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Posts Tagged ‘ethnomusicology’

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.

JHI: Music in Mass Performance

In My Work on May 4, 2011 at 9:31 pm

The Jackman Humanities Institute (JHI) is home to cross-discipline research groups who run symposiums and lectures that are opened to the public. Martin Stoke’s keynote at this event caught my eye, and I had a chance this past Friday and Saturday to meet some new and familiar faces in the ethno department at Faculty of Music. Ken McLeod and Joshua Pilzer were gracious hosts and gathered together a small but dynamic group of scholars who have an overlapping interest in the music and sounds heard when a large number of people gather.

Martin Stokes discussed his preference for the use of the word ‘crowd’ over the use of the word ‘public’, which like so many words have come to mean everything and ultimately nothing due to its frequent reference. He raised issues of epistemology (the language valence between the word ‘crowd’ and ‘public; types of crowd;) and methodology (studying mass behaviour through the lense of the individual; as socio-political perspectives; as cultural phenomenon). While his talk was situated within a desire to generate relevant theories for the field of ethnomusicology, the issues he touched on are also that echoes those within the field of information studies, and echoes the issues that frequently bubble up whenever I try to explain to others the type of work I do.

I missed the presentations Friday afternoon, but below are some of my own notes as well as some really unexpected thoughts that related the conference theme back to my own research at the moment. Read on about Chindon’ya troops in Osaka, concert riots at the turn of the 20th century, and some thoughts offered on Beatlemania.

Music Knowledge Conference III

In music-esque, My Work on May 18, 2010 at 12:36 am

(Sorry for the radio silence, I have been away for the first half of May on travels to East Asia, and the last two weeks in April were rather packed.)

There were many interesting projects that I encountered, each in my mind contained great implications and lessons learned for the future music information landscape. What they all have in common, is a musical community. Where they differ is the context with which such communities exists, and are engaged. I am sharing a few highlights below, in no particular order or for particular reasons. They reflect the diversity of nationalities and research interest that was present at the British Forum for Ethnomusicology.

Heather Maclaughlan studied the Copy-Tachin musicians of Burma, which is essentially the music of emulating western pop artists, the more accurately, the better. I’m curious to learn of how this phenomenon is influenced by the existing Burmanese government. In particular, the lengths with which these musicians go to smuggle instructional videos on how to play guitar, the parts to make their own electronic instruments, and the way they did it prior to the availability of the internet and after sounds like a wonderful and untold story. It’s not only a great example of the creativity with which individuals confront the digital divide, but a case with which to study the impact of evolving information policy and access.

Kiku Day practices and teaches Shakuhachi (Japanese flute). More interestingly, she conducts lessons via skype. YouTube has been all the rage along with all the other public forms of social media. Click to read more highlights.

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