7/24/2019 Clarissa Brough MSc Poster
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SONG ARTIST ALBUM
Take Me Home Jess Glynne I Cry When I Laugh
Only Girl Rihanna Loud
LYRICS
AIN
Browse
Activity
Radio
OUR MUSIC
Songs
Albums
Artists
Local Files
AYLISTS
Gym Tunes
Dance Tunes
Creamfields 15
Uni Classics
Studying
Chill Out
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Matt Brough
Kayne West-Flashing Lights
Driving Music
Jon-Luc Furlong
Calvin Harris-Feel So Close
Favourites
Wendy G
Avicci-Wake Me Up
Memories 2014
Burby 89
Metallica-Creeping Death
Anthems
Rae
Ludovico EinaudiLe Onde
Piano Music
Paulio A
Taylor SwiftShake It Off
Pop Sing-Alongs
NOWPLAYING
The emergence of interactive music technologies in the
twenty-first
century has culminated in music listening being more readily
facilitated and accessible. With the
recent decline in purchasing music,
including music downloads (see
FIGURE.1), individuals are more
frequently engaging in interactive
online music networks, such as
Apple Music, Spotify, SoundCloud
and Rdio. These online communities
provide an open forum for listening,organising, sharing and
rating music. FIGURE.1 [1]
erences
http://www.theatlantic.com/business/archive/2015/01/buying-music-
o-over/384790/
Hutton, P. et al (eds.) (1988) Technologies of the Self. London:
Tavistock.
Haraway, D. (1991) A Cyborg Manifesto. IN: Haraway, D.
Simians,
orgs and Women: The Reinvention of Nature. New York:
Routledge.
49-181.
n recent years, the concept of gender identity has undergone a
significant transformation, being no longer conceptualised
s stable but instead as something more contingent and
indefinite. Donna Haraway suggests that these various
indefinite
dentities have become more readily crafted by the emergence of
the cyborg, being a hybrid of machine and organism [3].
Can multiple performances of gender identity be perceived in the
music choices compiled by a user on an online music
network?
Do music recommendation services built within these platforms,
as well as seeing what friends are listening to, diversify
musical taste and performances of gender identity?
To what extent is a users musical taste, and subsequent gender
identity, determined by what the platforms algorithms
enable them to see?
Why do people engage in online music networks?
What function do online music networks perform in the
listening practices of users?
nline music networks serve as arenas for the construction and
performance of identity. Thus they provide a very particular
pe of self-definition, being what Foucault terms a technologyof
the self[2]. Here technologysymbolises more than just the
achine but also the way in which it mirrors the user; their
choices, preferences and values. Subsequently, compilations of
usic on online music communities could serve as epistemological
points of reference, displaying gender identities in terms of
usical taste. How can music choices be mapped onto gender
identity?
Are the identities perceived on online music networks individual
or collective?
Clarissa Brough
[email protected]
