…the specific forms of active reception associated with pop music—and not its contents or noneconomic values—have become the new standard of its culture and industry. We no longer live in a society of spectacle but in one of participation. Active consumption—by so-called “prosumers”—are the bread and butter of contemporary sociability; the specific stubbornness of the fan, the permeability of the barrier between audience and stage—all essential components of the pop music culture of the last fifty years—are now standard staging formats. They are prescribed, they are hegemonic, they are stressful, and they drain energy from precisely those forces and forms of empowerment that pop music is normally thought to support. The musical utopia of economic valuelessness and the concept of a greater, noneconomic value then attach themselves to the logic of virtuosity—as Paolo Virno calls it—as a normative model of production, of labor without work.
–Diedrich Diederichsen in Music—Immateriality—Value