Popular Music in the Post-Digital Age: Politics, Economy, Culture and Technology

Cover page
Halftitle page
Title page
Copyright page
Contents
List of Contributors
Introduction: The Future of and Through Music
	When did the present begin?
	Breaking and consolidating: the music industry under conditions of convergent digitization
	Invest in yourself or perish: the careers of contemporary musicians
	Music like water or a drug: the new modes of consumption of music
	The material, structure and chapter description
	Note
	References
Part One The Music Industry
1 Rethinking Independence: What Does ‘Independent Record Label’ Mean Today?
	Independence in popular music
	Overview of the Polish recording market and methodology
	A two-tiered music industry
	Minor record labels
	Independent record labels
	Conclusions
	Acknowledgements
	Notes
	References
2 The Future of Digital Music Infrastructures: Expectations and Promises of the Blockchain ‘Revolution
	Technology, infrastructures and the shaping of digital music
	What is blockchain and how does it work?
	Blockchain, the music industry and the rhetoric of fair music
	Five technological promises about music blockchain
	Competing infrastructures, the incompatibility of music data and the pressures to music monetization
	Conclusion
	Note
	References
3 ‘The Sound of the Future Is Here Today’: The Market for Post- rock within the Traditiona lSmall Music Festival Landscape
	Methodology
	Post-rock
	Alternative alternative
	ArcTanGent
	Fieldwork
	Conclusion
	Acknowledgements
	References
4 ‘They Sold the Festival Out!’ Axionormativity as the Future of Festivals
	The axio-normative orders of festivals
	Values in action
	Serbian essence’, ‘Polish mecca’ and ‘Hungarian Woodstock’
	Visuality, fans, organizers
	Conclusions
	References
5 The Hidden Worker Bees: Advanced Neoliberalism and Manchester’s Underground Club Scene
	Club culture within British society
	Manchester clubbing history
	The new independents – Hidden and The White Hotel
	The club culture hybrids: Eastern Bloc, Partisan Collective and sponsored house parties
	Conclusion
	References
Part Two The Musicians and their Music
6 The Adaptive Musician: The Case of Peter Hook and Graham Massey
	The late 1970s and 1980s in the North- West: swimming against the tide
	Peter Hook: punk to payment
	Graham Massey: payment from punk
	Conclusions
	Notes
	References
7 Where Do We Go From Here? The Futureof Composers in the Post- digital Era
	The new tools
	Changing definitions
	Hyperinflation of music
	A Swedish context
	The interviews
	Conclusion
	Notes
	References
8 Searching for International Success in Europe’s Periphery: The Case of Gin Ga and Fran Palermo
	Popular music in Austria and Hungary
	Making a career in music in the province during the period of advanced convergent digitization
	Gin Ga: settling for semi-professionalism
	Fran Palermo: diversified portfolio with a core
	Conclusion
	References
9 Electro Swing: Re- introducing the Sounds of the Past into the Music of the Future
	A history of electro swing
	Reconnecting with the past
	Springing into the future
	Conclusion
	References
	Discography
	Filmography
Part Three Music Consumption
10 Back to the Future: Proposing a Heuristic for Predicting the Future of Recorded Music Use
	The problems with producing predictions
	The hard work of music consumption
	Presenting a heuristic instead of a history
	Creating the criteria for consumption
	Decreasing the work required to be content with content
	What the participant consumer really, really wants – proposing a heuristic of record music use
	Conclusion
	Note
	References
11 Current Music and Media Use of Young People in Austria: The Musical Practice of the Future?1
	New conditions
	Empirical findings
	Conclusion
	Notes
	References
12 Curators as Taste Entrepreneurs in the Digital Music Industries
	The power of lists
	Legitimate omnivorousness: taste, society and neoliberalism
	Intermediaries: taste, technology and control
	Curators as ‘taste entrepreneurs’
	Conclusions
	Notes
	References
13 An Echoic Chamber: Algorithmic Curation and Personalized Listening
	Data-driven personalization
	The filter bubble
	What lies ahead
	Conclusion
	References
Index