原書通過從「消費」到「生產」的主題倒敘，對數位音樂產業中的各個環節、元素以及主體進行研究和反思。作者認為，音樂在當今時代已經超越了原有的音符聽覺效果，呈現出另一種社會維度的打破、雜糅和衝突。盜版文化是社會新經濟結構和新技術發展所帶來的對舊有結構的打破，不能用「違法」來進行簡單統述，並提出了文化意義上「音樂福利國家」的解決方案，為人們思考數位音樂的未來提供了一條全新的思路。觀點有啟發性，可讀性強。本書對數位音樂的技術、內容、產制等社會特徵（尤其是對在線串流音樂的特殊性）進行了全面而充分的闡釋與研究，貢獻了音樂社會學領域中較新的議題、角度和結論，同時，深挖其社會經濟的面向。而且，挪威音樂發展的特殊性，及其在數位音樂中所反映出來的特殊國家類型（北歐高福利國家）的社會、經濟、文化特性，也豐富了音樂社會學的研究內容，可以提供給學界更多的參考。

Through flashbacks of themes from “consumption” to “production”, the original book studies and reflects on all aspects, elements and subjects of the digital music industry. The author believes that music has gone beyond the original auditory effect of musical notes in today's era, presenting another social dimension of breaking, mixing and conflict. The culture of piracy is the breaking of the old structure brought by the new economic structure and the development of new technology in society, which cannot be simply described by “illegal”. The solution of “music welfare state” in the cultural sense is put forward, which provides a new way for people to think about the future of digital music. The ideas are enlightening and readable. This book provides a comprehensive and thorough explanation of the social characteristics of digital music, including its technology, content and production (especially the particularity of online streaming music), contributing newer issues, perspectives and conclusions in the field of music sociology, and exploring its socio-economic aspects. In addition, the particularity of Norwegian music development and the social, economic and cultural characteristics of the special national type (the Nordic high welfare state) reflected in digital music also enrich the research content of music sociology, which can provide the academic circle with more references.