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In the digital era, the reception of music is subject to a turning point marked by the heterogeneity of individuals in consumer practices. Indeed, over 14 years after the emergence of online music downloading, there are multiple ways to interact with music. The CD, whose existence has yet been threatened by digital files, remains the standard listening object. The MP3 – and other digital files – continues to thrive and spread across many media. The magnetic tape, cassette are in niche markets (punk music, electronics, metal); and vinyl disc saw an impressive renaissance in the twenty-first century. At Best Essay Forum, we provide the best movie reviews, History essays and term papers for our clients, which are 100% Plagiarism free as our professional writers write them. Movie reviews, History essays and term papers are written by qualified degree holders of Bachelors, Masters and PhD. They produce your academic assignments with much attention, fulfilling the requirements.
These various practices pose a number of questions related to the sociological analysis of music consumption practices. First, how is it possible to grasp the significance of these various forms of interactions? Indeed, the multiplicity of media formats and plays is part of everyday practices. So I argue that an analysis of music consumption must take into account the material aspect of objects used. The second link research track with these important cultural changes is due to the significance of the increasing diffusion of music in everyday lives.
Interactionist analyzes of the relationship between people and music has enjoyed a meteoric rise over the last twenty years. Despite a formal abyss of individualized reports to the music for the benefit of its socializing aspect, these analyzes provide a very concrete explanation of the music distribution mechanisms in the daily lives of individuals, and what it brings in terms emotional response or self project. For clarity, I will focus on two types of interactionist approaches, the so-called “green” at first, and then the so-called “constructivist”.
First, the ecological approach to music is embodied mainly by musicology and psychology of music, but has also been adopted by the sociology of music. The ecological approach is based on an analysis of textual properties of music as a starting point for interactions between people and music. Based on the concept of ‘affordances’, developed by the interactionist psychologist James Gibson (1979), the ecological approach sets perception as a determinant of interactions between individuals and their environments.