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| | Digital music and subculture |
 | | As Scott argues, music becomes influential in production spheres through "a circle of auditors that is gradually widened" (outward, that is, from band to producer to record label to promoter to local audience to radio to distributor to TV channel to mass audience, with numerous intermediaries, negotiating trust and meaning, betwixt) [49]. |
 | | Their approaches to the subject of the mass audience were distinct, with Adorno focusing on music aesthetics using an underlying critique of Enlightenment philosophy, and Benjamin oriented toward aesthetics of visual art and film. |
 | | Still, their analyses of mass audiences were rather consistent, in that they characterized mass audiences as passive, merely receiving music and film from entertainment producers and companies. |
| www.firstmonday.dk /issues/issue9_2/ebare (6081 words) |
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