Musik zwischen Virtualität und Materialität.
Die Bedeutung von Livemusik und physischen Tonträgern im Zeitalter von Onlinemedien & Digitalisierung
Fachbereich Musiksoziologie
1. Betreuer Univ.Prof. Dr. Michael Huber – mdw, Institut für musikpädagogische Forschung und Praxis
2. Betreuerin: Assoz. Prof. Mag. Dr. Gerit Götzenbrucker, Privatdoz. – Uni Wien Institut für Publizistik- und Kommunikationswissenschaft

The doctoral thesis in the field of music sociology focuses on the significance of physical records and live music in the age of digitalization and online media. Current music business statistics show that music is nowadays predominantly received by and listened through music streaming technology. At the same time the revenues of live music events as well as the sale of vinyl increase. Accordingly, the question arises whether there is a causal connection between theses phenomena. Also, what do the dimension materiality, time, space and uniqueness mean when listening to music nowadays? What is it that makes music nowadays special and valuable, facing the fact that music can be listened to anytime at any place and with as many titles as
never before available?
The theatrical framework is based on theories from sociology, media studies and communication science in order to meet the complex and interdisciplinary problem: the thesis uses the mediamorphosis theory deriving from music sociology, Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction, Erving Goffman’s and Daniel Houben’s thoughts on co-presence and co-reference, Pierre Bourdieu’s notion of habitus and Gerhard Schulze’s experience society.
The main part of the thesis consists of empirical research that comprises of qualitative interviews combined with material culture analysis. The results are presented in four big chapters: 1) music and materiality, 2) authenticity and realness, 3) the live concert as a social experience and 4) Live is Live, the significance of the dimension of time. By means of the data the author could develop scientific models showing e.g. collectively shared atmospheres at online concerts or a matrix depicting the relationship between temporal quality and material quantity. Furthermore, models focusing on the sense of community, interaction schemes and indicator systems applied to musical performance were developed.
The results are manifold and show e.g. that physical media and live music are preferred in such cases that involve increased attentiveness respectively mindfulness, a longing for experience, the inclusion of multiple senses, escapism from everyday life, authenticity and a longing for community. In addition, the significance of a vinyl mutated throughout time: While 50 years ago it used to be the most common media for listening to music, it nowadays rather signifies nostalgia, mindfulness, lifestyle and aesthetics.