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This book addresses the issue of music consumption in the digital era of technologies. It explores how individuals use music in the context of their everyday lives and how, in return, music acquires certain roles within everyday contexts and more broadly in their life narratives.

"Contents" -- "Contributor Biographies" -- "List of Figures" -- "List of Tables" -- "Chapter 1: Editors' Introduction" -- "1.1 Music and Digital Technologies" -- "1.2 Networked Music Cultures" -- "1.3 Outline of the Book" -- "Bibliography" -- "Chapter 2: The People's Mixtape: Peer-to-Peer File Sharing without the Internet in Contemporary Cuba" -- "2.1 Prologue" -- "2.2 'The People's Internet': Foreign Texts in Cuba" -- "2.3 Static and Hiss: Contextualising USB Use in Cuba" -- "2.4 Getting the Content, Getting the Devices" -- "2.5 Extra-textual Data Loss: File Sharing and/as Collective Identity" -- "2.6 Conclusion: The Future of File Sharing" -- "2.7 Epilogue" -- "Notes" -- "Bibliography" -- "Chapter 3: Musica Analytica: The Datafication of Listening" -- "3.1 Spotify: The Echo Nest" -- "3.2 Pandora Internet Radio: The Music Genome Project" -- "3.3 Data-Driven Advertising on Pandora" -- "3.4 Political Ad Targeting" -- "3.5 Conclusion" -- "Notes" -- "Bibliography" -- "Chapter 4: The Legacy of Napster" -- "4.1 Control, Format and Content" -- "4.2 Not Quite P2P" -- "4.3 Legal Cat and Mouse: Not a Technical Necessity" -- "4.4 Commercial Cat and Mouse Too" -- "4.5 Spotify: The Taming of 'Free' or Its Triumph?" -- "4.6 Who Pays and Who Gets Paid?" -- "4.7 Parallel Economies of Free and Paid Access" -- "4.8 The Counterfactual Case of Digital Sports Broadcasting" -- "4.9 Conclusion" -- "Bibliography" -- "Chapter 5: Streaming Music in Japan: Corporate Cultures as Determinants of Listening Practice" -- "Bibliography" -- "Chapter 6: Making Sense of Acquiring Music in Mexico City" -- "6.1 Data Collection" -- "6.2 Music, Technology and Musical Practices" -- "6.3 Un-blackboxing Mexican Piracy" -- "6.4 The Heterogeneous Know-How of Downloading" -- "6.5 The Right Practices of Music".

This article is interested in a techno-cultural moment usually summarized by the phrase 'digital age'. We explore how people who belong to Generation Y and were young at the time of the development of digital music technologies have adopted and used those new technological possibilities while maintaining a relationship with other media and technologies, such as the compact disc (CD), the vinyl disc and, eventually, the cassette tape. We situate our approach against arguments that either frame digital technologies as a 'revolution' that swept across all other technologies or stipulate that generations are tied to particular technological innovations. Drawing on qualitative methods, we defend an argument of technological eclecticism to understand the intra-variations and nuances that define individuals' adoption and uses of music technologies in their consumption practices. This article provides a sociocultural perspective on the uses of music technologies by individuals whose music consumption practices have been largely essentialized.

Abstract
Vaporwave, first emerging in the early 2010s, is a genre of music characterised by extensive sampling of earlier "elevator music," such as smooth jazz, MoR, easy listening, and muzak. Audio and visual markers of the 1980s and 1990s, white-collar workspaces, media technology, and advertising are prominent features of the aesthetic. The (academic, vernacular, and press) writing about vaporwave commonly positions the genre as an ironic or ambivalent critique of contemporary capitalism, exploring the implications of vaporwave for understandings of temporality, memory and technology. The interpretive and discursive labour of producing, discussing and contesting this positioning, described here as "genre work," serves to constitute and sediment the intelligibility and coherence of the genre. This paper explores how the narrative of vaporwave as an aesthetic critique of late capitalism has been developed, articulated, and disputed through this genre work. We attend specifically to the limits around how this narrative functions as a pedagogical or sensitising device, instructing readers and listeners in how to understand and discuss musical affect, the nature and function of descriptions of music, and perhaps most importantly, the nature of critique, and of capitalism as something meriting such critique.

This article develops the notion of 'sound environment' as a new way of theorizing the relationship between music, audiences and everyday life. The article draws on findings from an empirical case study conducted with young people between the ages of 21 and 32. In focusing on this age range, we consider 'mundane' music consumption practices in contrast to the more 'spectacular' forms of youth cultural music consumption often documented in academic work. In an age characterized by the increasing omnipresence of music, young people hear or listen to music in various configurations, for example, by mobilizing a particular music technology and content or hearing music while shopping in a department store, visiting a friend at home, or travelling in an elevator. Drawing on the concept of the 'sound environment', this article looks at variables of space, time and body to explain the contextualization of music in everyday life.

The celebration of popular music can be an important mode of cultural expression and a source of pride for urban communities. This Element analyses the capacity for popular music heritage to enact cultural justice in the deindustrialising cities of Wollongong, Australia; Detroit, USA; and Birmingham, UK.