(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.