Music has always been at the forefront of techno-cultural change. This is perhaps due to the integral relation and recursive development of musical expression and music technology. This paper argues that the emerging dynamic of production and distribution of music are the forbears of a massive diffusion of knowledge production and dissemination. I argue that examples like social music website Last.fm auger significant shifts in the university sector. Those institutions capable of harnessing the pedagogical and research dynamism promised by models such as last.fm will thrive while those who insist on the traditional 'walled garden' approach to pedagogical, research, and information architectures will flounder. I argue that Last.fm effectively instrumentalizes the trace of a bodies movements through information. The Last.fm system then uses this data as the basis for a dynamic networking of 'resonant' bodies. The aims of both pedagogy and research are similar in nature to those of music distribution systems; the realization of a qualitative difference in the body of the listener/research/student (whatever the particular case may be). My paper reads differing models of music distribution, Last.fm, Jamendo, and Pandora as systems of knowledge production and dissemination and compares them with contemporary institutional approaches to the design of pedagogical, research and information architectures.
Keywords: Music, Pedagogy, Research, Social Media, Networks, Media, Informatics
PhD Candidate & Associate Lecturer, English Media and Performing Arts, University of New South Wales