The latest episode of Télé-Québec's Méchant Contraste!
had sections on "Classical Music" in Quebec. Very à propos, isn't it?
Many issues to talk about. Regionalism, generation gaps, defining "culture," popularity, financing, training, history, cultural policy, etc.
Monday, January 29, 2007
Friday, January 26, 2007
Digital Music Linkfest
As usual, been reading several things on music in the digital era. Some of them are quite relevant to our discussions on the commodification of music (and its effects on a global stage), new business models for music, and musicking. Some links.
Record labels rethink digital rights management at Midem - International Herald Tribune
Record labels rethink digital rights management at Midem - International Herald Tribune
Universal exec - say goodbye to the old record co. | The Register
Indies unite to challenge Big Four digital deals | The Register
Universal music chief blasts Slashdot [printer-friendly] | The Register
Why Everyone Hates The Music Industry - E-business & Business Technology News by TechWeb
Conversation avec Jacques Attali: Ironie du virtuel
The more recent links in this list have to do with the Midem conference, which just happened in Cannes. Events like these abound but my hope is that this one marked an actual paradigm shift (in Kuhn's sense).Sunday, January 21, 2007
Biopiracy and Music
Just watched an Arte documentary on Biopiracy, Globalisation, Biodiversity, Patent Law, and Neo-colonialism called «Biopiraterie: une nouvelle forme de colonisation» (showing on Télé-Québec, the most anthro-friendly tv station around here!). Lots of fascinating comments providing a balanced view of the main issues from the perspective of articulate participants from Mexico, India, and Brazil.
The exemplary case was that of an indigenous strain of yellow beans from Mexico which has been patented and the U.S., with the patent owner requesting royalties on imported Mexican beans. The consensus among (agricultural and social) scientists is that such a case demonstrate abuse of the patent system (and the so-called "Intellectual Property").
All of this made me think about appropriation, by Euro-Americans, of musics from other parts of the world. This happens especially often with musics from Africa and South America. Often the arguments are less visibly economic than with biopiracy, but the effects are quite similar.
Some people see this as "stealing" a society's products. This approach is what I tend to call the "loaf of bread theory" as advocates often talk about "intellectual property" as if it were made of physical goods, like a loaf of bread. There are clear laws against stealing so these people tend to see increased coercion through law enforcement as the main solution.
Others think that stealing isn't the issue but what is at stake is that members of a given society are prevented by outsiders from using local products in ways which can benefit their own society as well as the world as a whole. I see myself as a member of the second camp.
The parallel with music? When, say, a German "recording artist" uses a sample from an unnamed singer in a remote village in the Niger Delta on a broadly successful album without giving anything back to anyone in West Africa, global inequalities and the dominant position of the Recording Industry mean that the performances of African musicians will be perceived partly through the German musician's albums. For the village singer, it may not mean that much and it's quite possible that she may use the German recording as a marketing device to start a career as a professional musician. But for other performers of the same musical items as well as for many people linked with local musics in Africa and elsewhere, it means that they enter the game with a loaded dice that they didn't choose.
A related perspective, in a blog entry on Biopiracy and Music Piracy:
Strains of life forms, like musical performances, should not be confused with commodities.
The exemplary case was that of an indigenous strain of yellow beans from Mexico which has been patented and the U.S., with the patent owner requesting royalties on imported Mexican beans. The consensus among (agricultural and social) scientists is that such a case demonstrate abuse of the patent system (and the so-called "Intellectual Property").
All of this made me think about appropriation, by Euro-Americans, of musics from other parts of the world. This happens especially often with musics from Africa and South America. Often the arguments are less visibly economic than with biopiracy, but the effects are quite similar.
Some people see this as "stealing" a society's products. This approach is what I tend to call the "loaf of bread theory" as advocates often talk about "intellectual property" as if it were made of physical goods, like a loaf of bread. There are clear laws against stealing so these people tend to see increased coercion through law enforcement as the main solution.
Others think that stealing isn't the issue but what is at stake is that members of a given society are prevented by outsiders from using local products in ways which can benefit their own society as well as the world as a whole. I see myself as a member of the second camp.
The parallel with music? When, say, a German "recording artist" uses a sample from an unnamed singer in a remote village in the Niger Delta on a broadly successful album without giving anything back to anyone in West Africa, global inequalities and the dominant position of the Recording Industry mean that the performances of African musicians will be perceived partly through the German musician's albums. For the village singer, it may not mean that much and it's quite possible that she may use the German recording as a marketing device to start a career as a professional musician. But for other performers of the same musical items as well as for many people linked with local musics in Africa and elsewhere, it means that they enter the game with a loaded dice that they didn't choose.
A related perspective, in a blog entry on Biopiracy and Music Piracy:
Whilst big industry is trying to fight an all out war against music piracy down to ruining individual students with well publicized court cases, big industry is opposing strenuously the declaration of the sources of genetic material.As explained by interviewees in Biopiraterie, this isn't much of a contradiction since multi-nationals are simply being greedy as they are wont to be (as even some CEOs admit).
Strains of life forms, like musical performances, should not be confused with commodities.
Monday, January 15, 2007
User-Gen and The Law
Speaking of Michael Geist, he wrote an interesting piece on what I tend to call the YouYear (the year, labeled by Business 2.0 and TIME as the year of the individual creator).
Michael Geist - The Policy Response to the User-Generated Content Boom
He emphasises the legal/policy issues, obviously, but it's also important to think about social implications of anyone being able to provide public access to their own creative content.
Michael Geist - The Policy Response to the User-Generated Content Boom
He emphasises the legal/policy issues, obviously, but it's also important to think about social implications of anyone being able to provide public access to their own creative content.
Canadian Consuming Music
A CBC write-up on the new copyright law:
Copyright law changes could leave consumers vulnerable
Law researcher Michael Geist is probably the most vocal legal commentator of "intellectual property" in Canada.
Copyright law changes could leave consumers vulnerable
Law researcher Michael Geist is probably the most vocal legal commentator of "intellectual property" in Canada.
Thursday, January 11, 2007
Music and Development
What do you all think about this project? Connecting music with development.
Tune Your World :: calabashmusic.com
Calabash Music is an online music store specialised in music from outside of Euro-America. Their financial model is linked with the fair trade movement.
Tune Your World :: calabashmusic.com
Calabash Music is an online music store specialised in music from outside of Euro-America. Their financial model is linked with the fair trade movement.
Posting Comments
Oops!
I had set this blog up so that only registered Google users could comment. Comments are now open to anyone. If there's abuse, I'll close it up but register all students in my ANTH398D class.
I had set this blog up so that only registered Google users could comment. Comments are now open to anyone. If there's abuse, I'll close it up but register all students in my ANTH398D class.
Friday, December 22, 2006
Improvisation Research
A whole special issue of Contemporary Music Research on improvisation. Looks interesting.
Friday, December 08, 2006
Music References
A quick list of some online resources on music through the University's libraries.
The Grove Music Online is a well-known general reference on music. It can be useful to look up some musical terms, get some information about genres or search for specific musicians (especially in Jazz and Classical genres)
Direct access: http://0-www.grovemusic.com.mercury.concordia.ca/index.html?authstatuscode=200
The Music Index Online is an index of music journals by author and subject. It has apparently been greatly improved last February.
Direct access: http://0-www.hppmusicindex.com.mercury.concordia.ca/brs/hpplogin.jsp
RILM stands for «Répertoire international de litérature musicale» but it's known, in English, as "Abstracts of Music Literature." It's a very extensive database for all references having to do with music, from dissertations and books to journal articles.
Direct access: http://0-search.ebscohost.com.mercury.concordia.ca/login.aspx?authtype=ip,uid&profile=ehost&defaultdb=rih
Concordia has access to the full JSTOR III collection, which includes many full-text articles on music.
Direct access: http://0-www.jstor.org.mercury.concordia.ca/
In all cases, you can access the databases from campus or from an off-campus connection with your library login information (barcode and PIN).
Audrey Laplante is the subject librarian for music.
The Grove Music Online is a well-known general reference on music. It can be useful to look up some musical terms, get some information about genres or search for specific musicians (especially in Jazz and Classical genres)
Direct access: http://0-www.grovemusic.com.mercury.concordia.ca/index.html?authstatuscode=200
The Music Index Online is an index of music journals by author and subject. It has apparently been greatly improved last February.
Direct access: http://0-www.hppmusicindex.com.mercury.concordia.ca/brs/hpplogin.jsp
RILM stands for «Répertoire international de litérature musicale» but it's known, in English, as "Abstracts of Music Literature." It's a very extensive database for all references having to do with music, from dissertations and books to journal articles.
Direct access: http://0-search.ebscohost.com.mercury.concordia.ca/login.aspx?authtype=ip,uid&profile=ehost&defaultdb=rih
Concordia has access to the full JSTOR III collection, which includes many full-text articles on music.
Direct access: http://0-www.jstor.org.mercury.concordia.ca/
In all cases, you can access the databases from campus or from an off-campus connection with your library login information (barcode and PIN).
Audrey Laplante is the subject librarian for music.
Brain On Music
There's a nice website for Dan Levitin's book This is Your Brain on Music. The Science of a Human Obsession. I wanted to have part of this book required for the ANTH398D course but, for several reasons, I replaced it with Ian Cross's discussion of the evolutionary impact of music. Levitin's book may still be an entertaining read and his site is full of interesting bits about music from a rather broad perspective (that of both a professional musician and a psychology prof).
Music References, RefWorks
Anyone in the worldGood news! The whole Concordia community now has access to the very comprehensive RILM Abstracts of Music Literature database. That database is available through both on- and off-campus connections. It contains a remarkable number of references in most fields of music study, including most articles and books written in the anthropology of music, ethnomusicology, and comparative musicology. One of the nicest things about some of the newer bibliographic resources is that they are directly integrated with the RefWorks online reference manager (think Endnote or ProCite on the Web, only better). Concordia has a site license for RefWorks which means that any member of the Concordia community can set up RefWorks accounts, add references directly from online databases, including Google Scholar (it's especially easy from campus but can be done from other connections), and share references with the outside world. I've been posting a number of ethnomusicology and anthropology of music references through that functionality. Very useful!
Saturday, October 15, 2005
Placeholder
Thought about creating a blog for some courses I'm teaching or will be teaching. This one will be (at least initially) for an ethnomusicology course to be taught at Concordia University (in Montreal) during Winter semester 2006.
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