Technology and Ownership amongst “World Music” Practitioners: Ongoing Debates in a Globalizing World
Keywords:music industries, neoliberalism, ownership, studio practice, technoculture
The Introduction to the special issue identifies the overarching themes that frame the collection of articles within the volume. The actions and creations of musical practitioners not only demonstrate how technology is an integral part of the creative process, but also how different cultural circumstances create widely divergent attitudes towards musical ownership. In addition, the very nature of technology itself calls into question just what it is that is “owned”. Different stories from different cultural contexts reveal ongoing anxieties associated with technology and ownership. These stories demonstrate how, in a globalizing world, conventional notions of creative practice and ownership are concepts that are increasingly destabilized by musical practice itself.
Berge, Ola K. and Mats Johansson. 2014. “Who Owns an Interpretation? Legal and Symbolic Ownership of Norwegian Folk Music”. Ethnomusicology 58/1: 30–53. http://dx.doi.org/10.5406/ethnomusicology.58.1.0030
Biddle, I. and Vanessa Knights. 2007. “Introduction: National Popular Musics: Betwixt and Beyond the Local and Global”. In Music, National Identity and the Politics of Location: Between the Global and the Local, edited by I. Biddle and V. Knights, 1–18. Aldershot: Ashgate.
Bockstedt, Jesse C., Robert J. Kauffman and Frederick J. Riggins. 2006. “The Move to Artist-Led On-Line Distribution: A Theory-Based Assessment and Prospects for Structural Changes in the Digital Music Market”. International Journal of Electronic Commerce 10/3: 7–38. http://dx.doi.org/10.2753/JEC1086-4415100301
Born, Georgina and David Hesmondhalgh. 2000. “Introduction: On Difference, Representation, and Appropriation in Music”. In Western Music and its Others: Difference, Representation, and Appropriation in Music, edited by Georgina Born and David Hesmondhalgh, 1–58. Berkeley and Los Angeles: University of California Press.
Chang, Vanessa. 2009. “Records that Play: The Present Past in Sampling Practice”. Popular Music 28/2: 143–59. http://dx.doi.org/10.1017/S0261143009001755
Dong, Xue “Snow” and Jayakar Krishna. 2013. “The Baidu Music Settlement: A Turning Point for Copyright Reform in China?” Journal of Information Policy 3: 77–103. http://dx.doi.org/10.5325/jinfopoli.3.2013.0077
Dor, George. 2004. “Communal Creativity and Song Ownership in Anlo Ewe Musical Practice: The Case of Havolu”. Ethnomusicology 48/1: 26–51.
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Greene, Paul D. 2005. “Introduction: Wired Sound and Sonic Cultures”. In Wired for Sound: Engineering and Technologies in Sonic Cultures, edited by Paul D. Greene and Thomas Porcello, 1–22. Middletown, CT: Wesleyan University Press. http://dx.doi.org/10.9783/9780812202090.1
Homan, Shane. 2010. “Dancing without Music: Copyright and Australian Nightclubs”. Popular Music and Society 33/3: 377–94. http://dx.doi.org/10.1080/03007760903086177
Knowles, Julian and Donna Hewitt. 2012. “Performance Recordivity: Studio Music in a Live Context”. Journal on the Art of Record Production 6 (June 2012). http://arpjournal.com/1929/performance-recordivity-studio-music-in-a-live-context/ (accessed 10 February 2015).
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Lysloff, René T. A. and Leslie C. Gay, Jr. 2003. “Introduction: Ethnomusicology in the Twenty-first Century”. In Music and Technoculture, edited by René T. A. Lysloff and Leslie C. Gay, Jr, 1–22. Middletown, CT: Wesleyan University Press.
Manuel, Peter. 2010. “Composition, Authorship, and Ownership in Flamenco, Past and Present”. Ethnomusicology 54/1: 106–35. http://dx.doi.org/10.5406/ethnomusicology.54.1.0106
Mills, Sherylle. 1996. “Indigenous Music and the Law: An Analysis of National and International Legislation”. Yearbook for Traditional Music 28: 57–86. http://dx.doi.org/10.2307/767807
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Théberge, Paul. 2003. “‘Ethnic Sounds’: The Economy and Discourse of World Music Sampling”. In Music and Technoculture, edited by René T. A. Lysloff and Leslie C. Gay, Jr., 93–108. Middletown, CT: Wesleyan University Press.
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Williamson, John and Marin Cloonan. 2007. “Rethinking the Music Industry”. Popular Music 26/2: 305–22. http://dx.doi.org/10.1017/S0261143007001262
Young, Sherman and Steve Collins. 2010. “A View from the Trenches of Music 2.0”. Popular Music and Society 33/3: 339–56. http://dx.doi.org/10.1080/03007760903495634
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