Author

Diffusing Music: Trajectories of Sonic Democratization 

This book explores the diffusion and democratization of music in our current era through the proliferation of digital technologies. Music has become ubiquitous and increasingly intertwined with everyday life, rendering previous models of creation, performance, and consumption obsolete. Neill explores how technology is reshaping music, enabling unprecedented levels of creativity and transforming how we share and experience sound. From digital tools that let anyone become a music maker to AI systems that write, mix, and master songs, Neill breaks down how these advancements empower creators and reshape the relationship between artists and audiences. Part history, part personal story, and part look at what’s next; Diffusing Music is a must-read for anyone curious about the future of music.

As both a creator and a chronicler of music’s ongoing transformation, Neill brings unparalleled expertise to this timely exploration of the art form. Diffusing Music provides a valuable resource for those seeking to understand and navigate the industry with a clear and informed perspective and offers an accurate consideration of this field’s present and future.

Bloomsbury Press website

PRAISE FOR DIFFUSING MUSIC

“Many musicians are afeard of the encroachment of new distribution patterns and technologies (AI in particular) into our art, but Ben Neill strides into the future boldly, contextualizing them as extensions of historical processes that have been going on for centuries. He notices the pitfalls and dangers, but his stellar career as a postclassical/ambient crossover artist gives him the vantage point to weave the current cacophony of musical practices into a joyous free-for-all in which anyone can participate.” Kyle Gann, Professor of Music, Bard College, US, and author of Charles Ives’s Concord: Essays after a Sonata (2017)

“This is an essential book, discussing democratization of music from a historical perspective, as well as looking at its likely future effects on production and consumption of music. Written in a clear, simple language, it should find itself on a shelf of everybody interested in music and its interface with technology and social life.” Ewa Mazierska, Professor of Film Studies, University of Central Lancashire, UK