ABSTRACT
Ethnomusicology, popular music studies, and musicology find it hard to research the rapid developments in these and similar musics and music circles. Tagg and Clarida (2003) argue that the various academic disciplines that research music cannot keep pace with rapid technological shifts. Digital revolutions and the new possibilities of producing and distributing music demand new methodological and theoretical approaches. One goal of this book is to put forward a methodological approach that analyzes music and music making from miscellaneous perspectives. the approach is inductive, built on my many years of participant observation in music and cultural markets. Overall, I work with a mix of theories from ethnomusicology, pop and media studies, culture studies, and social anthropology.
