Ellis Nathaniel Jones
- Popular music and the internet
- DIY, independent, and alternative music cultures
- Social media and subjectivity
- Cultural work and the cultural industries
- History of new media
Note: from January 2020 – January 2021 I'll be away from Oslo, visiting at the University of Western Ontario (thanks to an NFR Overseas Research Grant), but still working on the MASHED project.
My research focusses on the relationship between music cultures and the internet, and tends to draw on media and communication theory, as well as critical social theory and cultural studies, to elucidate contemporary issues across media, culture and society. My first book, DIY Music and the Politics of Social Media, will be published by Bloomsbury in January 2021. I've also published in journals including Popular Music, Popular Music and Society, Social Media and Society, and Media, Culture, and Society.
My PhD thesis, completed at University of Leeds' School of Media and Communication, and supervised by David Hesmondhalgh and Leslie Meier, explored the changing status of independent and alternative music scenes in the age of social media platforms. I have an MA in Music, Culture and Politics (Cardiff University), and a BA in English and Music (Oxford Brookes University).
- IASPM Andrew Goodwin Prize 2017
- HEA Associate Fellowship
DIY Music and the Politics of Social Media. Bloomsbury, 2021.
- Hesmondhalgh, D., Jones, E., Rauh, A., (2020). ‘SoundCloud and Bandcamp as Alternative Music Platforms’, Social Media + Society.
- Jones, E. (2019) 'DIY and Popular Music: Mapping an Ambivalent Relationship Across Three Historical Case Studies', Popular Music and Society.
- Jones, E. (2019) 'What does Facebook ‘afford’ do-it-yourself musicians? Considering social media affordances as sites of contestation', Media, Culture and Society.
- Jones, E. (2018). ‘Learning from inexperience: consumption “made strange” in the digital music economy’, Popular Music 37(3).
- Jones, E. (2014) ‘The Slow Sublime and 9/11: Insecurity and Fear in William Basinski’s “The Disintegration Loops”’, Music and Politics 8(1).