“The Barriers Of Music Consumption” by Hypebot Associate Editor Kyle Bylin raises some important questions about how the digital age has changed our relationship with music. A must read, Bylin puts forth a provocative examination of how changes in the modalities of music consumption have affected the nature of individuals’ experience of the music they choose to “own” and collect. With the shift from album-based collections of music to downloaded songs, often shared through social networks, individuals’
….emotional experience relates not to being in the presence of unique works of art, but solely of the moment of social connection and identification with the other person. This understated difference — in how works of art are experienced — relates to yet another shift in music culture that separates those who were born digital from those of previous generations.
Read the entire article @ Hypebot — here’s a taste of the section on how the I-Pod has fundamentally changed our relationships with our music collection (and with music):
Fractured Collections
With the barriers to the act of collecting music set so low, if not nonexistent, another subtle but significant shift occurred: the psychology behind the acquisition of music changed. For those of previous generations, they collected music with the notion of longevity in mind, as it best reflected their taste in music at that moment. In contrast, for those who engaged in the act of acquiring music through other means, like file-sharing, their taste encompassed past, present, and future interests. Their collections reflected not only their inherent taste and disposition towards certain types of music, but that of their peer group and those whom they surrounded themselves with. Thus, distinct differences between the music that they liked and the artists that they didn’t care for at all became increasingly blurred, and so did the contents of their music collections. In a sense, though, the collections of those who were born digital are not complete. They’re fractured, consisting of bits and pieces of everything, of songs divorced from their origins and physical packaging. These songs stand alone — void of everything but the artist’s name, the album’s title, and the digital cover art. Where the jewel case, booklet, and liner notes served to embody culture, to communicate its identity, and to mirror the taste of its owner — the iPod is merely a container for culture. Its contents reveal the personality of the owner, but say little about the soul of the music.
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May 19, 2010
Categories: Aesthetics, Cultural History, Music, Music Business, Technology . Tags: Music Business, Popular Music, Technology . Author: Jeffrey Callen . Comments: Leave a Comment
