Book contents
- The Cambridge Companion to Music in Digital Culture
- Cambridge Companions to Music
- The Cambridge Companion to Music in Digital Culture
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- Introduction
- 1 Digital Technology and Cultural Practice
- Personal Take: Whatever Happened to Tape-Trading?
- 2 Toward a History of Digital Music: New Technologies, Business Practices and Intellectual Property Regimes
- Personal Take: On Serving as an Expert Witness in the ‘Blurred Lines’ Case
- 3 Shaping the Stream: Techniques and Troubles of Algorithmic Recommendation
- Personal Take: Being a Curator
- Personal Take: Can Machines Have Taste?
- 4 Technologies of the Musical Selfie
- Personal Take: Vaporwave is Dead, Long Live Vaporwave!
- 5 Witnessing Race in the New Digital Cinema
- Personal Take: Giving History a Voice
- 6 Digital Devotion: Musical Multimedia in Online Ritual and Religious Practice
- Personal Take: Technicians of Ecstasy
- Personal Take: Live Coded Mashup with the Humming Wires
- Personal Take: Algorave: Dancing to Algorithms
- 7 Rethinking Liveness in the Digital Age
- Personal Take: Augmenting Musical Performance
- Personal Take: Digital Demons, Real and Imagined
- Personal Take: Composing with Sounds as Images
- Personal Take: Compositional Approaches to Film, TV and Video Games
- 8 Virtual Worlds from Recording to Video Games
- 9 Digital Voices: Posthumanism and the Generation of Empathy
- Personal Take: In the Wake of the Virtual
- 10 Digital Inequalities and Global Sounds
- 11 The Political Economy of Streaming
- Bibliography
- Index
Personal Take: - Whatever Happened to Tape-Trading?
Published online by Cambridge University Press: 30 August 2019
- The Cambridge Companion to Music in Digital Culture
- Cambridge Companions to Music
- The Cambridge Companion to Music in Digital Culture
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- Introduction
- 1 Digital Technology and Cultural Practice
- Personal Take: Whatever Happened to Tape-Trading?
- 2 Toward a History of Digital Music: New Technologies, Business Practices and Intellectual Property Regimes
- Personal Take: On Serving as an Expert Witness in the ‘Blurred Lines’ Case
- 3 Shaping the Stream: Techniques and Troubles of Algorithmic Recommendation
- Personal Take: Being a Curator
- Personal Take: Can Machines Have Taste?
- 4 Technologies of the Musical Selfie
- Personal Take: Vaporwave is Dead, Long Live Vaporwave!
- 5 Witnessing Race in the New Digital Cinema
- Personal Take: Giving History a Voice
- 6 Digital Devotion: Musical Multimedia in Online Ritual and Religious Practice
- Personal Take: Technicians of Ecstasy
- Personal Take: Live Coded Mashup with the Humming Wires
- Personal Take: Algorave: Dancing to Algorithms
- 7 Rethinking Liveness in the Digital Age
- Personal Take: Augmenting Musical Performance
- Personal Take: Digital Demons, Real and Imagined
- Personal Take: Composing with Sounds as Images
- Personal Take: Compositional Approaches to Film, TV and Video Games
- 8 Virtual Worlds from Recording to Video Games
- 9 Digital Voices: Posthumanism and the Generation of Empathy
- Personal Take: In the Wake of the Virtual
- 10 Digital Inequalities and Global Sounds
- 11 The Political Economy of Streaming
- Bibliography
- Index
Summary
‘Tape-trading’ – the sharing of illicitly recorded material between hardcore fans – was a small but important part of popular music consumption during the analogue and CD eras. Although the sharing of the same kind of musical material still exists today, the emergence of various networked technologies has fundamentally changed many of the features of tape-trading as a social practice. For example, there has been a great expansion of the amount of material being shared and it is being shared more quickly. However, there has also arguably been a reduction in the circulation of some of the artistically most significant material and some of the strong social ties among collectors have arguably diluted. In a variety of ways, the transformations that have occurred in tape-trading mirror trends within mainstream digital music consumption.
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- The Cambridge Companion to Music in Digital Culture , pp. 29 - 32Publisher: Cambridge University PressPrint publication year: 2019