Since the mass proliferation of the Internet, music has been the one art form that has seen the most attention online. This volume culls together essays that examine the cultural aspects of music existing online. More than just the notion that «people download,»
Cybersounds is the first collection that critically looks at this issue, ultimately presenting new ideas and directions for exploring this field.
New York, Bern, Berlin, Bruxelles, Frankfurt am Main, Oxford, Wien, 2006. X, 282 pp.
Contents: Michael D. Ayers: Introduction – Elizabeth A. Buchanan: Deafening Silence: Music and the Emerging Climate of Access
and Use – Markus Giesler: Cybernetic Gift Giving and Social Drama: A Netnography of the Napster File-Sharing Community – Andrew
Whelan: Do U Produce?: Subcultural Capital and Amateur Musicianship in Peer-to-Peer Networks – Andre Pinard/Sean Jacobs: Building
a Virtual Diaspora: Hip-Hop in Cyberspace – Adam Haupt: The Technology of Subversion: From Digital Sampling in Hip-Hop to
the MP3 Revolution – Michael D. Ayers: The Cyberactivism of a Dangermouse – Daragh O’Reilly/Kathy Doherty: Music B(r)ands
Online and Constructing Community: The Case of New Model Army – Chris Anderton: Beating the Bootleggers: Fan Creativity, «Lossless»
Audio Trading, and Commercial Opportunities – Gabrielle Consentino: «Hacking» the iPod: A Look inside Apple’s Portable Music
Player – Trace Reddell: The Social Pulse of Telharmonics: Functions of Networked Sound and Interactive Webcasting – John Ryan/Michael
Hughes: Breaking the Decision Chain: The Fate of Creativity in the Age of Self-Production – Jonathan Sterne: Afterword: On
the Future of Music.