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Music‐listening technology is moving fast. As music compact disc (CD) sales fall, music download sales are on the increase. Portable music players (PMPs) can store entire music collections, including music videos, and can plug into home, car and other new music systems. This study examines the attitudes and perceptions of the over 55s towards new music technology, particularly PMPs and downloadable digital music. It also explores whether the over 55s are still interested in listening to music, and what barriers ‐ perceived or actual ‐ exist that limit access to new technology and how any limitations on access to the technology may be affecting their current music experience and compromising future listening.Statistical data from 50 completed questionnaires are supported by qualitative data from six additional semi‐structured interviews. Findings from this study suggest that people over the age of 55 listen to just as much (and sometimes more) music as they ever did. However, the research also reveals that their considerable lack of technological knowledge is the main barrier in their progress to newer music listening formats.

The purpose of this paper is to examine how the material nature of legacy technology makes its users passionately prefer it over its digital alternatives.

This ethnographic study uses data from 26 in-depth interviews with vinyl collectors, augmented with longitudinal participant–observation of vinyl collecting and music store events.

The findings reveal how the physicality of vinyl facilitates the passionate relationships (with music, the vinyl as performative object and other people) that make vinyl so significant in vinyl users’ lives.

As this study examines a single research context (vinyl) from the perspective of participants from three developed, Anglophone nations, its key theoretical contributions should be examined in other technological contexts and other cultures.

The findings imply that miniturisation and automation have lower limits for some products, material attributes should be added to digitised products and that legacy technology products could be usually be reframed as tools of authentic self-expression.

This study explains what can happen beyond the top of the “S” curve in the Technology Acceptance Model, furthering our understanding of consumers’ reactions to the proliferation of digital technology in their lives.

The purpose of this paper is to address the lack of a theoretical framework for the integration of technology in music teaching and learning, and explores, within the framework of Technological Pedagogical Content Knowledge (TPCK or TPACK), the importance of affect in instructional design.

The authors reviewed relevant literature related to the fields of music education, instructional design, and technology integration. Accordingly, they developed guidelines for designing technology-enhanced learning for the activities of music composition and listening.

The authors propose a set of design principles based on the TPCK framework through the subject matter of music focusing on the affective domain, and identify interrelations among musical content, emotions, and technology. The design guidelines were tested in an empirical investigation and the results showed statistically significant differences between the control and the experimental groups in favor of the experimental group.

Further investigation is necessary to test the effectiveness of the proposed design principles. Including affect in the design process is a complicated and mostly unchartered area, and, thus, further research toward this direction is fully justified.

The research has practical significance, addressing a gap in the field of music education, as it provides teachers with explicit guidance about how to design music lessons with technology while incorporating affect.

The study extends the theoretical framework of TPCK to a design framework and proposes instructional design guidelines that address both the cognitive and the affective domains of learning, a focus that is currently missing from the existing TPCK or TPACK literature as well as the music education literature.

Understanding a prima facie attraction of retro pop-rock by a broad spectrum of people and the role of technology innovation in driving the importance of this genre. A key idea of this paper is that ongoing popularity of retro pop-rock music is associated with a confluence of demand-side and supply-side factors. The demand side is thought to be characterized by a combination of psychological factors contributing to individuals’ desires to enjoy, reflect on, or even “live in” the past. On the supply-side, technology has roles in the production, distribution and consumption of music.

The approach of this paper is to provide an extensive search and synthesis of relevant literature and to present and analyze findings from online surveys.

The literature supports the idea that attraction to retro music is heavily influenced by psychological factors as well as technology innovation. The survey provides supporting evidence. Of particular interest are findings related to correlations between nostalgia and technology.

This study is, to the authors’ knowledge, one of the first to provide a survey-based link between the attraction to retro music to nostalgia and technology.

This paper aims to examine how blockchain technology is disrupting business models for new venture finance.

The role of blockchain technology in the evolution of new business models to monetize the creative economy is explored by means of a case study approach. The focus is on the recorded music industry, which is in the vanguard of new forms of intermediation and financialization. There is a particular focus on emerging artists.

This paper provides novel case study insights and concludes by considering how further research can contribute to building a theory of technology-driven business models which apply to the development, on the one hand, of new forms of financial intermediaries, more correctly referred to as “infomediaries,” and on the other hand, to new forms of direct monetization by artists.

This paper provides early insight into the emerging potential applications of blockchain technologies to streamline music industry business service models and improve finance streams for new artists. The findings have far-reaching implications across the creative sector.

Purpose – The purpose of this chapter is to relate to the reader how overlapping advancements in technology and the diffusion of popular music into the habitus of listeners have provided the framework for an instrumental rationalization of litigious approaches to copyright protection by their owners. Namely, the personalization of music, which has evolved with the aid of technological advancements, has privatized music consumption, thus establishing socio-legal parameters that limit consumption to an individual action.

Design/methodology/approach – We discuss the concepts of habitus and taste, communality in music ownership, communicative action, and technology-driven consumption as they relate to the instrumental rationalization of industry-led governance structures defining music ownership rights. These arguments are supported in part by a consideration of historic examples of tension and responding legal actions.

Findings – The primary outcome from this chapter is to illustrate the extent to which the recording industry has traditionally held a role in guiding copyright policy. The chapter concludes by illustrating the current legitimation crises encountered by the recording industry and policy makers as consumers abandon traditional ownership paradigms en masse.

Originality/value of chapter – The technologies associated with the Internet and music consumption continue to evolve. This chapter highlights the differing interests in controlling music interests, and casts light on how agency has influenced structural developments central to copyright.

This chapter explores the way teaching music lends itself to the inclusive pedagogical approach in action framework, focusing on four key areas: working outside of ability groups, using what learners can do as their starting point, engaging in learning at their own level whilst contributing to a collaborative outcome and developing the whole creative child rather than just a skillset.

This paper examines the current position of copyright for the music industry in the light of innovation and diffusion of technologies which enable audio file sharing amongst web users. We note that there currently appears to be conflicting assessments between the major corporations and the many small firms in Europe with regard to the business potential for online music. In particular, we show that the convergence of technologies together with the emergence of particular practices of ‘net culture’ have posed a number of marketing opportunities and threats for industry incumbents. The role of the Napster program, as well as subsequent innovations in peer‐to‐peer software, is examined together with the responses that have been made by different sections of industry.

Design prescriptions to create web‐based courses and sites that are dynamic, easy‐to‐use, interactive and data‐driven, emerge from a “how to do it” approach. Unfortunately, the theory behind these methods, prescriptions, procedures or tools, is rarely provided and the important terms, such as “easy‐to‐use”, to which these prescriptions refer are not defined. The empirical results reported here bring lighting on the meaning of several design prescriptions that contain qualitative attributes. This paper aims at clarifying the meaning of several web‐based course design prescriptions found in the literature in the context of two music web‐based courses. Two examples are presented and the results of the students’ assessment regarding several design prescriptions are given. First, what we learned while producing the first release of the web part of an undergraduate music course entitled Teaching and Music Technology is presented. Then, what else we learned when the second release was assessed by students is detailed. The next part concerns what we used while developing the undergraduate music course French‐Canadian folk which gives access to several music files and scores. Again the results of the students’ assessment are presented. The list of the various technologies that must be highly mastered to produce such musical content is given.