Digital technologies are transforming the lived experience of music in ways that may recon- figure relations between creators, mediators, and publics. Many uses of recorded popular music in the 20th century emphasized the canonical character of recordings rather than the performative nature of music making; it was no longer necessary to make music or be around musicians to hear music. Recently, digital technologies and their attendant creative practices have allowed for the reemergence of musical works as practices rather than objects. This article examines the experiences of musicians and audio technicians in a music technology program at a rural Canadian university.

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This article outlines the historical trajectories of cultural policy evolution in two provinces not often studied in Canada-Nova Scotia and British Columbia-to

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