Ethnomusicology in the Virtual Era: Questioning the ‘Ethnos’ Concept in Online Music Communities

Abstract

This journal presents a philosophical critique of applying the classical ethnomusicological concept of "ethnos" which traditionally refers to cohesive socio-cultural groups rooted in specific locations to online music communities. Ethnomusicology has long emphasized music as embedded in culture, relying on fieldwork and direct social interaction. But with the rise of digital spaces social media, streaming platforms, and online forums new musical collectives have emerged that challenge these assumptions. Online communities often transcend geographic and ethnic boundaries, and are marked by features such as fragmentation, anonymity, pseudonymity, algorithmic mediation, and fluid identities.The study questions whether the “ethnos” concept remains suitable in this digital context. It adopts a theoretical critique by integrating Derrida’s deconstruction, Nancy’s ontology of “being-with,” and contemporary theories like Network Theory and Post-humanism. These frameworks are used to analyze the characteristics of virtual music communities as discussed in existing literature.The analysis reveals a deep dissonance: digital formations tend to be unstable, dispersed, and co-constructed by non-human agents such as algorithms. Their temporality is often transient, identities are multiple and shifting, and the boundaries between the global and local are increasingly blurred. These qualities contrast sharply with the traditional assumptions of coherence, stability, and human-centered agency in the “ethnos” framework.The paper argues for the need to develop new conceptual tools such as affective or inoperative communities, algorithmic publics, and networked collectivities and calls for broader interdisciplinary dialogue. Ultimately, it suggests that rethinking foundational categories is vital for ethnomusicology to remain responsive in a digitally interconnected world.