As researchers such as Walter Ong, Paul Zumthor, Mark Katz, and Anne Dhu McLucas have underlined, the use of audiovisual technology has had repercussions on the production, reception, and transmission of oral tradition. Drawing on Paul Zumthor’s "mediatized orality", a term he coined to depict the abovementioned phenomenon, this dissertation elaborates the concept of "mediatized orality 2.0", in which orality is remediated through the Web. Through interviews with musicians and other participants in the tradition, as well as virtual ethnography, this study articulates this new concept around Louisiana Cajun and Creole music. As such, I investigate the changes brought forth by some inherent features of the Web, such as dematerialization, acceleration of deterritorialization and virtual social interactions, automatization, and algorithmic computation. These everevolving changes have impacts on the contextualization of orality, on memory and heritage, and on attention and involvement of various participants in oral tradition. Technology has become an essential tool, for which a critical approach is necessary. Through the case study of Cajun and Creole music, this dissertation represents an attempt to understand the emerging challenges in regard to orality at large, and the connected world we live in.