The MIR community faces unique challenges in terms of data access, due in large part to country-specific copyright laws. As a result, there is an emerging divide in the MIR research community between labs that have access to music through large companies with abundant funds, and independent labs at smaller institutions who do not have such expansive access. This paper explores how independent researchers have worked to overcome limitations of access to music data without contributing to the crisis of reproducibility. Acknowledging that there is no single solution for every data access problem that smaller labs face, we propose a number of possibilities for how the MIR community can bridge the gap between advancements from large companies and those within academia. As MIR looks towards the next 20 years, democratizing and expanding access to MIR research and music data is critical. Future solutions could include a distributed MIREX system, an API designed for MIR researchers, and community-led advocacy to stakeholders.
Drawing on Erving Goffman's microsociology, this article explores the networking of music streaming technologies and their convergence with social media. Acts of privatized music listening that were once seamlessly secluded in back regions like the home and therefore removed from the view of others can now become presented more widely in front region contexts. Reporting on in-depth qualitative interviews with users of music streaming and how they perceive their musical listening has been altered, I investigate some of the affordances of streaming as it contributes to an unravelling or collapsing of demarcations between front and back region activity. As a result, users of streaming services describe how they become mindful of how they undertake their music listening and how these technologies consequently require careful management.
The sociopolitical implications of contemporary music are investigated with self-administered questionnaire data pertaining to the political orientations, music involvement & musical preferences of 730 Coll students. Although not a probability sample, sample statistics indicate a demographic diversity generally representative of US Coll students. Political orientation is measured with a summated scale consisting of 4 Likert-format items pertaining to attitudes toward political & social change. Trichotomized into liberal, moderate, & conservative, political orientation is validated by its strong relationship to political party preference. 4 indices of involvement with music are used: (1) f of attendance at recent rock or popular music concerts; (2) number of records & tapes recently purchased; (3) usual amount of record or tape listening; & (4) usual amount of radio listening. Each index is trichotomized into high, medium, & low involvement with music. Musical preferences are assessed by Likert-format items pertaining to liking of each of 9 musical styles. These preferences are validated in a pilot study that indicates strong & appropriately patterned relationships between Likert-item preferences & liking of representative musical selections that are played. Data analysis uses percentage distributions & gamma coefficients. Liberalism is positively related to attendance at rock concerts, record, & tape purchasing, & record & tape listening; liberalism is negatively related to radio listening. The relationships are maintained when controls are introduced for sex, class-year, hometown size, family income, & father's education. Liberalism is negatively & fairly strongly associated with liking of current popular hits & easy listening music; liberalism is positively but weakly associated with liking of rock music, country & western, & classical music; liberalism is positively & fairly strongly related to liking of jazz, folk music, blues, & protest music. These patterns are also generally maintained after introduction of demographic control variables. The analysis suggests that contrary to many mass society theorists, contemporary music does have significant political elements, although the range & diversity of musical styles requires specification of the direction & strength of these political elements. AA.
This article discusses the post-Independence trajectory of North India's oldest extant classical music festival. Processes of modernisation and nationalisation transformed the Harballabh festival into a professionally organised concert, with little resemblance to the fair or 'Rāg Melā' it used to be. I demonstrate the tension between the 'modernisation' begun by Ashwini Kumar post-1948 and a subtle though unmistakable 'Hinduisation' championed by other middle-class organisers. Kumar's attempts during the 1950s and 1960s to shape a new, disciplined audience, schooled in practices of rapt listening, were also in direct contrast to conceptions about 'restive' and rustic Punjabi audiences. The article raises larger questions about the cultural politics of music performance in postcolonial India by focusing on the shifting character of middle-class cultural patronage, the tussle between traditional and modern formats of music festival organisation and the complicated division of public space along secular/sacred axes.
A valuable and distinctive contribution to the penumbra debate, refreshingly shedding light on some of the clichés of copyright, and alerting readers to the extra-legal factors that cannot be ignored in any socially-embedded study of copyright' - Stuart Hannabuss, Aberdeen Business School. 'Bootlegging is a smart, provocative and highly readable analysis of the high theory and low practices of music copyright and its transgressors. It is most refreshing to read a sociological analysis of a topic usually left to lawyers and industry apologists. An essential book for anyone who wants to understa
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The MIR community faces unique challenges in terms of data access, due in large part to country-specific copyright laws. As a result, there is an emerging divide in the MIR research community between labs that have access to music through large companies with abundant funds, and independent labs at smaller institutions who do not have such expansive access. This paper explores how independent researchers have worked to overcome limitations of access to music data without contributing to the crisis of reproducibility. Acknowledging that there is no single solution for every data access problem that smaller labs face, we propose a number of possibilities for how the MIR community can bridge the gap between advancements from large companies and those within academia. As MIR looks towards the next 20 years, democratizing and expanding access to MIR research and music data is critical. Future solutions could include a distributed MIREX system, an API designed for MIR researchers, and community-led advocacy to stakeholders.
What happens to a composer when persecution and exile means their true music no longer has an audience? In the 1930s, composers and musicians began to flee Hitler's Germany to make new lives across the globe. The process of exile was complex: although some of their works were celebrated, these composers had lost their familiar cultures and were forced to navigate xenophobia as well as entirely different creative terrain. Others, far less fortunate, were in a kind of internal exile-composing under a ruthless dictatorship or in concentration camps and ghettos. Michael Haas sensitively records the experiences of this musical diaspora. Torn between cultures and traditions, these composers produced music that synthesized old and new worlds, some becoming core portions of today's repertoire, some relegated to the desk drawer. Encompassing the musicians interned as enemy aliens in the United Kingdom, the brilliant Hollywood compositions of Erich Wolfgang Korngold, and the Brecht-inspired theater music of Kurt Weill, Haas shows how these musicians shaped the twentieth-century soundscape-and offers a moving record of the incalculable effects of war on culture.
In this article, I analyze the social and cultural trends from within the music scene that counter challenges the moderate and extreme right. This music centers on the issue of ethnic exclusivity and aggressively insists on accepting Germany as a diverse society, however uncomfortable a fit that may still be for many. Certain bands and musicians move from politics to identity politics, in an attempt to generate a discourse about racism and national identity. By foregrounding the contingent relationship between citizen and nation, bands like Advanced Chemistry destabilize any naturalized or motivated link between self and state. Songs like "Fremd im eigenen Land" dismantle any proprietary relationship between German ethnicity and entitlement to the rights of citizenship. An image of a new Germany emerges that insists on the political acceptance of diversity. Nevertheless, this vision is subject to the pressures of reality: Germany is not by any stretch of the imagination a hate-free zone. Structured in part by responses to alienation within Germany, as well as by imported musical forms of male affinity, some bands, rappers, and musicians are organizing themselves into new fraternities. While criticizing or rejecting certain Americanized clichés of masculinity, the bands I discuss look beyond the caricatures of yuppies and cowboys to different models.
Royalty collection and distribution are very important so far as ownership of creative works is concerned. Similarly, there is an upsurge of pirating of music productions in Ghana. These acts present a challenge for most musicians, especially, those who do not have any education on royalties; its collection and distribution as far as economic advantage of their creative works is concerned. This paper investigates the state of royalties in the music industry in Ghana and highlights some of the factors responsible for pirating many music productions in Ghana. Interview was used to garner data from three (3) purposively sampled members of Ghana Music Right Organization (GHAMRO). It was revealed that the extent of royalty payment law enforced in Ghana is minimal and the Ghana music right organization is the body licensed by the government for the collection and distribution of royalties. However, this body is constrained with software and log-in systems to enable them enforce the law in Ghana for the collections and distributions of royalties. It is envisaged that when the Ghana music right organization is resourced with the needed apparatus, all musicians will be educated to register with the organization so as to receive royalties that would reduce the rate of pirating of such property in Ghana.
The Politics of Diversity in Music Education attends to the political structures and processes that frame and produce understandings of diversity in and through music education. Recent surges in nationalist, fundamentalist, protectionist, and separatist tendencies highlight the imperative for music education to extend beyond nominal policy agendas to critically consider the ways in which understandings about society are upheld or unsettled and the ways in which knowledge about diversity is produced. This chapter provides an overview of the scholarly foundations that this book builds upon before introducing the four sections of the book and contributing chapters. The first section of the book focuses on the politics of inquiry in music education research. The second section attends to the paradoxes and challenges that arise as music teachers negotiate cultural identity and tradition within the political frames and ideals of the nation state. The third section considers diversities that are often overlooked or silenced, and the final section turns to matters of leadership in higher music education as an inherently political and ethical undertaking. Together, chapters work towards a more critical, complex, and nuanced understanding of the ways in which the politics of diversity shape our ideals of what music education is, and what it is for.
"Display on Display: Migrating Identities in Contemporary Francophone Literature and Music" examines Francophone cultural works of the twentieth and twenty-first centuries that grapple with constructions of sub-Saharan African immigrant identity in France. Its cultural studies methodology responds to a current lacuna in traditional philology-based literary studies that divorces literary expression from its wider cultural context, bringing to the fore questions of corporeality, history, and identity formation. The texts this project analyzes--broadly defined to include literature, music, fashion, dance, and visual art--lay bare the ways in which articulations of alterity, paradoxically, helped to solidify images of Frenchness. The works, I argue, critique rigid notions of identity in two principal ways. The texts examined in the first half of this study--by Didier Daeninckx, J. R. Essomba, Salif Ke�ta, and Me�way--call into question how 1990s French political discourse ignored the ways in which the larger histories of colonization and the slave trade laid the foundation for contemporary migratory pathways. By resuscitating these historical moments in conjunction with sub-Saharan African immigration, the works call into question immigrants' exclusion from historically-based notions of national identity. Yet by associating the black body with these historical moments, these works risk suggesting that there exists a homogeneous black community in France that would share such histories. In the second half of this study, thus, I turn to more recent works by Alain Mabanckou and L�onora Miano that both establish and question the existence of a black community in France (and its relationship to diaspora and origin), scrutinizing the criteria upon which such a community would be based. Each of the works selected for this study also exposes how specters of the borders the immigrant figures cross are remapped onto the landscape in which cultural objects (including the texts themselves) circulate. Keenly attuned to the generic classifications--"Francophone," "world music," and "African immigrant literature," among others--that package them and their authors, the works (just like this project) ultimately seek to transcend such disciplinary boundaries.
