metadata, interfaces, digital “packaging”). On computers, music underwent an interface-lift, gradually getting redressed with new features (i.e. album art, compressed sound, packaging, etc.), recordings as digital files were initially decontextualized commodities. Stripped of many of their previous attributes (i.e. As computers became viable sources for the playback of popular music in the 1980s and 1990s, the roots of the digital music commodity took hold. Specifically, it traces the transition from music on compact discs to music as a digital file on computers/mobile devices and the economic, industrial, aesthetic and cultural consequences this shift has for how we produce, present, and consume music. This dissertation concentrates on the changing form of the music commodity over the last two decades.
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