An acoustemology of streaming media and information and communication technologies
This article will discuss how information and communication technologies (ICTs) are reshaping our soundscapes and, in the process, also ourselves. Streaming, as a self-directed experience of music listening, can be an important part of the construction of identity, and ICTs have been recognised as the most powerful ‘technologies of the self’. This article will argue that the ubiquitous presence of ICTs in the acoustic environment to which someone is exposed over the course of their lives is an important element in the construction of the self. In this process, ICTs operate by managing notifications, memories, and soundscaping. As hearing is a cultural construction, changes to the soundscape promoted by ICTs are discussed in terms of their role in the development of a ‘sonic self’. Muzak (background music), largely present in urban soundscapes as streaming music, plays an important role in this construction and is described from the point of view of its different uses and connotations. Finally, the sonic apprehension of the world and of our self is approached in light of the space-time shift promoted by the new digital environment created by ICTs.
Bakagiannis, S., & Tarrant, M. (2006). Can music bring people together? Effects of shared musical preference on intergroup bias in adolescence. Scandinavian Journal of Psychology, 47(2), 129-136.
Bartmanski, D., & Woodward, I. (2013). The Vinyl: The analogue medium in the age of digital reproduction. Journal of Consumer Culture, 15(1), 3-27.
BBC. (2017). Big Ben falls silent for repairs. Retrieved December 12, 2018 from: https://www.bbc.com/news/uk-40995854
Benvenuti, C. (2018). An Information-Ethics Centred Approach to Music as Intangible Cultural Heritage. In: Campouropoulos, E., & Tsougras, C. (Eds.), Proceedings of the 8th International Workshop on Folk Music Analysis. Thessaloniki: Artistotle University of Thessaloniki.
Berger, J., & Heath, C. (2007). Where Consumers Diverge from Others: Identity Signaling and Product Domains. Journal of Consumer Research, 34(2), 121-134. Retrieved from: http://search-ebscohost-com.ez45.periodicos.capes.gov.br/login.aspx?direct=true&db=aph&AN=25792355〈=pt-br&site=ehost-live&authtype=ip,cookie,uid
Biddle, I., & Knights, V. (2016, August). Introduction National Popular Musics: Betwixt and Beyond the Local and Global.
Bull, M. (2000). Sounding out the city: Personal stereos and the management of everyday life. Oxford, New York: Berg.
Carr, G. (2016). Visualizing 'The Sound of Genius': Glenn Gould and The Culture of Celebrity in the 1950s. Journal of Canadian Studies. https://doi.org/10.3138/jcs.40.3.5
Chesky, K., & Hipple, J. (1997). Performance anxiety, alcohol-related problems, and social/emotional difficulties of college students: A comparative study between lower-division music and non-music majors. Medical Problems of Performing Artists, 12, 126-132.
de Castella, T. (2011). Has the iPod made us anti-social? Retrieved December 19, 2018 from: https://www.bbc.com/news/magazine-15066957
Deutsche Welle. (2017). London’s Big Ben bell falls silent for four years. Retrieved December 12, 2018 from: https://www.dw.com/en/londons-big-ben-bell-falls-silent-for-four-years/a-40085267
Dorsch, H. (2017). Making Manding in the concert hall – Jali Pop in Paris: Ka Manding ke sumung-bungo kono – Bii jaliyaa Pari saatewo kono. Journal of African Cultural Studies, 29(2), 177-193.
Dyck, K. (2017). Reichsrock: The International Web of White-Power and Neo-Nazi Hate Music. New Brunswick, New Jersey, London: Rutgers University Press.
Epstein, M. (2016). Soundscaping health: Resonant speculations. SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience, 6(1), 105-120. https://doi.org/10.7146/se.v6i1.24916
Farzana, K. F. (2011). Music and Artistic Artefacts: Symbols of Rohingya Identity and Everyday Resistance in Borderlands. ASEAS – Austrian Journal of South-East Asian Studies, 4(2), 215-236.
Feld, S., & Basso, K. H. (1996). Senses of place.
Floridi, L. (2014). The Fourth Revolution: How the Infosphere is Reshaping Human Reality. Oxford University Press.
Floridi, L. (2015). The Ethics of Information. Oxford University Press.
Foucault, M., Martin, L. H., Gutman, H., & Hutton, P. H. (1988). Technologies of the self: a seminar with Michel Foucault. University of Massachusetts Press.
Fritschi, L., Brown, A. L., Kim, R., Schwela, D., & Kephalopoulos, S. (2011). Burden of disease from environmental noise: Quantification of healthy life years lost in Europe. World Health Organization, 1–106. https://doi.org/10.1080/13504630.2011.629519
Gage, S. H., Ummadi, P., Shortridge, A., Qi, J., & Jella, P. (2004). Using GIS to develop a network of acoustic environmental sensors. ESRI international user conference. https://doi.org/citeulike-article-id:462236
Gibson, W. (1993). Time Out 6, 49.
Gingras, B., Pearce, M. T., Goodchild, M., Dean, R. T., Wiggins, G., & McAdams, S. (2016). Linking melodic expectation to expressive performance timing and perceived musical tension. Journal of Experimental Psychology: Human Perception and Performance, 42(4), 594-609. https://doi.org/10.1037/xhp0000141
Harris, R. (2013). Torture testing the 1,000 year DVD. Retrieved April 24, 2019 from: https://www.zdnet.com/article/torture-testing-the-1000-year-dvd/
Hubbs, N. (2007). ‘I Will Survive’: musical mappings of queer social space in a disco anthem. Popular Music, 26(2), 231-244. https://doi.org/10.1017/S0261143007001250
Hulyer, J. (2018, November 6). Inside the booming business of background music. The Guardian. Retrieved from: https://www.theguardian.com/news/2018/nov/06/inside-the-booming-business-of-background-music?CMP=fb_gu&fbclid=IwAR25R_sEiREvV2KNF7U9VDeF1wYPPhoxqU7hzaikzLToikZosA1FP8AnYOI
Iazzetta, F. (2009). Música e Mediação Tecnológica. São Paulo: Perspectiva: Fapesp.
International Society for Presence Research. (2000). The Concept of Presence: Explication Statement. Retrieved from: https://ispr.info/about-presence-2/about-presence/
Juslin, P. N., Liljeström, S., Västfjäll, D., Barradas, G., & Silva, A. (2008). An Experience Sampling Study of Emotional Reactions to Music: Listener, Music, and Situation. Emotion. https://doi.org/10.1037/a0013505
Kemp, A. E. (2006). The Musical Temperament: Psychology and Personality of Musicians. Notes. https://doi.org/10.2307/899893
Knight, B. (2018, August 19). Berlin station turns to atonal tunes to deter drug users. Deutsche Welle. Retrieved from: https://www.dw.com/en/berlin-station-turns-to-atonal-tunes-to-deter-drug-users/a-45138040
Lamont, M. (2010). Lip-Synch Gospel: Christian Music and the Ethnopoetics of Identity in Kenya. Africa: The Journal of the International African Institute, 80(3), 473-496. Retrieved from: https://muse.jhu.edu/article/389479
Lanza, J. (2004). Elevator Music: A surreal history of Muzak, easy-listening, and other Moodsong (Revised an). Ann Harbor: University of Michigan Press.
Lippek, S. (2008). Disrupted Values, Erupting Culture: Cabaret and the Sexual Persona in Weimar Berlin. SSRN Electronic Journal. https://doi.org/10.2139/ssrn.1079945
Maheshwari, S. (2017). Burger King ‘O.K. Google’ Ad Doesn’t Seem O.K. With Google. Retrieved December 14, 2018 from: https://www.nytimes.com/2017/04/12/business/burger-king-tv-ad-google-home.html
Marshall, S. R., & Naumann, L. P. (2018). What’s your favorite music? Music preferences cue racial identity. Journal of Research in Personality, 76, 74-91. https://doi.org/10.1016/j.jrp.2018.07.008
McCourt, J. (2018). Digital Entertainment Group Year-End 2017 Home Entertainment Report.
Milano, S., Taddeo, M., & Floridi, L. (2019). Recommender Systems and their Ethical Challenges. https://doi.org/http://dx.doi.org/10.2139/ssrn.3378581
Mood Media. (2017). Music Where We Don’t Expect It. Retrieved from: https://moodmedia.co.uk/music-where-we-dont-expect-it/
Mood Media. (2019). Music Streaming for Business. Retrieved May 4, 2019 from: https://us.moodmedia.com/sound/mood-mix-pro/
NASA History Office. (n.d.). APOLLO 13 – The Seventh Mission: The Third Lunar Landing Attempt. Retrieved April 24, 2019 from: https://history.nasa.gov/SP-4029/Apollo_13a_Summary.htm
Negut, A., & Sarbescu, P. (2014). Problem music or problem stereotypes? The dynamics of stereotype activation in rock and hip-hop music. Musicae Scientiae, 18(1), 3-16.
Nielsen Music. (2017). Nielsen Music US 2017 Mid-Year Report.
Pandora Media. (2019). About Pandora. Retrieved May 4, 2019 from: https://www.pandora.com/about
Paredes, J. R. (2006). Mexico and Society: Musical Preference as a Base for Social Identity. Sociologica, 21(60), 243-270. Retrieved from: http://search.proquest.com/docview/61642367/
Pipedown. (2018). Pipedown: The campaign for freedom from piped music. Retrieved from: https://pipedown.org.uk
Plourde, L. (2017). Sonic air-conditioning: Muzak as affect management for office workers in Japan. Senses and Society, 12(1), 18-34. https://doi.org/10.1080/17458927.2017.1268812
Portwood, J., Exposito, S., Sheffield, R., & Ravitz, J. (2017). 25 Essential LGBTQ Pride Songs. Retrieved December 11, 2018 from: https://www.rollingstone.com/music/music-lists/25-essential-lgbtq-pride-songs-199348/diana-ross-im-coming-out-1980-114216/
Press Association. (2016). M&S to turn off music in stores following customer feedback. Retrieved from: https://www.theguardian.com/business/2016/jun/01/ms-to-turn-off-music-in-stores-following-customer-feedback
Ree, J. (1999). I See a Voice. London: Harper Collins.
Rentfrow, P. J., & Gosling, S. D. (2003). The Do Re Mi’s of Everyday Life: The Structure and Personality Correlates of Music Preferences. Journal of Personality and Social Psychology, 84(6), 1236-1256. https://doi.org/10.1037/0022-35126.96.36.1996
Rentfrow, P. J., & McDonald, J. A. (2010). Preference, Personality, and Emotion. In: Handbook of Music and Emotion: Theory, research, applications. New York: Oxford University Press.
Repp, B. H., & Knoblich, G. (2004). Perceiving Action Identity: How Pianists Recognize Their Own Performances. Psychological Science, 15(9), 604-609.
Reyna, C., Brandt, M., & Tendayi Viki, G. (2009). Blame It on Hip-Hop: Anti-Rap Attitudes as a Proxy for Prejudice. Group Processes & Intergroup Relations, 12(3), 361-380.
Rice, T. (2003). Soundselves: An acoustemology of sound and self in the Edinburgh Royal Infirmary. Anthropology Today, 19(4), 4-9.
Schafer, R. M. (1969). The New Soundscape. Berandol Music Limited.
Schafer, R. M. (1977). The Tuning of the World. New York: Random House.
Sedikides, C., Wildschut, T., Cheung, W. Y., Hepper, E. G., Vail, K., Brackstone, K., … Vingerhoets, A. J. J. M. (2016). Nostalgia fosters self-continuity: Uncovering the mechanism (social connectedness) and consequence (eudaimonic well-being). Emotion, 16(4), 524-539. https://doi.org/10.1037/emo0000136
Snyder, B. (2000). Music and Memory: An Introduction. MIT Press.
SOL REPUBLIC. (2014). 2014 SOL REPUBLIC Music Snaphot. Retrieved from: http://centralmnmom.com/wp-content/uploads/2014/05/8.5x11_Relays_PR_Infographic_FIN.pdf
Tekman, H. G., & Hortaçsu, N. (2002). Music and social identity: Stylistic identification as a response to musical style. International Journal of Psychology, 37(5), 277-285. https://doi.org/10.1080/00207590244000043
Thorn, T. (2017). Off the Record. New Statesman, 146(5395), 57.
Trotta, F. (2018). Prejuicios, incomodidades y rechazos: música, territorialidades y conflictos en el Brasil contemporáneo. Anthropologica Del Departamento de Ciencias Sociales, 36(40), 165-191.
Vall, A., Eghbal-zadeh, H., Dorfer, M., Schedl, M., & Widmer, G. (2017). Music Playlist Continuation by Learning from Hand-Curated Examples and Song Features: Alleviating the Cold-Start Problem for Rare and Out-of-Set Songs. In: Proceedings of the 2nd Workshop on Deep Learning for Recommender Systems (pp. 46-54). Como. https://doi.org/10.1145/3125486.3125494
Vogel, P. (2018). Shareholder Letter: Q3 2018. Luxembourg. Retrieved from: https://s22.q4cdn.com/540910603/files/doc_financials/quarterly/2018/q3/Shareholder-Letter-Q3-2018.pdf
The journal allow the author(s) to hold the copyright without restrictions. The journal allows the author(s) to retain publishing rights without restrictions.