This thesis is about research around Harkive, an online project designed by this researcher, which gathers stories, reflections, and other data from people about their everyday engagement with popular music. Since 2013, over 1,000 people have contributed to the project, producing around 8,000 texts and highlighting the music reception activities of contemporary music listeners. The thesis presents an analysis of the texts and other data generated, answering a key research question: What can an analysis of the data generated by The Harkive Project reveal about the music reception practices of respondents? To answer this question, the researcher developed an experimental, innovative approach that conceives of Harkive as a space in which people can reflect upon their engagement with music, whilst simultaneously acting as a place that is able to replicate many of the commercial practices related to data collection and processing that have recently emerged as influential factors in the ways that popular music is produced, distributed and consumed. By focusing on a set of findings about the way people reflect on their engagement with music within the Harkive space, this thesis engages practically and critically with these new conditions. Simultaneously, the research explores how the systems of data collection and analysis that facilitate this are technologically complex, subject to rapid change, and often hidden behind commercial and legal firewalls, making the study of them particularly difficult. This then enables us to explore how the use of digital, data and Internet technologies by many people during the course of their everyday lives is providing scholars with new opportunities and methods for undertaking research in the humanities, and how this in turn is leading to questions about the role of the researcher in popular music studies, and how the discipline may take into account the new technologies and practices that have so changed the field. Ultimately, the thesis makes the argument that a greater practical understanding and critical engagement with digital, data and Internet technologies is essential, both for music consumers and popular music scholars, and demonstrates how this work represents a significant contribution to this task.