This is the final version of a chapter I wrote for an edited volume that can be cited as follows: Hagen, Anja Nylund (2016). Streaming the Everyday Life, In Raphaël Nowak & Andrew Whelan (eds.), Networked Music Cultures. Contemporary Approaches, Emerging Issues. Palgrave Macmillan. ISBN 978-1-137- 58289-8. Chapter 14. Streaming the Everyday Life Anja Nylund Hagen (University of Oslo) Introduction: Among contemporary music audiences, the use of music-streaming services has become an increasingly popular everyday activity. 1 In Norway, where this study is conducted, seven out of ten people access one of the two major services, Spotify and WiMP Music/Tidal (TNS Gallup, 2015). 2 Revenues from various music-streaming services counted for as much as 81 per cent of the total music sales in Norway in the first half of 2015 (IFPI Norge, 2015). Music streaming hence provides a good starting point for studying individual music experiences and how listening achieves meaning in the digital realm of networked music cultures. Nevertheless we know little about how everyday streaming unfolds and how music is listened to on these services. In this chapter I therefore discuss how music streaming takes place in the everyday life of individual listeners. By exploring dedicated streaming-users’ practices and experiences with music-streaming services, characteristic user-technology involvements will be revealed in light of what this listening format invites in diverse contexts. Further, I go on to discuss how the uses of music-streaming services influence listeners’ relationships with music. The study connects with previous research on individual music listening, conducted with emphasis on how people handle and experience their listening technologies (for example Bull, 2000; Williams, 2007) and how music in everyday life conveys meaning according to the listening context (DeNora, 2000; Hennion, 2012). It also follows up the identification of a missing link, between music experiences and material studies in analyses of everyday music reception (Nowak, 2014). The study specifically provides empirical understanding of music experiences derived from an online technology, applied on personal media devices. The