The increasingly net-based distribution and reception of music and its growing reliance on web 2.0 applications reveals that the social repercussions of sharing and talking about music are shifting ever more radically. In parallel the availability, reproducibility and non-physicality of audiovisiual media content in the digital age has catapulted back to the top of the billboard live events that promise collectivism, authenticity, aura and something uniqe. Linking live events to online spheres and adding interactive features is another experimental trend set to let distant users be part of the action. A third realm is unfolding, halfway between the physical immediacy and collective experience of being "where it's at" and that of watching things indirectly, at home, yet the emphasis is always on the value of communication. What differences and shared features can be identified in the range of music experienced live or transmitted by media? What consequences do new developments have for medial aesthetics, artistic production and reception and for the music and media industries?
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