Abstract

Three myths about the effects of technology on the field of culture are analyzed in this chapter, considering the system of the music industries as a typical case. The "technomythology" examined includes the hypotheses about the emancipation of the authors and the public, the democratization of the production and consumption of culture, and their disintermediation.

These hypotheses are discussed in the context of globalization and the policies to address the current crisis. They are also discussed in the context of the utopian views about the effects of technology. Highlighting the interactions among technology, economy and politics in the field of musical culture, the paper takes into account the terms and conditions for the production and circulation of cultural goods brought about by globalization and the dominant policies.

The hypotheses under discussion, were tested using a network analysis of the international trade of musical content and music hardware and an analysis of longitudinal data. The plethora of research on the effects of technology on the asymmetries, inequality, and contradictions within societies, was also taken into account.

Based on these data, the analysis suggests that the heteronomy of music as a social field rather than restricted, it tends to expand. This is a development with several important consequences on multiple levels and with negative effects, especially in less developed countries, like Greece.