ABSTRACT
This chapter aims to contribute to the present research literature by offering a more encompassing view on digital music use. It presents findings from two questionnaires and two rounds of focus group interviews, carried out in 2005/2006 and in 2010. Latour has denoted the term "programs of action" to account for way technology developers are trying to inscribe certain preferred actions into the design of the artefacts. Scholarly research has been dominated by literature that addresses the controversies between the music industry and "digital pirates" at a legal or economic level. The predominant perspective on digital music use in the 2000s was the sharing perspective, connected to studies of the use of file-sharing networks. The latest contributions on the use of file-sharing networks have dug deeper into the ideological motivations behind file-sharing. Furthermore, the way Hanne has drawn arrows between the various practices, services and technologies also nicely illustrates the virtuous interweaving of the different parts of the youth's musical lives.
