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Comment le numérique transforme-t-il la musique ? La question est devenue classique, mais Guillaume Heuguet propose de renverser la perspective et se demande ce que la musique fait aux technologies et aux médias du Web. Il montre ce que la success story d'une plateforme de référence, YouTube, doit à la musique - en observant la multiplicité des pratiques, des formes et des valeurs qui lui sont associées, depuis les premiers clips bricolés jusqu'à la circulation accélérée des remixes sous le contrôle des maisons de disques. L'ouvrage se fonde sur un travail documentaire et généalogique inédit à partir des traces laissées par YouTube dans les archives du Web, d'analyses serrées de ses interfaces successives, des blogs de ses équipes, et bien sûr de chaînes et de vidéos emblématiques. Finalement, ce livre montre comment, loin de répondre à un besoin immédiat, YouTube s'est construit par de multiples détours, profitant d'expériences issues des mondes de la musique pour mieux les exploiter et les réorienter.

Music and the Internet --- Music and technology --- Music

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Music --- Digital media --- Music and the Internet. --- Music and technology. --- Social aspects. --- Music and the Internet --- Music and technology --- Social aspects --- Music - Social aspects --- Digital media - Social aspects

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Music always functions in a specific environment and, viewed from the other side, environments use music to confirm and strengthen their identities. Institutions of power have in all times employed music to present themselves to the outside world, alongside other means such as architecture, fine arts, design and fashion. The present volume brings together a number of studies that all deal, in one way or another, with the question of how power was implemented in music in what is called the Baroque Era, roughly the seventeenth century and the first half of the eighteenth. The essays can be grouped under four main headings: court opera, ceremonial music, “musicians” and miscellaneous studies. Several essays discuss court opera, one of the most conspicuous musical forms with which a monarch could display his power. Music could also accompany festivities and ceremonies of all sorts, of very different kinds of institutions, courtly, civil or ecclesiastical. Not only sovereign rulers could employ music to confirm their power, also lower-ranking powers such as nobility often invested in music in order to gain prestige. Various studies highlight this aspect of “music and power”. Finally, there are studies that deal with more general questions, such as the representation of power in Baroque opera, dedications of musical works to royals and other patrons, and the social status of musicians as they are positioned between patrons and public.

Musical criticism --- Music critics --- Music --- Music and the Internet --- Motion picture music --- History --- Attitudes. --- Social aspects

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"Popular Music in the Post-Digital Age explores the relationship between macro environmental factors, such as politics, economics, culture and technology, captured by terms such as 'post-digital' and 'post-internet'. It also discusses the creation, monetisation and consumption of music and what changes in the music industry can tell us about wider shifts in economy and culture. This collection of 13 case studies covers issues such as curation algorithms, blockchain, careers of mainstream and independent musicians, festivals and clubs - to inform greater understanding and better navigation of the popular music landscape within a global context."--Bloomsbury Publishing.

Music and the Internet. --- Music trade. --- Popular music --- Streaming audio --- Social aspects.

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"The digital music revolution and the rise of piracy cultures has transformed the music world as we knew it. Digital Music Distribution aims to go beyond the polarized and reductive perception of'piracy wars' to offer a broader and richer understanding of the paradoxes inherent in new forms of distribution. Covering both production and consumption perspectives, Spilker analyses the changes and regulatory issues through original case studies, looking at how digital music distribution has both changed and been changed by the cultural practices and politicking of ordinary youth, their parents, music counter cultures, artists and bands, record companies, technology developers, mass media and regulatory authorities.Exploring the fundamental change in distribution, Spilker investigates paradoxes such as:The criminalization of file-sharing leading not to conflicts, but to increased collaboration between youths and their parents;Why the circulation of cultural content, extremely damaging for its producers, has instead been advantageous for the manufacturers of recording equipment;Why more artists are recording in professional sound studios, despite the proliferation of good quality equipment for home recording;Why mass media, hit by many of the same challenges as the music industry, has been so critical of the way it has tackled these challenges.A rare and timely volume looking at the changes induced by the digitalization of music distribution, Digital Music Distribution will appeal to undergraduate students and policy makers interested in fields such as Media Studies, Digital Media, Music Business, Sociology and Cultural Studies."--Provided by publisher.

Sound recording industry. --- Music and the Internet. --- Sound recordings --- Pirated editions --- Social aspects.