Deutsches Volksliedarchiv

Listening in Shuffle Mode Author(s): Marta Garca Quiones Reviewed work(s): Source: Lied und populre Kultur / Song and Popular Culture, 52. Jahrg. (2007), pp. 11-22 Published by: Deutsches Volksliedarchiv Stable URL: http://www.jstor.org/stable/30043759 . Accessed: 12/06/2012 11:00
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LISTENING IN SHUFFLE MODE

MARTA GARcIA QUIl&ONES

1.Music Controls and Players User

of influence technology music on tend Current to today approaches thesignificant to focus howproduction, on and are distribution, consumption being reshaped by rhetoric loadedforecasts. as Relevant these scheme large digitalization, favouring ofthe of here consider our issues betotheunderstanding present music, I will may as of mere as listeners, rather users those or most experience simple technological known music devices software and as Of course many players. applications gadgets other andprograms play can besides sammusic, things doing (editing, recording, the under nameofm u s i c p 1a ye rs I am referHowever, sound, etc.). pling inhere themainstream to devices almost used to universally to listen music, ring and alsosoftetc., portable CD-players, players, cluding equipment, digital hi-fi I ware RealPlayer, or on as iTunes Windows MediaPlayer.willfocus allthe listenand for madepossible those what mechanisms, think a while by ingsituations
we whatkindof actions as users words, p I a y meansin thesecases.Or, in other

we music itan album, song, a or areallowed when p 1a y a pieceofrecorded (be that somepart it).Therefore willdiscover whenwe p I a y m u s i c we of you can usually atleast: - choose a specific ofitisnot we to which track want play (though selecting part or always possible easy), - listen itanunlimited to of number times e p e a t e d I i s t e n i ng), (r
-

- setthe it within certain limits. volume, pumping upordown In somecases can exert we more control thesoundquality themusic. on of For we example, can: - change audiobalance the between loudspeakers, the
equalizethesound,etc.

skipa track,

Lied undpopuldire Kultur Songand PopularCulture (2007) / 52

Marta Garcia Quifiones

of Theseactions calledu s e r c o n t ro 1s, and in fact history music are the of of players couldbe readas a process imtechnologyandspecificallymusic of newusercontrols: from phonograph thegramophone, the and plementation which notallowanykindofuser control except the did and placing removing sound filters so or cylinder thedisc-, tothestandard equalizers) common (graphic for components 1999:1). (Pachet hi-fi of over are aware neither their limited influence music Yetusers rarely players, arisen some user controlsrepeated norofthetheoretical perplexities by operation for The Takethevolume to contributesn a t u ra 1i z e them. control, instance. the of universal feature music dial volume orbutton be considered most may playconceive one lacking However, it of it. isn't to thepoint that can hardly we ers, to the not from track track, that odd enough we canchange volume setting only If wilddecibels an important are the of butevenduring playing a single song? are alas heavy metal punk, or ofsuchmusical characteristic why we users genres rp 1a y SexPistols' Savethe God atlowvolume? to lowed u n d e Queen the button other or classic here notto discuss volume is Anyway, purpose my new control made but a user controls, to surveyrelatively user by possible digitalis zation: so-calledh u ffl e mo d e. the The Mode 2. A New UserControl: Shuffle as ofa fl be The s h u ffl e mo d e may described thehaphazard reproduction cerinIn it that of words: is a usercontrol paradoxically tainnumber tracks. other as we willsee, on of of volves renunciationcontrol thepart theuser. a However, set and has this renunciation limits, itis alsocounterbalanced complex offeabya chance. indifferent the effectssheer of or tures restrictcondition that ways in to existed of the Of course, possibility randomness music prior the playing inand of advent mp3 music systems portable CD-players players many hi-fi of or the which be pushed can before during playing one button cludea random of Howon orseveral CD's (depending thereproduction capabilities thesystem). and wasnotdisclosed theinvention general until itsreal ever, acceptance potential of the and formats to thecompression exchange music, of digital especially apt in these newformats because as brought mp3,adopted a standard 1991. First, with ofnew aboutthecommercialization devices an exceptional capability storage - ableto loadthousands thousands songs andin parallel exponential an of and -, files. and stock musical of increase theuniversal ofdigitized Second, most importhe of as primary ofpersonal units tantly, established status individual they songs 12

in mode Listening shuffle

of from lists reproduction and libraries, independently theCD's (playlists) music the of ofwhich were they they part. originally Moreover, facilitated exchange muoron thenet, legal illegal or on an unsicalfiles either means, by person-to-person new in has the function acquired meaning As scale. a result, random precedented involves chance the of as music reproductiona large players, nowitusually digital link of as number songs, wellas theobscuration their withCD's or albums. of f1I of s e of Thisshift meaning of my justifies choice theterm h u ff1I instead ra n f1I of e be a thes h u ff1I m o d e must consideredform d o m, though obviously randomness. f1I s e usedbyApplein itsiTunes software and Besides,h u ff1I is alsotheterm since launch, November in of which its iPod series portable 2001, digital players, f1I it in a e has always offereds h u ff1I s o n g s option, though wasnotincluded in released July themainmenu the 2004 (Dodes2004). until fourth generation, and units theiPod'sgreat sold in (100 million Actually spread capability rapid lots hype, turned be themain of has to reason the for 2007),accompanied by April In of newuser control. 2005Apple a released favourable consequent reception this in to modeldesigned playpreferablyshuffle marketed mode,theiPod Shuffle, is >Give chance chance<<, >>Enjoy a with like>>Life random, and uncatch-phrases It sold the first it owned percent the of 43 certainty. so wellthat very year already - a share music worldwide market flash for that (Wood 2005) memory players in to and iPod mayhaveincreased dramatically2007, thanks thetinier cheaper - referring to a single f1I s e Shuffle In addition, term h u ff1I 2. the either feature or - hasalsobeenadopted most iPod'scompetitors to a model digital of of by player - e.g.theZunebyMicrosoft theiRiver Shuffle though someothers e.g. and -, r tomaintain name a n d o m. the Zen theCreative Stone have preferred can to it is many players be connected ad hocloudspeakers, Although digital here willfocus I to bearin mindthat on listening exclusively important through as of is, mobile, players a replacementother headphonesthat on digital personal devices Walkmans portable as and this mostex-, CD-players because is their inpublic tended visible particularly and As to the use, later, spaces. I willtry show shuffle canbe interpreted enhancementsome as an modeofdigital of players typical traits theWalkman of current literature on (Bull experience 2005), though Walkmans personal and stereos 1984and 1990,Du Gayetal. 1997, (Hosokawa canbe applied digital to music Bull2000,Thibaud 2003) only players toa certain extent. To begin with: doesthe shuffle exactly? istheu n c e rt a i n ty do How What in iPodmarketing mentioned the the attained? reorders Basically, shuffle campaign

13

Marta Garcia Quifiones

that to or theuser's music library playlists according a randomization algorithm it can can Thisalgorithm be apas randomnessa machine get. is so closeto perfect intwodifferent ways: plied a. Shuffle without replacement: in thiscase therandomization from a in samewayas onewould chooses pullcards songs thevery algorithm until all a songwillnotbe repeated shuffled Consequently, deck. previously is once(or theshuffle function reset) havebeenplayed (Dodes 2004, songs iPod'sand other 2006:180-181). This is howiTunes', players' digital Levy s iTunes' h u ffl e can also le s h u ffle s o n g9s command operates, though created s and shuffle automatically (playlists playlists so-calledma rt playlists In addition, the s h u ffl e with user-defined parameters). complying the a w i th o u t re p l a c e m e n t can be usedto create playlist choosing to autofill another orfrom from music the library playlist, e.g. randomly songs >choose items randomly,). theiPodShuffle (checking a that b. Shuffle with replacement: it means anytime songis choto are of senall songs themusic (or likely be picked library playlist) equally S be therefore, can eventually repeated.h u ffl e w i t h re p 1a c e songs calledp a rty s hu ffl e me nt is at the base of an iTunesfunction of random the serves purpose creating with 4.5), (launched version which playanother orfrom from music either the 2005). (Hansen lists, library playlist is about and the function notonly before, shuffle Yet,as I mentioned uncertainty hasintroduced as iPodsandiTunes, For chance. instance, for Apple progressively of wild to intended tametheseemingly experience fortuitous newusercontrols as to are these On improvementsintended a response user listening. theonehand, or to of abouttheallegedly probabilitysomeartists albums ochigher complaints ofan iPod Shuffle or music ranks a shuffled of library, to be part cupythefirst - an issuethat beenpassionately in discussed uncountable and has blogs playlist 2006: 169-196).To counto close collective often forums, coming (Levy paranoia the to fl the of this terbalance effect randomization, s ma rt s h u ffl e allows user or in she howlikely is to hear decide by multiple songs a row thesameartist from or thealbums, be units and thesamealbum, ifthebasicshuffle must thesongs, On musical thegroupings hand,thenewfeatures works). theother (multitrack on for claim better a capabilities thepart management satisfyreasonable certainly both their to whotakethetime evaluate listening those ofusers. for sessions, So, fl and of function theiPodShuffle theiTunes' a rty s h u ffl e offer theautofill p Andofcourse to high-rated (Hansen of theoption giving 2005). songs preference

14

in mode Listening shuffle

morecontrol their on sessions either theusers also exert can shuffling listening ofother orsmart ortaking tricks tips. and handpicked playlists, playlists advantage of Mode andthePsychology Expectation 3. The Shuffle to to of the that Besides obvious the advantage nothaving select tracks onewants not must be underestimated on account the of listen - an important that to point user of files modeadds amount musical ownedbya typical -, theshuffle large To of extent someinteresting to theexperience musiclistening. a great aspects on these novelaspects vary can (both situationally, depending theattitude e.g. mental physical) thelistener, competence, musical of her the material lisshe and where listening place.Howthe takes tens andthecultural social and context to, I somegeneral to of that ever, believe it is possible delineate propertiestheshuffle on on modeoflistening, (Bull2005,Levy 2006) as relying literature thesubject wellas personal experience. of Froma psychological the has as perspective, pleasure music beendescribed theelicitation expectation-related of emotions either fulfilmentto or to leading is as the between de1956,Huron2006)- that to say, a balance (Meyer surprise for sire repetition thedesire surprise for and the 1999:8). Actually, shuffle (Pachet modealsodeals with different ofexpectations expectation-related and emotypes tions (Huron 2006): - sheer to about next, expectation w h a t isgoing be played normally before just thebeginning a newsong.Thisstate mindcan vary of of from emotionless attention thelistener notparticularly is on low-level focussed themusic) to (if attention associated different with emotions tenexhilaration, (fantasy, strong sion, etc.). while to - veridical expectations listening a well-known (ora song of ah the due part a song: typically, o o k) that listener recognises to repeated to is ableto anticipate. this In case, exposure it,andwhose developmentthus theemotions vary can for on was the depending, example, what thelasttime user As listened thesong. ithappens, users to iPod often declare their enthusiasmfor old that did rediscovering favourites they notevenremember having orloaded. thecontrary, thesongs when On are familpurchased played quite the for listener onsuccessful satisfactionthe iar, main lays prediction. which unfold while to - dynamic expectations, mainly listening an unknown forgotten as thelistener to recognise or tries of song, patterns typical that sc events c h e (s particular or enculturatedh e me s of musical piece

15

Marta Garcia Quifiones

m a t i c e x p e c ta t i o n). Thiskind expectations trigger of can for tension, while to the of a song, example trying guess name theartist performing thetitle ofthesong other - a situation common or data users screenless of quite among as the Shuffle theCreative or Zen players, theiPod Shuffle, iRiver digital in Stone. for whenthe Theycan alsoresult compelling experiences, instance listener a ofsongs discovers considersrandom and simisequence unexpected larities between different orartists, appreciates a songcanbe or how very styles For enhanced contrast. this shuffle is deemed many usreason, by by listening ersa mind-opening the boundaries of activityonethat challenges established musical and genres repertoires. as a function on uncertainty,shuffle deals based the with mode However, anticipaAs of what find I inextent. a matter fact, most tionandsurprise toa certain only is thefact itstresses passivity thelistener that about shuffle the of listening triguing - a characteristic not of some (in certainly exclusive thismodeoflistening fact, in is but of disexperiences), commonly degree passivityto be found all listening of to hearin of as missed favour notions listening active (as perception opposed the inof track Forinstance, expectations just generated before start thenext ing). - about artist, style, genre, - to allow the the etc. the volve many too uncertainties or later of specific theemergence any anticipation,toresult insurpriseas surprise Whenthenewsong of else is nothing thantheoutcome deceived anticipations. is attentiontriggered almost a reflex theuser's as action. a certain To expopsup, or libraries resembles to massive music tent listening a newalbum assistshuffling at a premiere, itregularly since excites user's the aesthetic andherapcuriosity ing will sustained attention the to for conscious, Onlylater shedevote petite novelty. willbe shaped primarily, ofdynamic out andthus music, anticipations expectations. three of the varieties It is true that those all types expectations, corresponding of I have are features character alsotypical ofattention up, brought andthepassive in what going is to often notknow advance audiences do as radio radio listening, are common shuffle radioanalogies very be broadcast. listeners, Indeed, among musicplayers p e rs o na l radiostations as of think their who usually digital is its shuffle 2006: 189-190). However, (Levy listening not community-based: The fact shuffled sources on of lays being strength precisely thep e rs o n a I side. -a difference difmakes significant a music or theusers' library playlists personal in can established necessarilyterms content not of users' ference (since playlists be or to butforemost regard with so mixed limited a musical as radio stations), style with who more to theattachmentthelisteners, feel of intimately engaged themu-

16

in mode Listening shuffle

than sic.In other words: rather conventional either radio, by programmed human Selector schedulers GSelector theformer as or (Fabbri beings by automatic as Internet radiostations Panmoderesembles 2005:255-263) -, the shuffle on selection tracks based themusiof is or where automatic the dora.com Last.fm, In the of theuser. addition, solitary cal preferences declared by practice listening most listened without to radiois still commonly headphones whereas through link the and them strengthensemotional between users their the players. digital for shuffle In spite thedegree passivity distinguishes listening, many of that of machine userand usersit is a private, muchengaging 1la involving y very p 1la andappraisal as theuser's hercompetence, defined mood, rules, memory, ability, situation thephysical and wellas thecontext listening social of environment). (the ofplay In fact, shares of characteristics (Huizinga shuffle many thetypical listening 1938,Caillois, 1958). character shuffle of is when the Obviously, playful listening bestappreciated music sometimes bizarre theusers shuffle whole their libraries, playlists producing as musical ordiscovmentioned, standard classifications, that, I havealready defy in On if collections. theother musical hidden their hand, they large gems ering either to exert on of control theresults theshuffle mode, playlists prefer shuffling or the allowed thesoftware for or smart (as by playlists, applying restrictions more then effects the become and theinteraction iTunesand iPods), predictable, is more of Of devoid emotion. course, can alsodecide they subject-device to.skip allthetracks do notfeel listening like to. they the of radical interaction listening shufwhile in Perhaps most example playful that almost human from flemodearethose iPod users infer behavioural patterns therandom their and as musical them ifthey devices, treat by produced sequences m about devices' u s i c a I t a s t e s were musical Tamagotchis, speculating their or evenbelieving in somewaytheir that can d e t e c t their moodsor gadgets re s p o n d todifferent environments 2006: 174-175). (Levy 4. BodyandContext Shuffle in Listening also another shuffle feature p la y: thefact of Apparently, typical listening shares it in of that develops a placeandtime itsownseparated theeveryday. from Since their invention have beenabout and techniisolation, their portable players always cal improvement runparallel theperfectionheadphones earbuds has to of in and of moreeffective of noise-control, isolation more better and quest technologies comfort. someresearchers underscored listening personal have that to Moreover,

17

Marta Garcia Quifiones

stereos a for a in bubble public or usually implies desire creatingprivate space, even for a personal narrative on musical based taste. Notaupontheeveryday imposing on with stereos' Bull their users, (2000)described bly, drawing interviews portable as personal tactics managing for emotions, experiences listening reappropriating
urbanspacesand aestheticizing routines. daily chores intoaesthetic events would require almost totalabsorption a state mind of

Yeta successful for emotions transformingeveryday or the strategy managing

that quiterare, anyway is or mobile in listeners, provisory, maybe among except time on other or occasions which in attention the to travels, pauses during waiting at environment be kept a minimum. can it be Though would toolongtoelaborate I would tomention least points inmyopinion like at on this two that should now, in be considered order supplement reframe notion mobile to of and the as listening ofusers creating a kind private of a strategy for world. in thecaseofmobile as listening in First, (but particularly listening maybe for listeners is note and as rately: experience feel so important noticing taking ofwhat whatthey while do we consider fact the Therefore, should that, listening. despite and physically connected themusic to 1984:174(Hosokawa psychically being also to in of 178),users digital players appear be seamlessly integratedtheoutward
Be reasonsor merepractical ones (avoidingexposure to everyday. it forcultural I sensestudying and general), thinkthatit makeslittle perceptions actionssepa-

cannot mobile listeners abstract from themselves their fully danger), surrounding nor context neither (Thibaud2003:329-330). Whatis acoustically visually from acoustical detachment theenvironment increases attention visual to more,
stimuli. to or concerts, even- underdifferent Contrary whathappensin classical

- in the of listener fully is circumstances rock concerts, condition mobile compatiof etc. blewith conditions pedestrian, the commuter, they passenger, - actually are ofthemusic be listening - be ithardcore, to they superimposed. Regardless might with of in salsaorCeltic tunes users normally comply therules behaviour public -, - atleast inurban with rules the ofthe Western world -, tacitly agreed spaces spaces tomusic order tointrude other in into their not response people's limiting physical For personal spheres. instance:
-

- they or do to usually notdance, openly, jump, move themusic rather: Instead would they
-

do they notsingalong,

to lip-synch themusic, or their the of synchronise movements walkfollowing rhythm themusic, movements feet fingers, or heads,etc.). perform shy (tapping shaking

18

inshuffle mode Listening to stereos users the while On theother hand, routinely personal perlistening their an social the form actions dictated thesurrounding situation e.g. holding by in of and umbrella, lights, stopping waiting front traffic etc. I on must the that Second, think research mobile listening takeintoaccount In on conof but statementsintention, cannot chiefly them. listening users' rely with of and unconconditions attention, many texts stimuli, competing shifting intentionsthelisteners of and scious features prominently, thedeclared perception that with element thesituationan element must compared be arejustanother of in to as many other as possible order be interpreted data accurately. I basic important of that and functions saidthat, think oneofthemost Having in mentioned users consists reminding it theshuffle - onethat is rarely mode by This that is listening. is accomplished mimicking she thelistener by periodically extent unpredictable solicitationsthe of thecontinuous - atleast a certain and to The moderegularly theuser's calls conscious environment. shuffle encompassing in low-level herfrom ruminaattention music, to attention, indulging preventing The elicited random selection thelistionor daydreaming. expectations by help as background, concentrate theforthtener off physical context and on put the coming song. in those in the moments which user more is focussed listenon Nevertheless, - canalso to theshuffle - especially applied a huge when music mode library ing, with a process successive of identifications multiple ormoods, or self-styles trigger with ofherbiography. theexhilaration derived shiftfrom Definitely, pastperiods and in identities moodsis one ofthegreatest of to pleasures listening music ing be studied conjunction the in shuffle mode- a pleasure should that with probably taste access digital However, to files. eclecticismmusical fostered theeasy of the by ofshuffle is to most characteristic contrary theexperience intriguing listeningthat, theri g h t music match or, obsessed about to ofportable stereos' users, finding - their - especially more to current shuffle listeners when mood, subtly, mismatch to their to whole music librariesaccept adjust moods themusic selected shuffling In whereas Walkman users devices. other words: considered their bytheir usually certain stereos a toolfor shuffle as listeners to use seem moods, portable inducing for their actual states mind, of their complayers discovering digital challenging monnotions agency ofmusic of and as a way managing of emotions. consumption At a further theexperience shuffle of enbe notably stage, listening might with hanced whenthemusic somehow connects thephysical context, provoking ofstreet sensations from musical the scenes (Bull2005:351), ranging ,colouring of to thatfeeling tuning in into the environment already de-

19

MartaGarciaQuifiones

of stereos digital scribed many users portable and and also to by players that seems be thereal of Yet is an a sensation, jackpot theshuffle game. this really exceptional moment which in a memorable like harmony listener conbetween and something text nota realinteraction, an aesthetic but fiction mediated music is atby in Rather than an tained. the transforms event, listener becoming actor a musical of intoa spectator thevideoclipcreated theintersection ranofher eventually by domsoundtrack the and setting 2000:85-96). (Bull and 5. Shuffle Subjectivity Listening Ubiquitous Allthese reflections theinterplay about the the body among listener's and actions, of make think u b i q u i to u s I i s te n me of context listening themusic and i n g, as defined Anahid Kassabian 2002 and 2004). First, the if (Kassabian by are of of event define that rules behaviour listeners oneofthecodes themusical of a musical then to portable is 1999:8), players cerdigital genre listening (Fabbri from ofthe )dissociated specific characteristics music<, since listhe tainly generic context levels physical the of to and musics, response theusers different tening In thecaseofshuffle alsoinfluences emotional their listenconsequently response. as is to the bordissociationevenconsidered an invitation cross generic ing,this or simultaneously other with it usually takes acders. Secondly, place>alongside< tivities 2002: 137)- a circumstance as I have the that, (Kassabian justifies argued, as a periodical of attention themusic. the call In of to function shuffle listening and third to shuffle involves players, specifically place, listening portable listening, 2004:213), alternatively to visual a multi-located attention directed (Kassabian of listened In to. andauditory stimuli thecontext, sensations themusic and body solicitation shuffle of modecouldbe reckoned a playful as this the sense, regular of stimuli force to focus divide atthat us or to theexcess competing our response - a game chance successfully that mirrors perceptional the uncertainties of tention in On it alsoprompts listener swing the to ofwalking thecity. theother hand, of as between status pedestrian commuter herstatus lisher or and backandforth tener. and of abouttechnology thehistory human a perception. Finally, lastremark in the that raised the80s against first It is noteworthy thebitter percomplaints with concerned their inhibiand alike sonalstereos Walkman other devices), (the and oblivious attitude fully tionofinterpersonal interaction, theusers' absorbed, at thevoid (Hosokawa 1990:104) -, nowhavepractically disappeared, staring in the ofpersonal routines public answering and because performance probably 20

in mode Listeningshuffle withthelaptop,playing watching movie- has become or a calls,working making - behaviours a widespread once considered or have practice funny disrespectful become totally familiar us (Turkle2006: 3). This shouldremind thatall technoand certainly usercontrols, not onlyknotsin the string all are of logicaldevices, but also agentsthatactively our perceptions transand, broadly, history, reshape formour subjectivity. we of Therefore, can be surethatthe widespread practice shuffle willlead in due timeto theinvenparticularly listening, amongiPod users, tion of new usercontrols. Sure somebody probably not a musicologist is alaboutit. ready thinking Bibliography Out Personal Stereos the and Management Everyday Bull,Michael:Sounding theCity. of Oxford 2000. Life. In: Bull,Michael:No Dead Air!TheiPodand theCulture MobileListening. Leisure of Studies 24/4(October 2005), pp. 343-355.

La et Paris Caillois, Roger: jeux etleshommes. masque le vertige. 1958. Les a And(Just a Dodes, Rachel:Tunes, HardDrive Maybe) Brain(26.08.2004).In: New York Times. http://query.nytimes.com/gst/fullpage.html?sec=technology&res (Retrieved: 9904EED6123EF935A1575BCOA9629C8B63 11.07.2007). Du Gay,Paul et al.: DoingCultural Studies. Story theSonyWalkman. The London of 1997. Franco: MusicSpaces. And Mind.Paper deliveFabbri, Browsing Categories TheMusical red at IASPM (UK) conference 1999. www.mediamusicstudies.net/tagg/xpdfs/ (Retrieved: 11.07.2007). ffabbri990717.pdf Franco: tabu'. musiche scontro L'ascolto Le Milano2005. Fabbri, globale. nello LikeMyFive-Star Hansen,Brian How MuchDoes iTunes (25.08.2005).In: E.: Songs? OmniNerd. www.omninerd.com/2005/08/25/articles/34 11.07.2007). (Retrieved: in iTunes Hofferth, Jerrod: (22.08.2004).www.ilounge.com/index. Using Party Shuffle (Retrieved: 11.07.2007). php/articles/comments/using-party-shuffle-in-itunes Shuhei:TheWalkman In: Music4 (1984), pp. 171-173. Hosokawa, Effect. Popular debole. Estetiche Walkman.Edited by Angela In: del Hosokawa,Shuhei:L'ascolto Ferraro Gabriele and 1990,pp. 81-109. Naples Montagano. Homoludens. Basel1938. Johan: Huizinga, Musicand the Huron,David: Sweet Anticipation. Psychology ofExpectation. Cambridge 2006.

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Marta Garcia Quifiones The Leander: CultofiPod.San Francisco 2005. Kahney, Anahid:Ubiquitous In: MusicStudies. Editedby David Kassabian, listening. Popular andKeith London2002,pp. 131-142. Negus. Hesmondhalgh Anahid:WouldYouLikeSomeWorld Musicwith Latte? twentiethIn: Kassabian, you music (2004),pp. 209-223. 2/1 century Steven:ThePerfect How theiPodShuffles and Commerce, Culture, CoolLevy, Thing. NewYork2006. ness. in Leonard Emotion B.: Meyer, Chicago1956. andMeaning Music. Music What 1999.www. Pachet, Sony Report Fran~ois: Listening: isintheAir? CSL Internal (Retrieved: 11.07.2007). csl.sony.fr/-pachet/documents/ActiveListeningCSLReport.pdf The Sonic Composition the City.In: The Auditory Culture Thibaud,Jean-Paul: of Edited Michael BullandLes Black.Oxford Reader. 2003. by TheTethered 2006. http://web.mit.edu/ Sherry: Turkle, Always-on/Always-on-you: Self. sturkle/www/Always-on%20Always-on-youThe%20Tethered%2OSelfST.pdf in: 11.07.2007).(forthcoming HandbookofMobileCommunications (Retrieved: Katz.Cambridge). and SocialChange. Edited James by I The iPod Shuffle: don'tget it (15.04.2005). www.cnet.com/4520Wood, Molly: (Retrieved: 11.07.2007). 60331-6209031-1.html

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