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Archive for 2012|Yearly archive page

Embracing Randomness

In My Work on May 19, 2012 at 10:00 pm

As of late, an unlikely but inter-connected series of projects and pursuits have gotten me buried deep in all the things I really love to do. They’re community-based and local projects, I’m creating and executing research and business plans, making music and writing copy. Sometimes I look at my “To Do” list and think to myself how strange an wonderful to find such unlikely variety and unity across all the items.

Between now and the end of the year, I hope to share the results of the work that keeps me from writing too much for this blog. I am still writing, just in-progress and behind the scenes pieces that isn’t intended for public consumption. My plan is not linear, but interconnected in a way that makes it hard for me to articulate how they actually fit together. Perhaps I will write about the “eureka” moments that I experience (I have some in mind already from the interviews I’m doing for the Business of Music research). Perhaps from the random posts you will piece together a bigger picture of about what I’m working on.

The present is marked by feelings of excitement and anxiety and also of doubt as to whether I can actually make things happen; all the typical response we experience when we try something new. This feeling is familiar. I felt it on the first day I showed up for classes at the Faculty of Music, the first time I presented a paper at a conference, the first time I had to negotiate my wage. Right now, it also feels like a productive randomness, and I hope once I make some progress, I can look behind me and tell you retroactively what it was I was trying to do.

Until then, I will be busy embracing it.

BFE 2012

In My Work on May 3, 2012 at 2:37 pm

Greenwich UK
(Where did April go? A much belated post. More general update to come. Photo courtesy my cousin Paul, taken at Greenwich on the day the clock sprang forward.)

My trips to the UK for the British Forum of Ethnomusicology is turning into a bit of an annual pilgrimage. The attendees are from all parts of Europe and beyond, and it is three days of ideas, conversations, and mingling with an inspiring group of people. Technology makes reaching out to people around the world much easier, but nothing seems to beat just one face-to-face interaction in terms of establishing rapport, and connecting a voice and a face to a name.

One idea being kicked around as a result of the conference involves looking at the ethics of preserving and ‘returning’ ethnographic research data, as a way to start articulating the different concerns researchers have when deciding what to do with their research data. The common response is, of course they want to share my work, but there are fundamental economic and ethical considerations with no easy solution. Each researcher seem to be dealing with challenges that are specific to their circumstances, but it is probably useful to have a way of conceptualizing the problem into a framework that can be broadly applied. There were also related conversations about how to design a platform to solicit and disseminate research beyond papers, and encourage the use of multimedia in research publication.

All things close to my heart, even though the people that I’m connecting with may be geographically a little further away.

The Business of Music

In music-esque on March 14, 2012 at 3:10 pm

(Photo from a CBC blog post on unlikely classical music venues, featuring members of the Blythwood Winds.)

Once upon a variety of times in Western history, making a living as a musician was a reasonably straight forward affair. There were employment opportunities at opera houses, concert halls, churches, and schools. There were patrons of the arts who would commission new creations, and publishers who would canonize them. The musical training classical musicians receive today are based on very similar assumptions. That is, there are employment opportunities out there, as long as you are a well trained musician of the western classical tradition.

Today, musicians seem to lament the disappearance of those good old days, and struggle to navigate the latest social media technology that allows them to freely and economically reach out to an audience. They try every free service out there that promises to help them get hired. Some are lucky to have access to that kind of know-how in their network, or just have an intuitive understand of how it works. Others grapple with the proper balance of their time to their musical craft, and improving their bottom line.

Regardless of the era we find ourselves in, the principle of supply and demand will always play a role in how people decide to make a living. Seeing as we no longer live in a world where people go to operas as a pass time, classical trained musicians are hung out to dry with a rude awakening after they graduate; After many years of hedging a bet that they will ‘make it’, they noticed the world is changing quickly, and classical music has a heck of a lot more things to compete with as a pass time, with fewer and fewer secured employment opportunities when performing organizations prefer to stay nimble and flexible. Not that their teachers are addressing these real-life issues—that will be their own problem to solve once they get out there as professionals.

The concerns are familiar. The responses to these challenges? Not so much.

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