How we work there? The new days of the music research
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The technological revolutions of the last decades have changed the way we create, interact, share and sell music. Today, cyberspace is an integral part of everyday life of the people, where people taken on specific behaviors have specific characteristics, as much as it assumes a transformative effect on the agents and products. In this new field, music has acquired new forms of representation, meaning and practice, leading to the building of on-line communities/networks or other models of artistic sharing understood as a fundamental tool in the self-promotion of independent artists or as a vehicle interaction and sharing with colleagues, fellow and fans. The sociological, ideological and identity metamorphisms resulting from all these transformations lead to change the characteristics of the traditional ethnomusicological paradigm. Faced with all these challenges it is important to think and propose new lines, procedures, techniques and proper ethnomusicological research postures to the specific characteristics of this new field of work. The challenge of the current research in music is to re- imagine the fieldwork and to find how we work there. Considering the marked objectives and based in epistemological contributions of Lysloff (2003), Cooley, Meizel and Syed (2008), this paper aims to contribute to the discussion and reflection of musicological research process by offering suggestions and basic guidelines for its development and applicability in underground scenes and DIYcultural practices in virtual space.
