Thanks to the participatory architecture of the web, the so-called DIY 2.0 takes the shape – more than in the past – of DIWO (do-it-with-others), where “others” are and web users. Within these practices, new relationships between artists and fans are experimented, traditional distinctions are redefined and new representations of both are articulated. While a lot of discourses about participatory practices tend to emphasize the chances of empowerment both for artists and fans, more involved into the gatekeeping as well as into different functions of the production process, critical aspects pointed out by other analysis have to be taken into account, such as the percistency of factors allowing some musicians – more than others - to take grea...
Purpose – The aim of this paper is to examine the impact of the digital culture on the music industr...
DIY (“do-it-yourself”) music is a cultural form which, following in the footsteps of punk, has histo...
Active and co-creative audiences are sought, used, tracked and taken for granted in the quest for st...
Thanks to the disintermediating and participatory architecture of the web, many DIY music practices ...
One of the ways in which fans express themselves has always consisted in supporting artists and/or p...
The purpose of this research paper is to discover the motivations behind do-it-yourself (DIY) artist...
Over the past ten years grassroots music production has been incentivized by an increasing number of...
Nowadays we witness the steady development of web-platforms that provide the players of the music sy...
A fast expanding network of DIY music communities in the UK see digital technologies transforming wa...
Online platforms provide musicians with unprecedented opportunities to forge interpersonal connectio...
Over the past ten years there has been a multiplication of digital technologies and webplatforms tha...
This article maps and theorizes online jazz fandom activities around live music, and then reports on...
With the rise of digital music and streaming platforms, distributing, and releasing music has become...
Purpose – The aim of this paper is to examine the impact of the digital culture on the music industr...
Almost all DIY practices imply some form of collaboration, based on social networks and social capit...
Purpose – The aim of this paper is to examine the impact of the digital culture on the music industr...
DIY (“do-it-yourself”) music is a cultural form which, following in the footsteps of punk, has histo...
Active and co-creative audiences are sought, used, tracked and taken for granted in the quest for st...
Thanks to the disintermediating and participatory architecture of the web, many DIY music practices ...
One of the ways in which fans express themselves has always consisted in supporting artists and/or p...
The purpose of this research paper is to discover the motivations behind do-it-yourself (DIY) artist...
Over the past ten years grassroots music production has been incentivized by an increasing number of...
Nowadays we witness the steady development of web-platforms that provide the players of the music sy...
A fast expanding network of DIY music communities in the UK see digital technologies transforming wa...
Online platforms provide musicians with unprecedented opportunities to forge interpersonal connectio...
Over the past ten years there has been a multiplication of digital technologies and webplatforms tha...
This article maps and theorizes online jazz fandom activities around live music, and then reports on...
With the rise of digital music and streaming platforms, distributing, and releasing music has become...
Purpose – The aim of this paper is to examine the impact of the digital culture on the music industr...
Almost all DIY practices imply some form of collaboration, based on social networks and social capit...
Purpose – The aim of this paper is to examine the impact of the digital culture on the music industr...
DIY (“do-it-yourself”) music is a cultural form which, following in the footsteps of punk, has histo...
Active and co-creative audiences are sought, used, tracked and taken for granted in the quest for st...