LEADER 04458nam 2200913 450 001 9910797351403321 005 20230807221044.0 010 $a0-520-96293-1 024 7 $a10.1525/9780520962934 035 $a(CKB)3710000000445804 035 $a(EBL)2009964 035 $a(SSID)ssj0001517830 035 $a(PQKBManifestationID)12559745 035 $a(PQKBTitleCode)TC0001517830 035 $a(PQKBWorkID)11505773 035 $a(PQKB)10884334 035 $a(MiAaPQ)EBC2009964 035 $a(DE-B1597)520673 035 $a(OCoLC)913869314 035 $a(DE-B1597)9780520962934 035 $a(Au-PeEL)EBL2009964 035 $a(CaPaEBR)ebr11078092 035 $a(CaONFJC)MIL812635 035 $a(EXLCZ)993710000000445804 100 $a20150725h20152015 uy 0 101 0 $aeng 135 $aur|nu---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aSelling digital music, formatting culture /$fJeremy Wade Morris 210 1$aOakland, California :$cUniversity of California Press,$d2015. 210 4$dİ2015 215 $a1 online resource (284 p.) 300 $aDescription based upon print version of record. 311 0 $a0-520-28794-0 311 0 $a0-520-28793-2 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tList of Figures --$tAcknowledgments --$tIntroduction: The Digital Music Commodity --$t1. Music as a Digital File --$t2. Making Technology Behave --$t3. This Business of Napster --$t4. Click to Buy: Music in Digital Stores --$t5. Music in the Cloud --$tConclusion: Exceptional Objects --$tNotes --$tWorks Cited --$tIndex 330 $aSelling Digital Music, Formatting Culture documents the transition of recorded music on CDs to music as digital files on computers. More than two decades after the first digital music files began circulating in online archives and playing through new software media players, we have yet to fully internalize the cultural and aesthetic consequences of these shifts. Tracing the emergence of what Jeremy Wade Morris calls the "digital music commodity," Selling Digital Music, Formatting Culture considers how a conflicted assemblage of technologies, users, and industries helped reformat popular music's meanings and uses. Through case studies of five key technologies-Winamp, metadata, Napster, iTunes, and cloud computing-this book explores how music listeners gradually came to understand computers and digital files as suitable replacements for their stereos and CD. Morris connects industrial production, popular culture, technology, and commerce in a narrative involving the aesthetics of music and computers, and the labor of producers and everyday users, as well as the value that listeners make and take from digital objects and cultural goods. Above all, Selling Digital Music, Formatting Culture is a sounding out of music's encounters with the interfaces, metadata, and algorithms of digital culture and of why the shifting form of the music commodity matters for the music and other media we love. 606 $aMusic trade$xTechnological innovations 606 $aMusic and the Internet 606 $aDigital jukebox software$vCase studies 610 $acloud computing. 610 $adigital jukebox. 610 $adigital music commodity. 610 $adigital music. 610 $ahistory of digital music. 610 $ahistory of music technology. 610 $ahistory of music. 610 $ahistory of recorded music. 610 $aindustrial production of music. 610 $aitunes. 610 $amedia studies. 610 $ametadata. 610 $amusic and the internet. 610 $amusic criticism. 610 $amusic history. 610 $amusic in popular culture. 610 $amusic industry. 610 $amusic marketing. 610 $amusic technology. 610 $amusic. 610 $amusicians. 610 $anapster. 610 $apopular music studies. 610 $awinamp. 615 0$aMusic trade$xTechnological innovations. 615 0$aMusic and the Internet. 615 0$aDigital jukebox software 676 $a381/.4578 700 $aMorris$b Jeremy Wade$f1976-$01553704 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910797351403321 996 $aSelling digital music, formatting culture$93814418 997 $aUNINA