastructure: Intersecting Fragments in Johannesburg (2004)Autoethnography: An Overview (2010)Towards a Politics of Mobility (2010)World Society and the Nation‐State (1997)Understanding Popular Culture (2006)Toward a Theory of Gender (2013)Wildlife tourism: the intangible, psychological benefits of human–wildlife encounters (2009)The nature and scope of festival studies (2010)Progress and prospects for event tourism research (2015)Moral Views of Market Society (2007)A New Algorithmic Identity (2011)Nature as infrastructure: Making and managing the Panama Canal watershed (2012)Sampling sexuality: gender, technology and the body in dance music (1993)Consolidating the music scenes perspective (2004)Pragmatics of Taste (2007)
this work references cited by second hop

References

  • 20005. The Practice of Everyday Life10,734 cited
  • 1966Purity and Danger2,243 cited
  • 2010Production, Consumption, Prosumption2,074 cited
  • 2005Knowing Capitalism890 cited
  • 2007Serious leisure: a perspective for our time650 cited
  • 1989The Hidden Musicians: Music-Making in an English Town455 cited
  • 1992Rock Culture in Liverpool: Popular Music in the Making.301 cited
  • 1990Why 1955? Explaining the advent of rock music289 cited
  • 1992Rock Culture in Liverpool191 cited
  • 2003"Should One Applaud?" Breaches and Boundaries in the Reception of New Technology in Music116 cited
  • 2006Cybersounds : essays on virtual music culture88 cited
  • 1992Rock Formation: Music, Technology, and Mass Communication81 cited
  • 2010“The Rise of the New Amateurs: Popular Music, Digital Technology and the Fate of Cultural Production”37 cited
  • 2009Software Sequencers and Cyborg Singers: Popular Music in the Digital Hypermodern26 cited
  • 2005Stylistic Morphing: Notes on the Digitisation of Contemporary Music Culture19 cited

Cited by

  • 2019

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L’économie de la découverte musicale à l’ère numérique
17 cited
  • 2018Le virage numérique, un tournant pour l’étude des musiques populaires ?9 cited
  • 2020L’autoformation, nouveau paradigme de développement de carrière dans le contexte numérique ? Regards sur le milieu musical montréalais3 cited
  • 2020L’expérience de la musique en régime numérique : continuité ou disruption ?3 cited