This chapter focuses on how our formation as subjects in a media culture affects what can be said about music. It addresses questions about technology: how do various communications media — technologies, from the book to the computer, that store, transmit, or process symbols, images, and sounds — affect what can be said about music? How do such media, by creating new modes of thinking, perceiving, and feeling, new ways of conceptualizing time, space, memory, and ourselves, change the frameworks within which musical research operates? The works of Eugene Narmour and Wayne Koestenbaum are analyzed.
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