This article examines ongoing efforts to associate the decline of the modernist electroacoustic music tradition with the rise of digital technologies. Illustrative material is drawn from ethnographic and archival fieldwork conducted in 2011 and 2012 in the Canadian city of Montreal. The author surveys examples of institutions, careers, performances and works showing how the digital is brought into the ideological service of existing musical orders and power structures by musicians, policy-makers and other intermediaries. Drawing upon the social theories of Pierre Bourdieu and Georgina Born, as well as on contemporary media theory, the author argues that accounts of the disruptive agency of digital mediation are incomplete without a corresponding attention to the complex cultural mechanisms by which it is kept under control. What is at stake in the transformation of Montreal's electroacoustic tradition is not a collapse so much as a further remediation of modernist social and aesthetic principles.

中文翻译：

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修复现代主义：蒙特利尔电声传统的数字化终结

本文探讨了将现代主义电声音乐传统的衰落与数字技术的兴起联系起来的持续努力。说明材料取自 2011 年和 2012 年在加拿大蒙特利尔市进行的民族志和档案实地调查。作者调查了机构、职业、表演和作品的例子，展示了数字如何被音乐家、政策制定者和其他中介机构带入现有音乐秩序和权力结构的意识形态服务中。借鉴 Pierre Bourdieu 和 Georgina Born 的社会理论以及当代媒体理论，作者认为，如果没有相应地关注控制它的复杂文化机制，对数字媒体破坏性机构的描述是不完整的.