Archive of posts tagged with "academic"

May 1st, 2013

YouTubes in Cross-Cultural Perspective

Today is the final meeting of my last class at Harvard this year — and possibly my final class as a college-level instructor, but we’ll save that discussion for another day. For now, I’ll leave you with a few playlists I created in order to have some examples a click on during class.

In short, this was the one class this year that I didn’t completely make up myself. Music 97c (“Music in Cross-Cultural Perspective”) is a long-running requirement for Music concentrators here. Essentially an introduction to ethnomusicology — theories, methods, and repertories — it departs from standard “World Music” courses by eschewing the survey/smorgasbord and instead focusing on just a few geographical areas in some depth. I designed my own syllabus from scratch, of course, and perhaps unsurprisingly the emphasis largely fell on the Caribbean, North America, and Afrodiasporic matters. We did, however, also include units on Turkish and Balinese/Indonesian music. You can see the whole syllabus here, if you like.

Or you can just edutain yourself by perusing these playlists–

Rumba to Timba:

Danza to Bomba:

Música Quisqeuya:

Ragtime to Swing:

Dangdut:

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February 27th, 2013

Friday in NYC: New School to Old School

I’m happy to announce that I’m headed to the Big Apple this Friday for a couple awesome engagements.

First, at midday on Friday (12:10-2:50, to be precise), I’ll be guesting in ethnomusicolleague Ben Tausig’s class at the New School this semester, MP3: A Global Perspective. Our topic on Friday will be the history of filesharing, which I’ve weighed in on here and there. If you’re not aware, Ben is pretty cool. When not teaching about MP3s or designing crossword puzzles, he works on sound in Bangkok.

The class is open to whatever lil public it might address! Come find us at 66 west 12th street, room 002.

Later that night (much later — like, 10pm-4am) I’ll be tag-teaming the decks with another dear colleague (and, as it happens, recent New School grad), Chief Boima, at Bembe in Brooklyn. Extending the family affair, Brooklyn Shanti (who has a new EP out on Dutty Artz) will be playing host. Should be hot like toast.

WAYNE & WAX + CHIEF BOIMA @ BEMBE 1 March 2013

Consider it another mode of file-sharing (esp since Boima uses Serato and I Ableton), but with particular and powerful attributes: realtime, face-to-face, only in that moment and space, quite #rare and #based.

Plus, it’s Boima’s birthday, so trust vibes will be nice. We’ll be keeping things rootsy for the most part, a bit more old school than new, but these traditions are very modern traditions and the lines get plenty blurred (especially by remixes). Boima offers the following track as a “sonic preview”; for my part, I might have to dig into some of the deeeeep repertories I’ve been teaching about over the last couple weeks.

It’s always a treat to play in the city that never sleeps. Lookin fwd to seeing some ol New York frens — and maybe making new ones.

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February 5th, 2013

Africa Remix

This Friday, February 8, Harvard’s “African Musics Abroad” seminar will stage a one day conference called “Africa Remix” with an aim to

probe the global circulation of African musics in the late twentieth and early twenty-first centuries, featuring presentations by major producers of African sound recordings, discussions with presenters of African musical performances live and mediated, and insights from and a performance by musicians who are themselves engaged in the process of remixing African music worldwide.

While African musics have been traveling (and transformed) for centuries, not least via the slave trade, the conference will focus on more recent musical movements and mixtures — namely those that have followed in the wake of the era of African independence beginning around 1960. According to the organizers:

The increased physical mobility of many African musicians has been amplified by an active recording industry. The global circulation of African musics has opened a space that accommodates both dialogue and dispute, one that has both reshaped musics from the continent and transformed musical creativity and performance internationally. Issues include questions of who is representing African music, the ethics of “musical borrowing,” and the economic dimensions of remixing practices for African musicians who are the sources of circulated musical materials.

The bulk of the day will be devoted to three panel sessions bringing together producers, practitioners, and scholars — “Producing Global Sounds,” “Shaping Local Reception,” and “Collaboration or Appropriation?” — and I’m happy to report that I’ll be chairing the third one, a conversation around a well-worn debate but, hopefully, offering some fresh angles thanks to the rich ethnographic and interpretive work the panelists will draw on in their presentations (which will range from roots reggae in Israel to Malian dance in diaspora to, possibly, Die Antwoord, though I have yet to confirm that last one).

The keynote speaker is Francis Falceto of Buda Musique in Paris, who will explore the conference theme through a discussion of his renowned Éthiopiques series, which to date has issued twenty-seven albums from the century-long history of Ethiopian sound recordings.

Rounding things out at the end of the day, there will be a free concert by Boston’s breakout Ethio-jazz group, Debo Band, following a conversation between bandleader (and erstwhile ethno student here) Danny Mekonnen and Prof. Kay Shelemay.

Actually, for those who are interested in really rounding things out, the perfect nightcap will involve following me & Chief Boima over to the Good Life, where he’ll join King Louie from Texas’s Peligrosa crew, Boston’s/Austin’s own Swelta (#FEELINGS), and resident DJs Riobamba & Oxycontinental for a very special edition of Picó Picante. After a long day of thinking and talking, actually embodying some “Africa Remix” vibes will be a welcome culmination & break, and these are the DJs to take you there —

Should be quite a day (& night). Here’s the full program:

Africa Remix:
Producing and Presenting African Musics Abroad


Friday, February 8, 2013
Thompson Room, Barker Center / Lowell Hall

Mahindra Humanities Center Seminar Conference
Organized by “African Musics Abroad”

CONFERENCE

8:30 am, Thompson Room, Barker Center

Welcome, 8:30 am
Homi K. Bhabha, Mahindra Humanities Center at Harvard

Producing Global Sounds, 9:00 am
Chief Boima, “Africa is a Country”
José da Silva, LUSAFRICA
Ben Herson, Nomadic Wax
Chair: Patricia J. Tang, MIT

Shaping Local Reception, 11:00 am
Maure Aronson, World Music/CRASHarts
Jacob Edgar, Cumbancha
Banning Eyre, Afropop Worldwide
Russ Gershon, Either/Orchestra
Chair: Carla D. Martin, Harvard University

Collaboration or Appropriation?: Issues in Remixing African Styles, 2:00 pm
Sarah Hankins, Harvard University
Sharon Kivenko, Harvard University
Warrick Moses, Harvard University
Chair: Wayne Marshall, Harvard University

Keynote Address, 4:00 pm
Francis Falceto, Freelance editor and author
“éthiopiques vs. ethioSonic: Sense and Nonsense in Musical Globalization”
Chair: Kay K. Shelemay, Harvard University

CONCERT AND DISCUSSION
8:00 pm, Lowell Hall

Discussion: Remixing Ethiopian Music
Danny Mekonnen, Debo Band
Chair: Kay K. Shelemay, Harvard University

Concert by Debo Band

Concert is free, but tickets are required. Free tickets available at Harvard Box Office (617-496-2222).

Cosponsored with the Department of Music, Provostial Fund for the Arts and Humanities, Department of African and African American Studies, W.E.B. Du Bois Institute for African and African American Research, and the Office for the Arts at Harvard.

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January 30th, 2013

Music Ontology Mixtape

Ok, it’s more of a playlist, but now that I’ve got your attention…

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Today in my other class, Music 97c (Music in Cross-Cultural Perspective), I threw a few limit cases at my students, inviting them to think about where people draw lines between music and non-music and why it’s worthwhile to acknowledge these as we seek to develop a deeper understanding of the diversity — but also the unity — of world musical practice.

One of our readings for this week takes on this project with full steam and inspiring empathy. John Blacking’s “Humanly Organized Sound,” a classic of the literature and the opening salvo in a profound larger work, How Musical Is Man?, seeks to understand what exactly constitutes musical capacity. Concise and provocative, the title of the chapter has become a useful shorthand definition of “music” for me and many others, if while drawing a possibly unnecessary and unfounded species-specific line around the phenomenon — but that’s a central part of the question.

“Humanly organized sound” is a very flat and encompassing way of defining music and its value to people. Among other trenchant points, Blacking wonders why the broadly distributed learned abilities to take part in musical happenings he observes in, say, Venda culture are oddly denied even as they’re exploited in the so-called West: in the US and UK, he notes, one hears on the one hand of exceptional musical geniuses and virtuosi and, on the other, of folks who learn to describe themselves as tone-deaf or left-footed. But at the same time, the near total suffusion of public and private spaces with music in these societies takes for granted — indeed targets — a baseline capacity for perceiving sonic order and interpreting it as music with meaning or message.

Against this background, having endured a little too much talk about who’s “primitive” and who’s made the most “progress,” Blacking minces no words, and his anti-elitist (indeed, anti-elite) politics ring clear:

Does cultural development represent a real advance in human sensitivity and technical ability, or is it chiefly a diversion for elites and a weapon of class exploitation? Must the majority be made “unmusical” so that a few may become more “musical”?

Recalibrating our sense of musicality in this manner demands, Blacking continues, that as good ethnomusicologists (aka, the scholars formerly known as comparative musicologists),

We need to know what sounds and what kinds of behavior different societies have chosen to call “musical”; and until we know more about this we cannot begin to answer the question, “How musical is man?”

Well, we now know a lot more about such matters, though to what extent that knowledge has redirected or reformed the prevailing ideologies of musical talent and value here in the US is another question. The fact that “Music in Cross-Cultural Perspective” remains a requirement of music majors at my present institution is itself a testament to the beachhead ethnomusicology has made and to the work that remains to be done.

At any rate, though this doesn’t directly speak to Blacking’s concerns as outlined above, here’s the first ontologically unstable sound object I played in class —

The description of the video reads as follows:

David Cope used his Experiments in Musical Intelligence program to compose Zodiac, twelve short works for string orchestra in the style of Vivaldi. This is Taurus. The video is also algorithmically created.

One might not fancy the rendition above all that much, if begrudgingly accepting that it resembles Vivaldi. Some might find it too computery to sound “human” — unnatural violin attacks like glimmers in a replicant’s eyes. But few would deny that it was in some sense a piece of music.

Arguably, Cope’s software’s opus is “humanly organized sound” in at least a couple ways: 1) a human organized the thing that organized the sound; and 2) human listeners perform acts of pattern recognition. In another way, of course — ie, having been generated by some lines of code — it is not. There is a degree of non-human input/output that unsettles. But should we care if we can’t pass a musical Turing Test? If human listeners — not to be confused with dolphins — organize the patterns of sound that reach our ears, why not call it music?

Well, by that reasoning, this would be music too:

But since we can’t really ask a hermit thrush or a line of code whether what they’re doing is “music” (at least not without being suspicious of the answer), we would do well to consider examples of patterned “non-musical” sound directly produced by humans.

For instance, this ol’ gem of the ethnomusicological canon:

If you’re not familiar, that’s James Koetting’s 1975 recording of postal workers cancelling stamps at the University of Ghana post office. The important gloss here is that although the workers were obviously whistling tunes (in this case a hymn by a Ghanaian composer) and banging out rhythms, the idea that they were making “music” instead of simply doing their job would have, according to Koetting, seemed quite strange to them and their co-workers. “It sounds like music and, of course it is,” writes Koetting,

but the men performing it do not quite think of it that way. These men are working, not putting on a musical show; people pass by the workplace paying little attention to the “music.”

Another example along these lines —

For certain devout Muslims, Koranic recitation (as well as call to prayer) is not to be confused with music. Indeed, for some (though Islam is a wide, wide world), “music” is haram, prohibited, an indulgence that distracts from virtuous worship. That said, a strong investment in sounding practices is more than audible here; it is practically crucial. To refit the Koetting prose above: This man is reciting, not putting on a musical show. But yeah, for many, to quote Koetting directly: “it sounds like music.”

This example led to a brief digression into a sound object about sound objects: a Radiolab segment which takes as its subject the tonal dimensions of spoken languages. The first 4.5 minutes result in host Jad Abumrad entertaining more or less the same question as our class: “What exactly is music, really?”

When speech — or anything else not performed as music per se — somehow, as a suddenly dialectical sound object, becomes music, has it also in some sense, then, passed beyond understanding? Beyond a certain degree of communication? From one metaphorical register to another, more ambiguous one? Is this implication of irreducible multivalence what makes “music” so odious, so haram, to some?

I raise the question of musical communication because it animates the other piece we read today, which will lead me to my final set of examples (though these aren’t about the same sort of ontology exactly). Steven Feld’s “Music, Communication, and Speech about Music” is a dazzling and humbling examination of how rich, complex, and slippery — or in Feld’s words “changeable” and “emergent” — the listening experience almost always is (not to mention the processes of communication it entails).

To illustrate the various, simultaneous, non-hierarchical “interpretive moves” we make as we listen, Feld offers the admittedly charged but usefully provocative “Spangled Banner Minor” by Carla Bley & her band. I’ve been working with this article and this piece for a while now, and let me tell you: it works every time.

Spangled Banner Minor And Other Patriotic Songs by The Carla Bley Band on Grooveshark

Of course, I couldn’t resist pairing Bley’s recording with a more recent example, which you might say inverts the effect, rendering Michael Stipe’s über-emo anthem far more shiny-happy than the wildly (and suprisingly?) popular original. I’m talking about “Recovering My Religion” of course, the Melodyne-assisted remix of REM’s 1991 hit which has raised hackles among the hey-kids-get-off-my-CD-tower crowd, but which is, especially for those of us who had the original tune brutally committed to memory by remarkably repeated exposure, a really striking twist of tone and, accordingly, message and meaning.

Major Scaled #2 : REM – “Recovering My Religion” from major scaled on Vimeo.

As fun and interesting as I think these philosophical/ontological questions about music(ness) can be — and as much as I subscribe to Blacking’s and Feld’s commitment to radical, relativist-universalist studies of music as social life — when it comes down to it, I think maybe humanly re-organized sound is what really pushes my buttons. But we’ll save that distinction for another date.

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January 29th, 2013

Musical Publics

Here is the syllabus for a new course I’m teaching this spring at the Big H. It’s the culmination of a few years of piqued curiosity about “public” as term and concept, noun and adjective. As happy as teaching technomusicology made me, this sort of course — an intense, focused series of readings on a subject I find fascinating — has few parallels as far as intellectual pleasures go. Here’s hoping I have a good team of co-readers glad to read along. (I’ll note that, aptly, a great number of these readings are available, ahem, publicly.)

Without further ado…

Music 208r: Musical Publics

me, a phone, a receiver, a bike ride

Spring 2013
Tues 4-6pm
Davison Room

INTRODUCTION

In the age of technological reproducibility and mass media, and especially since the advent of the Internet, the Web, and social media, the notion of the public is an ever shifting but paramount concern. Thanks to its special affordances and remarkable ubiquity, music offers a powerful lens into questions of publicness and public spheres. How do musicians and musical texts—never mind musicologists—address particular publics, and how has this changed over time?

To better understand music’s role in public culture, this course examines the idea of the public sphere in historical and theoretical perspective. From philosophy to the social sciences to more recent theoretical propositions and ethnographic work, we will consider a variety of publics, the (musical) media that bring them into being, and the implications for acknowledging music as part and parcel of collective experience. Our study will span the rise of print culture, the broadcast era, and the more recent development of what have been dubbed networked publics.

WEEKLY TOPICS & READINGS

Week 1 / Jan 29 — Introduction
Syllabus review, preliminary discussion

Week 2 / Feb 5 — Foundational Texts
Arendt, Hannah. The Human Condition. Chicago: University of Chicago Press, 1958. (p. 1-78)

Habermas, Jurgen. The Structural Transformation of the Public Sphere. Cambridge: MIT Press, 1991 [1962]. (browse all, but esp: 1-56, 159-243)

Week 3 / Feb 12 — Critique & Elaboration
Calhoun, “Introduction.” In Habermas and the Public Sphere, 1-42. Cambridge: MIT Press, 1992.

Fraser, Nancy. “Rethinking the Public Sphere: A Contribution to the Critique of Actually Existing Democracy.” Social Text 25/26 (1990): 56-80.

Hansen, Miriam. “Unstable Mixtures, Dilated Spheres: Negt and Kluge’s The Public Sphere and Experience, Twenty Years Later.” Public Culture Vol. 5, No. 2 (1993): 179-212.

Week 4 / Feb 19 — Print Cultures & Imagined Communities
Anderson, Benedict. “Imagined Communities.” In Nations and Nationalism, a Reader, eds. Philip Spencer & Howard Wollman, 48-59. Edinburgh: Edinburgh University Press, 2005.

Bohlman, Philip V. “Composing the Cantorate: Westernizing Europe’s Other Within.” In Western Music and Its Others, eds. Georgina Born and David Hesmondhalgh, 187-212.

Kay Kaufman Shelemay. “Musical Communities: Rethinking the Collective in Music.” Journal of the American Musicological Society, Vol. 64, No. 2 (Summer 2011): 349- 390.

Week 5 / Feb 26 — Mass Culture’s New Musical Publics
Middleton, Richard. “‘Roll Over Beethoven’: Sites and Soundings on the Music-Historical Map.” In Studying Popular Music, 3-33 (esp 3-16). Philadelphia: Open University Press, 1990.

Suisman, David. “Prologue,” “When Songs Became a Business,” and “The Musical Soundscape of Modernity.” In Selling Sounds: The Commercial Revolution in American Music, 1-54, 240-72. Cambridge, MA: Harvard University Press, 2009.

Gitelman, “The Phonograph’s New Media Publics.” In The Sound Studies Reader, ed. Jonathan Sterne, 283-303. New York: Routledge, 2012.

Hilmes, “Radio and the Imagined Community” In The Sound Studies Reader, ed. Jonathan Sterne, 351-62. New York: Routledge, 2012.

Week 6 / March 5 — Aural Public Spheres
Hirshkind, Charles. “Cassette Sermons, Aural Modernities, and the Islamic Revival in Cairo.” In The Sound Studies Reader, ed. Jonathan Sterne, 54-69. New York: Routledge, 2012.

Ochoa Gautier, Ana María. “Social Transculturation, Epistemologies of Purification and the Aural Public Sphere in Latin America.” In The Sound Studies Reader, ed. Jonathan Sterne, 388-404. New York: Routledge, 2012.

Byron Dueck. “Public and Intimate Sociability in First Nations and Métis Fiddling.” Ethnomusicology Vol. 51, No. 1 (Winter 2007): 30-63.

Week 7 / March 12 — Racial Authenticity as Public Form
Radano, Ronald. “Music, Race, and the Fields of Public Culture.” In The Cultural Study of Music: A Critical Introduction, eds. Clayton, Herbert, and Middleton, 308-316. New York: Routledge, 2012.

Gilroy, Paul. “‘After the Love Has Gone’: Bio-Politics and Etho-Politics in the Black Public Sphere.” In The Black Public Sphere, ed. The Black Public Sphere Collective, 53-80. Univ. of Chicago Press, 1995.

Diawara, Manthia. “Homeboy Cosmopolitan.” In In Search of Africa, 237-78. Cambridge, MA: Harvard University Press, 1999.

Novak, David. “Cosmopolitanism, Remediation, and the Ghost World of Bollywood.” Cultural Anthropology 25:1 (2010): 40-72.

Week 8 / March 19 (No class – Spring Recess)

Week 9 / March 26 — Counterpublics
Warner, Michael. Publics and Counterpublics. Brooklyn: Zone Books, 2002. (p. 1-188)

Bickford, Tyler. “The New ‘Tween’ Music Industry: The Disney Channel, Kidz Bop and an Emerging Childhood Counterpublic.” Popular Music 31/3 (October 2012): 417–36.

Week 10 / April 2 — Networked Publics (part 1)
Castells, Manuel. “Communication, Power and Counter-power in the Network Society.” International Journal of Communication 1 (2007): 238-266.

Ito, Mizuko. “Introduction.” In Networked Publics, ed. Varnelis, 1-14. Cambridge: MIT Press, 2008.

Varnelis, Kazys. “The Meaning of Network Culture.” In Networked Publics, ed. Varnelis, 145-64. Cambridge: MIT Press, 2008.

Week 11 / April 9 — Networked Publics (part 2)
Benkler, Yochai. “Emergence of the Networked Public Sphere.” In The Wealth of Networks: How Social Production Transforms Markets and Freedom, 212-72. New Haven: Yale University Press, 2006.

boyd, danah, “Social Network Sites as Networked Publics: Affordances, Dynamics, and Implications.” In A Networked Self, ed. Papacharissi, 39-58. New York: Routledge, 2011.

Week 12 / April 16 — Publics & Social Media
Baym, Nancy & danah boyd. “Socially Mediated Publicness.” Journal of Broadcasting & Electronic Media 56:3(2012): 320-329.

Marwick, Alice and danah boyd. “I Tweet Honestly, I Tweet Passionately: Twitter Users, Context Collapse, and the Imagined Audience.” New Media & Society, 7 July 2010: 1-20.

Crawford, Kate. “Following You: Disciplines of Listening in Social Media.” In The Sound Studies Reader, ed. Jonathan Sterne, 79-90. New York: Routledge, 2012.

Sterne, Jonathan. “The MP3 as Cultural Artifact.” New Media & Society 8:5 (2006): 825–842.

Week 13 / April 23 — Precarious Publics & Platform Politricks
Dean, Jodi. “Why the Net is not a Public Sphere.” Constellations Vol. 10, No. 1 (2003): 95-112.

Gillespie, Tarleton. “The Politics of ‘Platforms.’” New Media & Society Vol. 12, No. 3 (2010): 347-64.

Kelty, Christopher. “Preface: Crowds and Clouds.” LIMN 2 (March 2012).

Gillespie, Tarleton. “Can an Algorithm be Wrong?LIMN 2 (March 2012).

Droitcour, Brian. “Public Spaces.” The New Inquiry, October 29, 2012.

Week 14 / April 30 — Class presentations

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January 15th, 2013

It Takes a Little Sharing

In honor of the late, great Aaron Swartz, pictured above, I’m making an overdue effort to get some of my own works out from behind walls of various sorts and into the open. (This is always my practice, but sometimes there’s more of a lag than I’d like.) I can’t say that I ever met Aaron, despite no doubt crossing paths in Cambridge over the years. But I have so many friends who counted him a friend, his loss resonates on a personal level as well as an intellectual one. Of course, I was well aware of Aaron’s work and keenly curious about the JSTOR case as it proceeded, and like many others I find myself disgusted and galvanized by the tragedy of his persecution and death.

While there is a general effort, if not concerted movement, among academics to take the opportunity to make their own articles openly accessible in tribute to Aaron, aptly enough the PDFs I want to share here are in their own ways deeply concerned with the (un)fettered and often creative circulation of texts, files, media, ideas, riffs — whatever you want to call em. In these particular two cases, mashups and remixes.

The first piece is something I wrote many years back but only published in book form more recently. “Mashup Poetics as Pedagogical Practice” grows out of a series of talks I was giving at the time, offering an aesthetic explication of mashups while also posing the form as one we might embrace for teaching and publishing alike. Obviously, it’s something of a technomusicological manifesto, building on earlier riffs about musicking about music and offering examples from my own bloggy oeuvre. Indeed, I did a little something along these lines in the mix I made to accompany the second PDF I’d like to share. But first, here’s a link & a cite:

Wayne Marshall, “Mashup Poetics as Pedagogical Practice.” (PDF) In Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube, ed. Nicole Biamonte, 307-15 (Scarecrow Press, 2010).

The second PDF I want to share was co-written a couple years back with Jayson Beaster-Jones, an anthropologist who knows a heckuva lot about the Indian music industry and the role of “remix” therein. We casually started cooking up the article over coffee at UChicago — and later up on Devon Avenue — some 6 years ago, so this was really quite a welcome fruition of a longstanding project (which I first blogged about way back in July 08). For helping to bring this into the world, I’d like to thank another dear colleague, Nilanjana Bhattacharjya, an old ethno-friend and the co-editor of the special issue of South Asian Popular Culture in which our article appeared:

Wayne Marshall & Jayson Beaster-Jones, “It takes a little lawsuit: The flowering garden of Bollywood exoticism in the age of its technological reproducibility.” (PDF) South Asian Popular Culture 10(3) [2012]: 1-12.

You may know the story of how DJ Quik sampled an obscure Bollywood song for Truth Hurts’s “Addicted” and got Dr.Dre sued for a cool $500M, but you might yet be surprised by some of its twists and turns. While the song has been written about quite a bit, especially as an example of US orientalism and illicit appropriation, for our article, Jayson and I wanted to focus on the meanings generated by each new iteration of the song, attending to content as well as context, and placing our emphasis on cosmopolitan agents making creative and, yes, charged choices about musical representation. As we write in our conclusion, we can’t bring ourselves to care nearly as much about rich guys suing rich guys than we do about all the amazing and wonderful stuff that people do in the midst of it all.

Here’s the abstract:

The Hindi film song ‘Thoda resham lagta hai’ [It takes a little silk] written by the music director Bappi Lahiri for the film Jyoti (1981) was a long forgotten tune before being rediscovered in 2002 by American music producer DJ Quik. Based around an unauthorized 35-second sample of the recording, the Truth Hurts song ‘Addictive’ famously inspired Bappi Lahiri to sue Quik’s associate Dr Dre (executive producer of the song), Aftermath Records, and Universal Music (Aftermath’s parent company and distributor) for $500 million. Beyond Lahiri’s claims of cultural imperialism, obscenity, and outright theft, DJ Quik’s rearrangement of the song was, in turn, adopted by music producers, including Lahiri himself, in a wide variety of international genres. This paper tracks the use and reuse of the melody in Indian, American, and Jamaican contexts, focusing on the song’s remediation for new audiences. Yet even as this well-traveled tune evokes different historical and local meanings, it evokes an eroticized Other in each context, including its original context.

And I’m pleased to note that while I only have a measly “supplemental materials” page for the mashup article, for our piece about the peregrinations of an apparently addictive melody, I’ve cooked up the obviously obligatory mega-mix!

In addition to hearing all the recordings we reference in the article, and a few more, you’ll also hear a variety of details that — for space concerns alone — must go unremarked in our essay but will not go unheard in the mix: surprise appearances by Lady Saw and Tanto Metro and Snoop Dogg (via England, the Netherlands, and Belgium, respectively); and a host of seemingly spontaneously generating remixes made by dhol-drum and sample-pack wielding desi artists across the globe (s/o to the Incredible Kid for helping source some of these!). Polytonality and recontextualization reign supreme as the riffing and remixing runs rampant. Mirrors reflecting in mirrors, it’s an all Other everything party. Legal briefs buried beneath transduced outhereness.

Among other things, I like how the mix can show how strong a stamp Quik put on the song — or/and how in Bappi’s own attempt to capitalize on its popularity, he modifies his own composition to resemble Quik’s while attempting to upgrade it with distorted but deadening drums and heavily reverbed vocals that pale in comparison to Lata’s legendary warble. I also like how it registers — with its variable levels of compression and inconsistent metadata — the very state of circulation, the shape media take when they travel unlikely distances, the footsteps of my digital sleuthing. “Real audio” becomes a Baudrillardian phrase when ripping clips from Kannada filmi vendor sites.

While more or less chronological, and so attempting to provide an audible sense of the chains and ripples of influence, toward the end of the mix I get especially playful with genealogy. When one starts tracking a melody in this way, one gets glimmers in unexpected places. I swore that I heard the familiar tune drifting in and out of a moombahton track by Max LeDaron (remixed by DJ Melo) — and indeed, I had been mixing it with versions of “Thoda Resham Lagta Hai” and “Addictive” for months when I asked LeDaron if it was an intentional nod; according to him, it wasn’t an intentional homage, but he was struck by the resemblance and willing to cop to subliminal influence. (Can’t locate our Twitter exchange at the moment, but there’s this. [updated 1/16])

The other playful inclusion is more likely a stretch of my musical imagination, but I’ll leave it to your ears (with some suggestion on my part, as abetted by Ableton). It seems somehow more unlikely that a synth-stabbing Belgian would have seen Jyoti in 1987 than an African-American Angelino in 2001. Then again, if it’s true that the “typical elements” of the New Beat sound as heard on Nux Nemo’s “Hiroshima” include “the samples and the ethnic influences,” then, more than just hearing things, I may actually be hearing things. At any rate, to my ears, and perhaps evermore to yours, it will have to be a part of the strange and lively social life of a striking little contour and the rich complex of resonances around it.

w&w, “It Takes a Little Sharing” (MP3)

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Oh, and here’s the tracklist in all its mangled metadata glory, bearing artifacts and effects of circulation — and my own idiosyncratic paths to acquisition — that in their own ways also register in the audio:

08 Thoda Resham Lagta Hai
01 – Do It (‘Til You’re Satisfied)
04 Bollywood Riddim
02 – Addictive [Explicit]
02 Addictive Indian Mix
10 dhola
Kaliyon Ka Chaman
Unknown – 14. Kaliyon Ka Chaman
Dj Leikers vs.Dj doll – Kaliyon kachaman(Bubbling)
06 Kaliyon Ka Chaman
Ee Deshadalli Karunaadu
04 Bollywood Riddim
05 Addiction
12 Soca Taliban
03 Max Le Daron – El Caramilo Diabolico (Dj Melo Remix)
El Caramillo Diabolico 2011
112_nux_nemo_-_hiroshima

Since it seems befitting for a story with no real beginning to also have no ending, here’s to further circulations and recontextualizations. More FreeDFs to follow soon!

addictive megamix ableton layout

Update! [2/27] — I totally forgot that I uploaded some figures we had originally planned to run with the article but then scrapped because of the ridiculous permissions-culture that we would have had to navigate. Instead I’m posting them here with no permission from anyone. Fair use, mofos!

it takes a little lawsuit: supplementary materials

it takes a little lawsuit: supplementary materials

it takes a little lawsuit: supplementary materials

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November 26th, 2012

The Kind of Drones We Like

Hard to believe the fall semester is already coming to a close, but we’re going out with a bang in Technomusicology (see & hear some of our projects here and there): Thursday’s final class session will feature a visit from none other than Jace Clayton, aka DJ /Rupture, globe-trotting artist, writer, label honcho, three-turntable magician, & one of the finest non-card-carrying technomusicologists in “the field”!

Jace will be presenting Sufi Plug Ins, his recently launched, semi-crowdsourced, collaboratively-produced, free (!) audio software / art project. As described over at Beyond Digital, Sufi Plugs Ins includes

four software synthesizers hardwired to North African maqam scales with quartertone tuning built-in, a device called DEVOTION which lowers your computer’s volume 5 times a day during call to prayer (presets include Agnostic, Fervent, Devout), and a drone machine

Now that’s what I call technomusicology! Check it out —

Jace is always very thoughtful (see, e.g., his own post on the project), so I’m quite looking forward to the demonstration & conversation. My students have been using Ableton all semester while reading across the history of sound technologies and how people have made them musical — what Jonathan Sterne refers to as their plasticity — so they should have a good vantage on the ways Sufi Plug Ins exploits the special affordances and constraints of contemporary techno-musical media.

Whether or not you too have been reading along and messing with Ableton, the event is free and open to the public, so if you’re interested in joining us from 3-5pm this Thursday, Nov 29, please do.

Here are the details:

Music 190r: Technomusicology presents…

SUFI PLUG INS

a conversation with Jace Clayton (DJ /Rupture)
Arts @ 29 Garden (corner of Garden and Chauncy Streets)
Harvard University
Thurs, Nov 9, 3-5 pm

Maybe see & hear you there!

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November 19th, 2012

The Montage Is the Method

Last week the students in my technomusicology class submitted their video études. The assignment was relatively straightforward: make a montage of YouTube-sourced videos interlinked by some (musical) subject, theme, or tune. One additional challenge, if made far easier by Ableton’s video capacity, was to attempt to bring the various performances into a kind of musical coherence via tempo-warping and key-modulation, with the ultimate goal of producing a video that follows a specific thread in order to give an audible and visible sense of the vast world of musicking on YouTube — spanning professional and amateur domains, innumerable contexts, and a wide variety of genres, including some that are downright YouTube-specific — and, importantly, is also engaging to watch.

Longtime W&W readers will no doubt hear echoes of my own experiments in this regard — namely, Gasodoble & Bump con Choque — and perhaps a little bit of YouTube collage master, Kutiman, as well. Despite that I have not found many other examples along these lines, I think there’s great potential for this sort of form, or method even, to demonstrate and delve into the wide, weird world of YouTube — which is to say, the wide, weird world, period — despite that the site is also an incomplete, ephemeral, willy-nilly archive hosted on corporate servers.

As you’ll see in selected submissions below, students embraced the assignment with panache, producing wonderful little documents of the varied social and cultural lives of such things as recent pop hits, well-worn war-horses, video game themes, public domain experiments, and Elvis impersonators.

First, a veritable YouTube chorus performing the 2012 pop hit, “Call Me Maybe,” showing how quickly a popular song can enter into myriad genres of performance, presentation, and play (including some YouTube-specific ones, like stitching together political speeches to make presidents stutter along too):

Or this one, combining a handful of home versions of the Halo theme, seeking specifically to document the “resurgence” (or at least newfound visibility) of “amateur” musical practice and appreciating how even people’s mistakes “actually add some character” to the performances —

Another student sought to plumb the YouTube depths for impersonations of Elvis, uncovering in the process not simply the expected plethora of examples but an interesting recent wrinkle: most of these would-be Kings are lip-synching not to an original Elvis recording but to Junkie XL’s popular 2002 remix of Presley’s “A Little Less Conversation.” My student found it notable that so many of the Elvises he encountered on YouTube “aren’t so orthodox in their impersonation”; I do too!

Several students went beyond the American pop repertory (which provides no end of subjects thanks to its imperial ubiquity) in order to explore YouTube instantiations of tunes that originated and enjoy rich social lives elsewhere.

Take, for example, this beat-matched collection of performances of “Asa Branca,” which my student describes as “a classic Brazilian baião composed by accordionist Luiz Gonzaga and lyricist Humberto Teixeira in 1947.” He continues —

This song has become so emblematic of so many things — Northeastern Brazilian regionalism, Brazilian diasporic identity, environmentalist movements, Brooklyn world music hipness — that I wanted to juxtapose as wide a variety of interpretations as I could, while choosing versions that retained the pulse of the original. From Korean fusion to muscle-metal play-along to small-town talent shows to arena Tropicália, with Gonzagão himself making the occasional approving cameo as a backup singer.

Or this one, documenting the variegated “going public” of a recent lullaby from Taiwan. (Notably, the student has only made the video semi-public — requiring a direct link — given concerns about unauthorized use of children’s performances, which she’s seeking explicit permission to include. Such ethical questions have been a recurring theme of the course, and I always encourage students to think about them as they record, copy, and manipulate the sounds and images of others.)

Finally, here’s a montage of a tune popular in both Turkey and Greece (and in both Turkish and Greek): “Kalenin Bedenleri” / “Siko Horepse Koukli Mou.” One curious thing that emerges here is how songs outside of the (Western) pop canon tend to be characterized on YouTube less by remixxy, YouTubey confections and more by familiar stagings of home, community, and local TV contexts. That said, a few clips of webcam-style pedagogy — a popular YouTube genre to be sure — make it into the mix too.

Here’s hoping that our experiments might lead to others in this vein and beyond. No doubt there is material aplenty to work with: YouTube reports (currently anyway; these figures keep changing) that 72 hours of video are uploaded to YouTube every minute. What a willy-nilly, wonderful world!

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November 14th, 2012

Selected Student Essays, Transduced

I’m happy to report that the semester has been going swimmingly. Sorry for the dearth of posts here, but I’ve been rather engaged with reading, for one course, across a vast and dense literature on music, race, & nation while exploring, in another, the history and potential of music’s (and sound’s) deep entanglement with technologies of transduction & reproduction.

As we barrel almost unbelievably toward the end of the term, we’ve managed to produce a pretty striking set of technomusicological etudes. While two big assignments remain (a video montage and a DJ mix), the students have produced soundscapes, radio collages, sample-based beats, and mashups. Impressed and entertained by them all, I want to share a few exemplary pieces to give people a (musique) concrete sense of what we’ve been up to. We recommend listening with headphones.

First, a couple entries from the soundscape assignment (including requisite if brief prose descriptions):

Sunday afternoon shopping [for soy sauce!] at the Boston Chinese Supermarket (C-mart).

In this tasty space, life takes many different forms: the entrance music that occupies its own territory 0:00-0:20; 2:36-end); people conversing on their wants and needs in Cantonese (0:21 – 0:40; 2:10-2:22); living lobsters/crabs breathing in tank [with running water] waiting to be picked, killed and consumed (0:45-1:15; 2:23-2:35); frozen dumplings resting in ice cases (1:22-1:26), listening to the check-out machine busy reading barcodes (starting 1:27 through 1:53, transposed); butchers cleaning, peeling and chopping off fish head using their fine/scary collection of life-taking tools (1:46 – 2:09).

All is intertwined and yet at the same time irrelevant. One eats to live, others live to be eaten. Together we breathe.

This recording encompasses the tragedy I face in procrastination – enjoyment of the meaningless which ends as soon as it metamorphoses into the meaningful. This tragedy is composed of five chapters. At first, the frustration with the ominous “paper” becomes not only overwhelming, but overwhelming to the point that I must abandon work with a very definitive “fuck this paper.” I venture outside into Harvard Square where meaningless interaction forms a melody. “Hey” defines the relationship I have with the grand majority of my acquaintances – an acknowledgement of each other’s existence is all we share. However, “hey” leaves me craving for real social interaction, and I do summon a friend upon stumbling on a musical gem in the Harvard Square “pit.” However, reality freezes the real pressure I have found in The Square. I am reminded that the ominous paper is still, in fact, in need of being submitted, and I am forced to retract into my study lair. “Why, why, why” is procrastination always halted when it gets good? The answer: it’s procrastination, it’s temporary. Oh, the tragedy that is procrastination.

The second pair of examples comes from the week we devoted to (Boston) radio collages, and each offers a rather interesting portrait of a particular slice of the local airwaves:

This soundscape/radioscape takes all of its material from a cheap radio clock in a bedroom in Cambridge, MA. The sounds were collected at about 2:00 PM on a weekday afternoon.

The goal in creating a weekday afternoon radioscape of Boston is to represent Boston radio at a time that I’ve always considered to be the least interesting time of day for radio. Because it lacks the audience that rush hour in the morning and evening (and to some extent lunch hour as well) draw, radio in the afternoon does not cater to a specific audience other than those who happen to be driving, are listening to radio as they work, or have nothing better to do for one reason or another. The music tends to be generic and fairly random, the talk shows discuss mundane topics in order to save more important thoughts for the busier hours, and there is no concerted effort to create a certain ambience, as in evening radio.

Strangely enough, though, this all serves to loosen radio to a certain extent, encouraging hosts to let their hair down a bit, and allowing each station to be a little less authoritarian in their choices of music. While listening to the radio for easy entertainment or interesting concepts may be difficult in the afternoon, listening with a critical ear at this times can become immensely entertaining. It is that strange combination of humor, flair, mediocrity, and commercialism that I am trying to convey in this piece, representing most of the material I found while striving to keep the pace entertaining for the listener, who doesn’t have the comfort of being at the control. I used a lot of layering, blending, and automation to splice events together convincingly, as well as some other effects like looping, delay, reverb, and mixing in cleaner recordings of songs in order to give a little surrealism and extra realism to the sound, which was limited by the reception of the radio.

The piece starts out with quick flipping through a few channels, then settles in with a couple of announcements about the time and place. The first section mainly moves back and forth between songs on different channels, but as we go on, new characters are and themes are introduced, such as talk radio, advertisements, a discussion about receipts, a sportscast and the ever-present (in New England) Dunkin Donuts. Finally, we close with a “goodbye” and a contrast between upbeat folk-classic music that evokes a kind of “simple gifts” feel characteristic of old-time New England and some inspirational words in Spanish. And maybe one last quip about Dunkin Donuts and their great coffee.

The voice is often used as a symbol of personal interaction. In early descriptions of radio, the feeling of such interaction and indeed of intimacy through the radio was often dependent on speech and the voice. In this exercise, I have edited short clips of radio recordings taken on October 14 and 15 in Allston, MA. The resulting mix produces a simulated radio world that is all talk, all voices speaking in different registers, different levels of excitement, and different languages. The listener’s relationship to the various voices depends on many markers of identity – religious, political, linguistic, sports, etc. This collage is thus a reflection on the limits of radio voices to convey intimacy.

Our third assignment required students to get into the aesthetics of sample-based hip-hop, combining samples of their choice with two classic breakbeats I provided (the Funky Drummer and Apache). Here’s a few fun standouts (including one dubsteppy excursion):

On the surface, this piece is a hip hop beat that goes on for a couple of minutes, and this is probably all that’s really apparent when listening. In some ways, it’s all that really needs to be apparent; when putting this together I was trying to make a new piece out of the materials that I sampled from a few other songs, but there is some thought that went into the choices of material. The beat takes sounds from the Funky Drummer and Apache breakbeats, cut up and made into new rhythms: pretty standard. The harmonic and melodic material, though, all comes from a couple of songs by Billy Joel and Elton John. For some reason, maybe because they’re both rock/pop pianists, I’ve always considered Billy and Elton to be two sides of the same coin, so I wanted, at least intellectually, to put them together in one piece. I don’t really feel like the interaction is audible, mostly because I limited myself to just one or two samples each from two songs by Elton and one by Billy, cut down to the point where they are really just a note or two in most cases and often edited until they don’t resemble the original at all (for instance, slowed and deepened until a medium-high synth sounds almost like dubstep) but I still like the idea of them both being in there.

Turkey is sometimes known as the crossroads of the world, and here, the shape (Dilli Düdük) and electronic sounds (Çakk?d?) of Turkish popular music mix with the rhythms (Funky Drummer) and jazzy lines (Apache) of Western samples. Their interaction makes a dense sonic fabric, and there is some tension scattered throughout, but ultimately, the two pairs of samples serve to reinforce and advance each other.

I decided to be quite liberal with the Funky Drummer sample provided to us, and chopped it down to individual sounds. I then put this on a new drum rack and treated it with a filter delay, reverb, and a couple other elements to create a dub-like effect. The tempo and syncopation is reminiscent of most dubstep tracks, with a BPM of 140 and the snare falling on the third beat. The melody and vocals of the track come from chopped samples of the 1970’s Angolan protest song Valódia by Santocas. Samples are treated with various filters and reverb as well as sidechained to the kick drum via a compressor. We hear a looped verse, “Bem longe/ Ouví aquele nome/ Inesquecível/ dos filhos de Angola” (Far away/ I heard that name/ Unforgettable/ to Angola’s children).

And one last example, a rather esoteric mashup from one of the grad students in the course:

Here’s a mash-up of a Brazilian maracatú (“Será” by Siba e a Fuloresta) and an unaccompanied Cretan rizitiko song performed by Vasilis Stavrakakis. Instead of mashing two pieces of similar tempo, I decided, inspired by the a capella intro to “Será,” to liberally chop up the unmetered Cretan song and manipulate it in various ways (pitch changes, overlapping punches, the creation of drones) to frame and comment on various musical events in the Brazilian song. Aside from a small gap inserted near the beginning, “Será” is basically intact; the challenge was to isolate and reconfigure phrases, both short and extended, from Stavrakakis’ performance to give the impression of a melodic, harmonic, and phrasal dialogue with Siba, the chorus, and the brass band. I especially like how, though the melodic trajectories of the two songs are similar, they often treat the second and sixth degrees of the scale in opposite ways (minor second and major sixth from Crete, major second and minor sixth from Brazil). This adds a nice pinch of tension without spoiling the soup (at least to my modally biased ears), and points to the manufactured nature of the operation.

It’s been a real thrill to hear what these talented students have cooked up this term. The best of these productions really speak for themselves. And that’s the point: how can we make audible stories about audition in the age of technological reproducibility? Toward that end, I was delighted to stumble across these thoughts just yesterday:

I think of the Marshall’s taxicab soundscape, how it captures not only the sonic communications of Jamaican cab drivers, and the broader dancehall soundscape in which they live, but also something of the musicologist himself. It’s just an essay transduced. What if students and academics were to pursue the craft of phrasing and editing sound, photographs, and film with the same doggedness with which we pursue the written word, aiming for the same sophistication that we do in our written texts? What would anthropology sound, look, feel like then?

“It’s just an essay transduced”! I like that. Gonna run with it — or take it for a ride? On that note, let me leave you with an intentionally schizophonic video mashup of my “Taximan” piece (as discussed here) set to soundtrack a trip down the Palisadoes to Norman Manley International Airport, where I chat a bit (in my own odd wavering accent) about Sunday radio in Jamaica (an old fave topic) with the driver:

Jamaican Taxiscape from wayneandwax on Vimeo.

Before the end of the semester, I hope to have some amazing videos and mixes to share with you too. Thanks for listening along!

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November 13th, 2012

Gone for November

What a weekend on the way!

Picó Picante 11.16.12

First, this Friday, I’ll be honored & pleasured to drop some gems at the Good Life (downstairs to boot!) for an absurd iteration of Picó Picante, my favorite local dance party. (And apparently Boston’s too!) In addition to resident DJs, Pajaritos and Oxycontinental, I’ll be joining downstairs headliners Uhuru Afrika (hosts of a longstanding pan-Afro night that sets live master-drumming over dance music from across the continent); meantime, upstairs will be locked to the sounds of several of my fave DJs, all with local ties: False Witness, Blk.Adonis, Dev/null, and LA-transplant & master mind-fader, Kingdom. (I’ll be kicking myself for missing whomever’s playing upstairs opposite me.)

It’s gonna be bonkers, sin duda. After this summer’s well received reggaetony set, I’m gonna have to up the ante, especially with downstairs’ subs to exploit. Trust it’ll be another crunk genealogy of some sort. Bottom-line: there’s nothing like playing to a room full of smiling dancing people. Can’t wait!

Then, on Sunday Nov 18, I’ll be at the Queens Museum in conversation with Apache Indian and DJ Rekha–

Felicitously — and aptly — the event is tied to an exhibition I’ve been wanting to check out, Caribbean: Crossroads of the World. What better angle to take on an English-born Punjabi bloke who raps over dancehall rhythms in a convincing Jamaican lilt, chatting bout arranged marriages with good creolized girls who “talk the Indian with the patwa” while proposing fusions of ragga and bhangra that, alongside contemporary Bally Sagoo, sketch out the blueprint for the entire genre as it’s known today.

A pioneer crossover artist, in his heyday Apache Indian addressed massive public followings in the UK and India, while enjoying a rare bit of outsider success in reggae and rap networks. And you can hear why. No more indebted to his namesake, Super Cat (aka the Wild Apache), than, say, Sean Paul is (which is to say, deeply indebted), Apache Indian distinguishes himself with a mastery of form that exceeds imitation. Man sound real, as they say. Check the original Don Raja stylee —

His knowledge of & affection for Jamaican music clearly run deep; note the fidelity to classic 60s style in what may be his best known song (thanks to inclusion on a few film soundtracks) — and, yes, he clearly enjoys playing “the Indian” in a Jamaican context (and the reggae guy in an Indian one):

Of course, all of this is to say that he sounds about as British as anything (or anyone) else. And his recordings embodied as they emboldened a generation of Asian youth who grew up amidst England’s unruly and often Caribbean-accented multiculture, and who wanted to own all of that — and to make it their own thing (no matter how Jamaican it might sound). Directly or indirectly, Apache Indian’s performances always raise questions about race and nation, (cross- and intra-)cultural dynamics and traditions, mutable and fixed positions. And this is irrespective of whether he’s performing in full Jamaican regalia, some bhangramuffin ensemble, or Putumayo-pleasing homeland garb (b/w Rastafarian rhetoric)–

Lots to talk about, no doubt. The event is free and open to the public, so come on thru!

-

September 11th, 2012

I’m Not a Harvard Man, I’m a Harvard, Man

harvard music dept.

I’m very pleased to report that I’ll be teaching full-time in the Music Department at Harvard this year, filling the big shoes of two ethnomusicolleagues on leave, Ingrid Monson & Richard Wolf. This is an honor and a pleasure, and even as a one-year non-renewable gig, it sure beats the adjunct beat I was walking last year. Plus, I can walk to work, so that’s nice.

Best of all, though, is that the fine people here are happy to let me offer the kinds of courses that I’d like to — namely, courses that grapple with some of the themes central to my research — which apparently complement the ongoing offerings here rather well. This semester I’m teaching two seminars, to a mix of undergrads and grad students, and I’m happy to share the syllabi here.

The first, Music 207r: Music, Race and Nation (PDF), takes as its subject the entanglements between these three things, entanglements that readers of this blog know have been central to my work on reggae, hip-hop, reggaeton, and nu world music, to name a few. After reading several pieces which attempt to clarify the meanings of these terms and their uses in the musicological (and anthropological) literature, we will turn to a series of case studies. Allow me to share the description here, but feel free to download the PDF for closer perusal:

This seminar reviews recent theoretical perspectives on race, nationalism, and music, both from within ethno/musicology and beyond, including general works and a series of specific studies articulating music’s relationship to such projects and ideas. Examining how musical representations and experiences figure in the creation of public and private notions of race and nation, our course grapples with music’s power to mediate imagined and inscribed cartographies of self and other.

While the course will give students a broad foundation for discussing matters of music, race, and nationalism, our study of various forms of modern encounter with musical difference centers on European imperialism, the transatlantic African diaspora, and their myriad intersections. Coursework will center on readings (typically between 80-100 pages/week) and in-class discussion, brief weekly writing assignments, and a final paper of students’ own design.

The second class, Music 190r: Technomusicology (PDF), is, as I’ve noted here before, something of a concept that I’m making up as I go along. Really, though, it’s an idea that I’ve been working through on this blog for many years now, and I’m simply delighted that I’m getting a chance to bring some of these experiments in multimedia forms of music scholarship/play directly into the classroom as our primary object and method. Here’s the description:

If in a previous moment “bi-musicality” represented cutting-edge musicological literacy, today’s technology suffused world may call for the development of something akin to “technomusicology.” This course concentrates on the longstanding and increasing interplay between music and technology while exploring new modes of technologically assisted research and publication.

Beginning by reading across the growing literature that attends to music in the age of its technological reproducibility, we will then turn to a series of exercises or etudes, alongside germane readings, to explore some technologically-mediated forms and practices as potential openings for new directions in music scholarship.

In addition to developing an historical grasp on the imbrication of music and tech, students will cultivate competencies in audio and video editing, sampling and arranging, mixing and remixing, producing mashups and composing soundscapes. Occasional evening tutorials will be available over the course of the semester to assist with ongoing projects and to help get familiar with the software we will be using: Ableton Live.

Did I mention that I secured an internal arts-making grant to buy all of my students Ableton? Pretty cool, eh? And that we will have at least two technomusicological luminaries as guests this semester? (Namely, Jace Clayton talking Sufi Plug-Ins, and Harmonix’s Matt Boch talking interactive musical video game design.) I don’t know about you, but I would have killed to take this course as an undergrad — or as a grad student for that matter. Here’s hoping we produce a series of experiments that stand as shining examples and help to move this fledgling “field” forward (technomusicology, that is — shouts to my ethno-sistren Kiri Miller for her own efforts in this regard).

Of course, as is always the case, I’m already considering additions and revisions to the syllabi. For one, I think the Music, Race and Nation course would be nicely rounded out by reading the recent book by the Comaroffs (who also arrived at Harvard this fall), Ethnicity Inc.. And after listening to Keith Fullerton Whitman’s live-mix of early recordings by pioneer ethnomusicologist / field-recordist Hugh Tracey, I’m seriously considering adding a “remix the Harvard audio archives” project to Technomusicology. This is a really stunning and wonderful way to work with audio archives, and we’ll certainly be giving it a good listen and some thought together (bravo, Keith!) —

In the spring I will be offering my own version of Music 97c (Music in Cross-Cultural Perspective), focusing on the music of North America, Latin America/Caribbean, and Indonesia, as well as a graduate seminar on “Musical Publics.” But I’ve still got some work to put into those syllabi, so if these titles pique your curiosity, please check back later in the semester. Between now and then, I hope to have lots of interesting things to share as they emerge from this term’s offerings.

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Wayne&Wax

I'm a techno-musicologist, internet annotator, imagined community organizer.

I left my <3 in the digital global, but I reside in Cambridge, MA, where I'm from.

I represent like that.

wayne at wayneandwax dot com

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