Nicholas Cook is Emeritus Professor at the University of Cambridge. He is the author of Music: A Very Short Introduction (1998) and Music as Creative Practice (2018), and won the SMT's Wallace Berry Award for The Schenker Project (2007). Monique M. Ingalls is Assistant Professor of Music at Baylor University, Texas. Author of Singing the Congregation (2018), she is Series Editor for Routledge's Congregational Music Studies Series and co-organiser of the biennial international conference 'Christian Congregational Music: Local and Global Perspectives'. David Trippett is Senior Lecturer in the Faculty of Music, University of Cambridge. Author of Wagner's Melodies (Cambridge, 2013), his wide-ranging research has received the Einstein and Lockwood Prizes (American Musicological Society), the Nettl Prize (Society for Ethnomusicology), and an American Society of Composers, Authors, and Publishers (ASCAP) Deems Taylor award.

Select Guide Rating

• Introduction Nicholas Cook, Monique M. Ingalls and David Trippett; 1. Digital technology and cultural practice Nicholas Cook; Personal take 1: whatever happened to tape trading? Lee Marshall; 2. Towards a digital history of music: new technologies, business practices, and intellectual property regimes Martin Scherzinger; Personal take 2: on serving as an expert witness in the 'blurred lines' case Ingrid Monson; 3. Shaping the stream: techniques and troubles of algorithmic recommendation K. E. Goldschmitt and Nick Seaver; Personal take 3: being a curator Ben Sinclair; Personal take 4: can machines have taste? Stéphan-Eloïse Gras; 4. Technologies of the musical selfie Sumanth S. Gopinath and Jason Stanyek; Personal take 5: vaporwave is dead, long live vaporwave! Adam Harper; 5. Witnessing race in the new digital cinema Peter McMurray; Personal take 6: giving history a voice Mariana Lopez; 6. Musical media in online devotion Monique M. Ingalls; Personal take 7: technicians of ecstasy Graham St John; Personal take 8: live coded mashup with the humming wires Alan Blackwell and Sam Aaron; Personal take 9: algorave: dancing to algorithms Alex McLean; 7. Rethinking liveness in a digital age Paul Sanden; Personal take 10: augmenting musical performance Andrew McPherson; Personal take 11: digital demons, real and imagined Steve Savage; Personal take 12: composing with sounds as images Julio d'Escriván; Personal take 13: compositional approaches to film, TV and video games Stephen Baysted; 8. Virtual words from recording to video games Isabella van Elferen; 9. Posthumanism and the generation of empathy David Trippett; Personal take 14: in the wake of the virtual Frances Dyson; 10. Digital inequalities and global sounds Shzr Ee Tan; 11. The political economy of streaming Martin Scherzinger.

Nicholas Cook is Emeritus Professor at the University of Cambridge. He is the author of Music: A Very Short Introduction (1998) and Music as Creative Practice (2018), and won the SMT's Wallace Berry Award for The Schenker Project (2007). Monique M. Ingalls is Assistant Professor of Music at Baylor University, Texas. Author of Singing the Congregation (2018), she is Series Editor for Routledge's Congregational Music Studies Series and co-organiser of the biennial international conference 'Christian Congregational Music: Local and Global Perspectives'. David Trippett is Senior Lecturer in the Faculty of Music, University of Cambridge. Author of Wagner's Melodies (Cambridge, 2013), his wide-ranging research has received the Einstein and Lockwood Prizes (American Musicological Society), the Nettl Prize (Society for Ethnomusicology), and an American Society of Composers, Authors, and Publishers (ASCAP) Deems Taylor award.

Select Guide Rating

• Introduction Nicholas Cook, Monique M. Ingalls and David Trippett; 1. Digital technology and cultural practice Nicholas Cook; Personal take 1: whatever happened to tape trading? Lee Marshall; 2. Towards a digital history of music: new technologies, business practices, and intellectual property regimes Martin Scherzinger; Personal take 2: on serving as an expert witness in the 'blurred lines' case Ingrid Monson; 3. Shaping the stream: techniques and troubles of algorithmic recommendation K. E. Goldschmitt and Nick Seaver; Personal take 3: being a curator Ben Sinclair; Personal take 4: can machines have taste? Stéphan-Eloïse Gras; 4. Technologies of the musical selfie Sumanth S. Gopinath and Jason Stanyek; Personal take 5: vaporwave is dead, long live vaporwave! Adam Harper; 5. Witnessing race in the new digital cinema Peter McMurray; Personal take 6: giving history a voice Mariana Lopez; 6. Musical media in online devotion Monique M. Ingalls; Personal take 7: technicians of ecstasy Graham St John; Personal take 8: live coded mashup with the humming wires Alan Blackwell and Sam Aaron; Personal take 9: algorave: dancing to algorithms Alex McLean; 7. Rethinking liveness in a digital age Paul Sanden; Personal take 10: augmenting musical performance Andrew McPherson; Personal take 11: digital demons, real and imagined Steve Savage; Personal take 12: composing with sounds as images Julio d'Escriván; Personal take 13: compositional approaches to film, TV and video games Stephen Baysted; 8. Virtual words from recording to video games Isabella van Elferen; 9. Posthumanism and the generation of empathy David Trippett; Personal take 14: in the wake of the virtual Frances Dyson; 10. Digital inequalities and global sounds Shzr Ee Tan; 11. The political economy of streaming Martin Scherzinger.

Nicholas Cook is Emeritus Professor at the University of Cambridge. He is the author of Music: A Very Short Introduction (1998) and Music as Creative Practice (2018), and won the SMT's Wallace Berry Award for The Schenker Project (2007). Monique M. Ingalls is Assistant Professor of Music at Baylor University, Texas. Author of Singing the Congregation (2018), she is Series Editor for Routledge's Congregational Music Studies Series and co-organiser of the biennial international conference 'Christian Congregational Music: Local and Global Perspectives'. David Trippett is Senior Lecturer in the Faculty of Music, University of Cambridge. Author of Wagner's Melodies (Cambridge, 2013), his wide-ranging research has received the Einstein and Lockwood Prizes (American Musicological Society), the Nettl Prize (Society for Ethnomusicology), and an American Society of Composers, Authors, and Publishers (ASCAP) Deems Taylor award.

Select Guide Rating

• Introduction Nicholas Cook, Monique M. Ingalls and David Trippett; 1. Digital technology and cultural practice Nicholas Cook; Personal take 1: whatever happened to tape trading? Lee Marshall; 2. Towards a digital history of music: new technologies, business practices, and intellectual property regimes Martin Scherzinger; Personal take 2: on serving as an expert witness in the 'blurred lines' case Ingrid Monson; 3. Shaping the stream: techniques and troubles of algorithmic recommendation K. E. Goldschmitt and Nick Seaver; Personal take 3: being a curator Ben Sinclair; Personal take 4: can machines have taste? Stéphan-Eloïse Gras; 4. Technologies of the musical selfie Sumanth S. Gopinath and Jason Stanyek; Personal take 5: vaporwave is dead, long live vaporwave! Adam Harper; 5. Witnessing race in the new digital cinema Peter McMurray; Personal take 6: giving history a voice Mariana Lopez; 6. Musical media in online devotion Monique M. Ingalls; Personal take 7: technicians of ecstasy Graham St John; Personal take 8: live coded mashup with the humming wires Alan Blackwell and Sam Aaron; Personal take 9: algorave: dancing to algorithms Alex McLean; 7. Rethinking liveness in a digital age Paul Sanden; Personal take 10: augmenting musical performance Andrew McPherson; Personal take 11: digital demons, real and imagined Steve Savage; Personal take 12: composing with sounds as images Julio d'Escriván; Personal take 13: compositional approaches to film, TV and video games Stephen Baysted; 8. Virtual words from recording to video games Isabella van Elferen; 9. Posthumanism and the generation of empathy David Trippett; Personal take 14: in the wake of the virtual Frances Dyson; 10. Digital inequalities and global sounds Shzr Ee Tan; 11. The political economy of streaming Martin Scherzinger.