DOCSLIB.ORG

Digital Ethnomusicology the Limits of Digital Ethnography in a Lo-Fi World 3 the State of the Field 4 Dear SEM 7

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digital Ethnomusicology the Limits of Digital Ethnography in a Lo-Fi World 3 the State of the Field 4 Dear SEM 7 SEM{STUDENTNEWS} An initiative of the Student Concerns Committee of the Society for IN THIS ISSUE Ethnomusicology Welcome! Letter from the Editor 1 SCC Update 2 Digital Ethnomusicology The Limits of Digital Ethnography in a Lo-Fi World 3 The State of the Field 4 Dear SEM 7 Online Bodies: Education + Social Media The Rise of the MOOC 10 Material Student Bodies in a Digitized Academic World 11 Connecting Ethnomusicologists 13 Join your peers by Digital Technologies and Music 14 Volume 6 | Spring/Summer 2013 Volume ‘liking’ us on On Facebook: Part 1 14 Facebook, and get On Facebook: Part 2 15 the latest updates Organizations + Resources 17 and calls for submissions! Our Staff 21 Sites of Convergence a letter from the editor Welcome, dear readers, to the sixth Or at least a semi-luddite, who owns Auckland, Aotearoa New Zealand volume of SEM Student News, an iPhone 3G with outdated apps and working on this volume with devoted to the topic “digital and who doesn’t sync anything (the contributors spanning from here to ethnomusicology.” To begin, a few cloud freaks me out). I’m a moderate Hawai‘i to Arkansas to England to questions: What kinds of spaces do Facebooker, and I do depend on the Bali. So when I consider my own you converge in? Where do you Internet for my daily routine—e- sites of convergence, this newsletter loiter? Where are your sites of mails, Young and the Restless is forefront on my mind. As a interaction, contemplation, and updates (don’t judge), hockey scores, publication only available online, procrastination? Is it in a grad guitar tabs, the Māori online whose calls for submissions and lounge, a coffee shop, a friend’s dictionary, and the sea of online announcements happen largely over basement, a kitchen? And while in academic literature that makes up a the SEM listservs and Facebook, it these locales, are you also in another substantial part of ABD life as I gear makes immediately visible the world, a digital world, consuming, up to write my dissertation. And if influence of the digital world in our uploading, downloading, or wading my research were about the Internet? academic work. through the likes of Facebook, I can only imagine how the hours YouTube, JSTOR, or Soundcloud? I spent digitally would multiply. And as I begin to think of life post- have to admit that by modern PhD and prepare to enter the job standards I may be a bit of a luddite. As I write now, I am “in the field” in market, I am flooded with questions Society for Ethnomusicology © 1 Letter from the Editor ... continued about how my digital presence will adopt it in productive, creative, and which their lives as learners, further influence my professional life. meaningful ways—particularly in the teachers, researchers, and writers are LinkedIn, Facebook, Academia.edu education sector—is rapidly affected by the Internet. We hope —how should we be using these sites escalating. We may be among the you enjoy this volume, and we invite as young professionals? Should our first generation of scholars entering you to continue these discussions in teaching plans incorporate digital the job market with these kinds of our own online forum, the “SEM technologies, and to what extent? questions. Student News” Facebook page. While the question of technology in To begin to address these issues, in By Lauren E Sweetman (New York University) Vol 6 | Spring/Summer 2013 Vol academia may not be new anymore, this volume you’ll hear from students our need as young professionals to and scholars about the many ways in SCC Update a letter from your committee By Adam Hall (University of Oklahoma) {STUDENTNEWS} Hello to all from SEM’s Student Concerns Committee (SCC). The committee had a strong presence at the 2012 SEM conference in New Orleans last fall, with a well-attended and highly successful roundtable on publishing. At the student meeting we brought on three new officers to fill vacancies on the committee, and the SCC has had quite a productive year SEM thus far, with many new projects starting to take shape. Part of this includes fostering a greater online presence for the group, with a comprehensive website around the corner that we expect to have up and running this summer. The new site will have a blog that will serve as a forum through which we can share research and fieldwork stories, ask questions, provide advice, and converse with each other about our work and concerns. We also plan to rely on Facebook and listserv announcements to reach more and more students. We are working hard to connect all of us, globally, in order to cultivate community and the sharing of ideas. We are happy to announce some additional changes to the committee itself. As the direct representative of the SEM student body, we are working to make the student voice more prominent within the society. Along that vein, we have some exciting news that will potentially affect all student members of SEM. On the recommendation of the SCC, the SEM board of directors has approved the formation of a new section of the society called the Student Union (SU). All students will be members of the SU, and the executive board of this new section will replace the SCC. This allows for a more inclusive student organization that enables members to participate in projects for the society and to connect with colleagues from across the nation. As part of the formation of the SU, the current committee is making plans for an online nomination process to fill a new position of member-at-large. Please be on the lookout for details on the nomination process and additional information on the SU coming through our various networking sites and the SEM listserv. Finally, Ian Goldstein and Elizabeth Whittenburg Ozment, both highly effective and esteemed SCC co-chairs, retired their positions at the SEM conference. We thank them for their dedication to young and developing ethnomusicologists over the last four years and for being strong advocates for making SEM Student News a reality. We wish them well as they continue to excel in life and in their careers as scholars, professors, and musicians. YOUR SCC: Justin R. Hunter, Chair (top left) University of Hawai‘i at Mānoa, [email protected] Jessica Getman, Vice Chair (top right) University of Michigan, Ann Arbor, [email protected] José R. Torres-Ramos, Vice Chair (bottom left) University of North Texas, [email protected] Adam Hall, Secretary (bottom right) University of Oklahoma, [email protected] Society for Ethnomusicology © 2 The Limits of Digital Ethnography in a lo-fi world By Benjamin Tausig (New York University) The prospect of digital ethnomusicology is as tempting as digital technology itself. It gleams with promises of instant connectivity, informational abundance, and images and sounds transmitted with gorgeous clarity. And indeed, much human communication today is interceded by devices that simulate immediacy. Musical fandom blooms on discussion boards, songs stream from the cloud, and work is kickstarted rather than patronized or talent-scouted. Ethnographers are correct to be drawn to this intercession as an important domain for new research. This essay, which is cautiously contrarian, does not dispute the urgency of an ethnomusicological engagement Vol 6 | Spring/Summer 2013 Vol with ontologies of musical telepresence. Rather, it warns against uncareful theorizations of digital interaction as a fully reified place. Technological communication comes laden with metaphors that hinge on the spatial—users “visit” web “sites,” “park” domain names, hang out in chat “rooms,” and so on. Moreover, the early history of Internet discourse is bluntly redolent of colonialism, with its talk of resource-rich virgin territories in need of state and corporate governance. Such metaphors have been justly critiqued. Technology writer Evgeny Morozov points out the policymaking folly of creating equivalencies between the walls and curtains of the Cold War and the political contours of the global {STUDENTNEWS} Internet (2011). To imagine electronic borders in geospatial terms, Morozov suggests, is to map an extremely complex and dynamic network of relationships onto the already creaky infrastructure of national borders. SEM Ethnomusicologists should know better than to go down this path. There has been no shortage of prominent writings in the past twenty years that powerfully describe the shortcomings of an area studies paradigm in our field (see, for example, Witzleben 1997 and Stokes 2008). The decision to subdivide music by region or country is at best arbitrary and at worst an imitation of aggressive techniques of Euro-American statecraft. Music (qua practice), like the human societies that activate it, does not move like matter; it cannot be bottled or vacuumed or blueprinted. Nor is music ineffable, but territorial classifications put us on the wrong effing track. What happens when we reify the presence of music in digital “space,” much as we have with music in geopolitical space? During my research on Red Shirt protest music in Thailand, the use of digital devices was common, but I was struck by the uneven character of my friends’ use of such mediating forms. Some stepped nimbly through what we might call the cosmopolitan web, filming sing-alongs and strategically posting them on Facebook, YouTube, and Vimeo. Others trawled the comparative underworld of serithai.net and uddtoday.net to grab the latest tracks by Esompo Palui and Bae Bangsanaan with achingly slow connections on their mobile phones. SMS updates announced concerts, ad-pocked web boards were rumor mills about the health and legal status of musicians, and storage lockers allowed opportunistic CD vendors to earn a living reproducing albums.
Load more

Recommended publications
  • Characteristics of Online Music Courses: a Survey Of
    CHARACTERISTICS OF ONLINE MUSIC COURSES: A SURVEY OF MUSIC FACULTY _________________ A Dissertation Presented to The Faculty of the Moores School of Music University of Houston _____________________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________________ By Dan M. Littles August 2014 CHARACTERISTICS OF ONLINE MUSIC COURSES: A SURVEY OF MUSIC FACULTY _________________ An Abstract of A Dissertation Presented to The Faculty of the Moores School of Music University of Houston _____________________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________________ By Dan M. Littles August 2014 CHARACTERISTICS OF ONLINE MUSIC COURSES: A SURVEY OF MUSIC FACULTY ABSTRACT The purpose of this study was to determine the perceptions of music faculty toward course suitability for online delivery, the pedagogical practices of online music faculty, and the current predominate characteristics of online music courses. A review of the literature found no studies that surveyed music faculty to find the current characteristics of online music courses. A researcher-designed survey was completed by participants (N = 230) from 160 randomly selected institutions accredited by the National Association of Schools of Music (NASM). The majority of participants were from large universities (10,000 or more students) and did not have previous experience teaching music online. Most universities offering undergraduate and graduate courses online have done so for 4 or fewer years. Music history, music appreciation, and religious studies in music were the most commonly offered online undergraduate courses, and music education, music research, and music technology were the most common graduate courses.
    [Show full text]
  • Multicultural Considerations in Music Therapy Research Seung-A Kim Ph.D., L.C.A.T., MT-BC Molloy College, [email protected]
    Molloy College DigitalCommons@Molloy Faculty Works: Music Therapy Music Therapy 2016 Multicultural Considerations in Music Therapy Research Seung-A Kim Ph.D., L.C.A.T., MT-BC Molloy College, [email protected] Cochavit Elefant Follow this and additional works at: https://digitalcommons.molloy.edu/mustherapy_fac Part of the Music Therapy Commons DigitalCommons@Molloy Feedback Recommended Citation Kim, Seung-A Ph.D., L.C.A.T., MT-BC and Elefant, Cochavit, "Multicultural Considerations in Music Therapy Research" (2016). Faculty Works: Music Therapy. 8. https://digitalcommons.molloy.edu/mustherapy_fac/8 This Book Chapter is brought to you for free and open access by the Music Therapy at DigitalCommons@Molloy. It has been accepted for inclusion in Faculty Works: Music Therapy by an authorized administrator of DigitalCommons@Molloy. For more information, please contact [email protected],[email protected]. Chapter 8 MULTICULTURAL CONSIDERATIONS IN MUSIC THERAPY RESEARCH Seung-A Kim • Cochavit Elefant Our society has become more diverse in the past decade, as evidenced by the influx of immigrants, multiracial and minority groups, and the increasing age gap between generations (Population Reference Bureau, 2015). Consequently, culture has been regarded as a significant construct among researchers. By proposing Culture-Centered Music Therapy, Stige (2002) encourages “all music therapists [to be] more culture-centered in their work and thinking, not by labeling their work as such but integrating cultural perspectives in their thinking” (p. 5). As our own worldviews influence all aspects of music therapy (Dileo, 2000; Wheeler & Baker, 2010), cultural factors provide a significant foundation to all music therapy research. With this perspective, music therapy researchers are essentially multicultural researchers.
    [Show full text]
  • FIVE CHALLENGES and SOLUTIONS in ONLINE MUSIC TEACHER EDUCATION Page 1 of 10
    FIVE CHALLENGES AND SOLUTIONS IN ONLINE MUSIC TEACHER EDUCATION Page 1 of 10 Volume 5, No. 1 September 2007 FIVE CHALLENGES AND SOLUTIONS IN ONLINE MUSIC TEACHER EDUCATION David G. Hebert Boston University [email protected] “Nearly 600 graduate students?”1 As remarkable as it may sound, that is the projected student population for the online graduate programs in music education at Boston University School of Music by the end of 2007. With the rapid proliferation of online courses among mainstream universities in recent years, it is likely that more online music education programs will continue to emerge in the near future, which begs the question of what effects this new development will have on the profession. Can online education truly be of the same quality as a traditional face-to-face program? How is it possible to effectively manage such large programs, particularly at the doctoral level? For some experienced music educators, it may be quite difficult to set aside firmly entrenched reservations and objectively consider the new possibilities for teaching and research afforded by recent technology. Yet the future is already here, and nearly 600 music educators have seized the opportunity. Through online programs, the internet has become the latest tool for offering professional development to practicing educators who otherwise would not have access, particularly those currently engaged in full-time employment or residing in rural areas. Recognizing the new opportunities afforded by recent technological developments, Director of the Boston University School of Music, Professor Andre De Quadros and colleagues launched the nation’s first online doctoral program in music education in 2005.
    [Show full text]
  • Connecting Canada Conference Program
    CFMTA / FCAPM VIRTUAL CONFERENCE 20 CONNECTING CANADA 21 Musical diversity from coast to coast to coast CONFERENCE PROGRAM July 8–10, 2021 Dear Friends: I am pleased to extend my warmest greetings to everyone attending Connecting Canada – Musical Diversity from Coast to Coast to Coast, a virtual conference hosted by the Canadian Federation of Music Teachers’ Associations (CFMTA). This event brings together music educators from across the country to share their knowledge, ideas and experiences. I am certain that the wide array of professional development activities planned for this event, focussed on the theme of inclusion and diversity in music education, will stimulate a great deal of thoughtful and meaningful exchange and that attendees will come away inspired to put what they have learned into practice. It continues to be a challenging time for planning and hosting events. That is why I would like to thank the organizers for their hard work and dedication in ensuring this year’s conference could still take place and for putting together an informative program for everyone involved. You can take pride in your commitment to providing leadership in music education. Please accept my best wishes for a rewarding experience. Yours sincerely, The Rt. Hon. Justin P. J. Trudeau, P.C., M.P. Prime Minister of Canada Du 8 au 10 juillet 2021 Chères amies, chers amis, Je suis heureux de présenter mes salutations les plus chaleureuses à celles et ceux qui assistent à Connecter le Canada – La diversité musicale d’un océan à l’autre, un congrès virtuel organisé par la Fédération canadienne des associations de professeurs de musique (FCAPM).
    [Show full text]
  • Ethnography: Challenges and Opportunities
    Research made simple Evid Based Nurs: first published as 10.1136/eb-2017-102786 on 9 September 2017. Downloaded from Ethnography: challenges and opportunities Janice Jones,1 Joanna Smith2 10.1136/eb-2017-102786 Introduction observation, often complemented with interviews, and Collectively qualitative research is a group of meth- detailed analysis often at a micro level. Although the methods used are not exclusive to ethnography, it is 1Institute of Vocational Learning, odologies, with each approach offering a different the depth of fieldwork and the continuous process of School of Health and Social Care, lens though which to explore, understand, interpret or London South Bank University, explain phenomena in real word contexts and settings. engaging with participants and their natural environ- London, UK This article will provide an overview of one of the ments that is central and adds strength to the find- 6 2Children’s Nursing, School of many qualitative approaches, ethnography, and its rele- ings of ethnographic studies. Participant observation Healthcare, University of Leeds, vance to healthcare. We will use an exemplar based on requires immersion in the setting under investigation, Leeds, UK a study that used participant-as-observer observation and observing the language, behaviours and values of 7 and follow-up interviews to explore how occupational the participants. Consequently, paramount to under- therapists embed spirituality into everyday practice, and taking an ethnographic study is the role of the researcher Correspondence to: offer insights into the future directions of ethnography in data collection. Dr Janice Jones, Institute of Engaging with participants in the real world poses Vocational Learning, School of in response to increased globalisation and technological Health and Social Care, London advances.
    [Show full text]
  • Defining Ethnomusicology
    10 1. THE HARMLESS DRUDGE : DEFINING ETHNOMUSICOLOGY DEFINITIONS. For years, people have been asking me the question: "You're an ethnomusicologist?" Shortly after 1950 it was likely to be accompanied by expressions of wonder and of the belief that I was somehow involved with "folk" music, with "primitive music," and particularly with "ancient music," and also that I must have a great deal of companionship with a tape recorder. By 1960 the questioner would likely bring up participation in an Indonesian gamelan, or perhaps an ability to "play" many of the world's odd instruments. In the 1970s, the conversation might well include the term "ethnic" music or even the etymologically outrageous "ethnomusic," and in the eighties and nineties, free association might lead to “diversity” and “world music.” I have always found it difficult to come to a precise, concise, and readily intelligible definition. Dictionaries differ considerably but espouse limited views. In the 120 years in which modern ethnomusicology can be said to have existed, since pioneer works such as those of Ellis (1885), Baker (1882), and Stumpf (1886), attitudes and orientations have changed greatly, and so has the name, from something very briefly called “Musikologie” (in the 1880s), to “comparative musicology” (through about 1950), then to “ethno- musicology” (1950–ca. 1956), quickly to “ethnomusicology” (removing the hyphen actually was an ideological move trying to signal disciplinary independence), with suggestions such as “cultural musicology” (Kerman 1985) and “socio-musicology” (Feld 1984) occasionally thrown in. The changes in name paralleled changes in intellectual orientation and emphasis. It is difficult to find a single, simple definition, to which most people in this field would subscribe, and thus ethnomusicologists have been perhaps excessively concerned with defining themselves.
    [Show full text]
  • ABSTRACT Title of Thesis: RESEARCH ON
    ABSTRACT Title of Thesis: RESEARCH ON MUSIC AND HEALING IN ETHNOMUSICOLOGY AND MUSIC THERAPY May May Chiang, Master of Arts, 2008 Directed By: Professor J. Lawrence Witzleben Department of Musicology and Ethnomusicology, Chair. This thesis examines current developments in the research and discourse on music and healing. Ethnomusicology has involved extensive work on documenting traditional music and healing traditions; however, ethnomusicologists have neglected to contribute their knowledge and effort to healthcare-oriented research. Music therapy, on the other hand, has been focusing on the benefit of the patient, but rarely relates its practices to traditional music and healing traditions or non-Western music. Despite the recent establishment of the Medical Ethnomusicology Special Interest Group in the Society for Ethnomusicology and increasing awareness of world music and cultural diversity in music therapy, scholars in the two fields have not yet collaborated with each other extensively. The motivations for this thesis are: to review previous developments in research on music and healing, to find out the reasons for the changes in the research trends of the past decade, and to see possible research directions in the future. RESEARCH ON MUSIC AND HEALING IN ETHNOMUSICOLOGY AND MUSIC THERAPY By May May Chiang Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Professor J. Lawrence Witzleben, Chair Professor Robert Provine Professor Jonathan Dueck © Copyright by May May Chiang 2008 Acknowledgements I would like to show my appreciation to the ethnomusicologists and music therapists with whom I have communicated, especially to Dr.
    [Show full text]
  • Music-Program-Sheet.Pdf
    MUSIC TECHNOLOGY Music Technology Associate in Science Major Code 2206 Program Description Entrance Requirements The Associate in Science degree in Music Technology is HS Diploma or GED designed for students who intend to seek employment in the commercial music field and for those who are presently Music Student Advising employed in the music technology field and desire Prior to seeking general academic advisement on their home advancement. Some of the careers, to which this sequence campuses, AA students majoring in music, and AS students may lead, are recording engineer, sound designer, live sound majoring in music production must first seek advisement reinforcement engineer and producer. on the music course of study through the office of the Visual & Performing Arts Department on Central Campus (Building Related Programs 4, Room 130). Auditions for performance and registration for Audio Technology Certificate Major Code 6309 music courses will be handled in the V&PA offices only. Broward College is accredited by the National Association of Vocal Studies Students Language Requirement Schools of Music (NASM), 11250 Roger Bacon Drive, Suite All Broward College music students who are majoring in vocal 21 Reston, VA 20190-5248. Telephone: 703-437-0700, E- studies MUST as a required part of their studies take one of the following languages: French, German and/or mail: [email protected] Italian. Courses in these languages are available through the communications department at Broward College. First Year, Term I Second Year, Term I MUS1360
    [Show full text]
  • Music (MUSIC) 1
    Music (MUSIC) 1 Music (MUSIC) Courses MUSIC 103. Music Technology Tools. 1 Credit. An introduction to music software and technology commonly used by musicians. P: conc enr Music 151 Fall Only. MUSIC 115. Ear Training and Sight Singing I. 1 Credit. Concentrated drill in all aspects of musicianship. Emphasis on sight singing and aural perception in intervals, melodies, chords and rhythms. Fall Only. MUSIC 116. Ear Training and Sight Singing II. 1 Credit. Concentrated drill in all aspects of musicianship. Emphasis on sight singing and aural perception in intervals, melodies, chords and rhythms. P: MUSIC 115 Spring. MUSIC 120. Video Game Music. 3 Credits. This course will equip students to understand the interdisciplinary role, historical progression, musical methodology, technological application, and unique artistry of music in video games. Students will contribute to the class learning environment by researching and presenting a game music composer from an interdisciplinary perspective. Through guided instruction, students will also compose their own basic game music. (No musical background required!) Spring. MUSIC 121. Survey of Western Music. 3 Credits. The musical styles of several well-known composers as evident in selected compositions; review of a basic repertoire of musical compositions of various forms and styles. Fall Only. MUSIC 122. Electronic Music Production. 3 Credits. This project-based course will teach the basic principles of modern music production using the Ableton Live software platform. Topics covered include audio and MIDI tracking, clip editing, software instruments, effects, synthesis, sampling, and elementary editing and mixing. Fall and Spring. MUSIC 151. Music Theory I. 3 Credits. The materials of which Western music is made are viewed not only in structural terms, but also in psychological, aesthetic and social perspective.
    [Show full text]
  • Functionalists Write, Too: Frazer/Malinowski and the Semiotics of the Monograph1
    1 Functionalists Write, Too: Frazer/Malinowski and the Semiotics of the Monograph1 James A. Boon What does the ethnographer do? – he writes (Geertz 1973:19). art of the business of anthropology is to make superficially exotic practices appear familiar and superficially familiar practices exotic. PRegardless of how such practices are experienced by observers, they are interpreted by observers in writing: notes, articles, books. That ethnographic description and ethnological comparison occur as writing suggests the fundamental symbolic remove from whatever immediacy or presence anthropological discourse presumes to embody. All varieties of writing are semiotic systems – shifting signs and symbols that stand for (replace, substitute, differ from) what they are conventionally understood to ‘represent’. Moreover, any writing of ethnographic detail and ethnologi- cal generalization in whatever style or format is constrained by sets of rules and values that at their fullest extent we call cultures. Fieldwork – ‘being there’ – offers no exception to these semiotic facts. Fieldwork is not only a way of doing; it is also a device for writing, a format for organizing description, a conceit around which ethnographic discourse revolves. (It was not always so.) At this level fieldwork, despite the fact that it happens, is a ‘fiction’. Cross-cultural interpretation requires outside help, even when fieldwork works. Cultures cannot be penetrated simply with passports, survey sheets, statistics, genealogies, dictionaries; Source: Semiotica, vol. 46, nos. 2/4, 1983, pp. 131–149. 2 CONTEXTS AND CONTROVErsiES or intuition, benign tolerance, indomitable self-confidence, or studious self-effacement (although each of these may occasionally help!). Rather, cross-cultural interpretation must be made to happen; and it is made to happen by means of semiotic operations derived from sources beyond the conditions of fieldwork proper, as narrowly construed in the functio- nalist school.
    [Show full text]
  • The Politics of Identity in Organizational Ethnographic Research
    HUM0010.1177/0018726714541161Human RelationsAlcadipani et al. 541161research-article2014 human relations human relations 2015, Vol. 68(1) 79 –106 The politics of identity in © The Author(s) 2014 Reprints and permissions: organizational ethnographic sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/0018726714541161 research: Ethnicity and tropicalist hum.sagepub.com intrusions Rafael Alcadipani São Paulo Business School, Fundação Getúlio Vargas (EAESP-FGV), Brazil Robert Westwood University of Newcastle, Australia Alexandre Rosa Federal University of Espirito Santo (UFES), Brazil Abstract The article addresses aspects of the politics of identity that became manifest in the researcher–researched relationships in the context of an organizational ethnographic field study at a UK-based printing business. As the fieldwork commenced, it quickly became apparent that the researcher’s Brazilian nationality and Latin American ethnic identity were being performed and responded to in certain specific and problematic ways. This study analyzes the dynamics of identity work and identity politics in ethnographic and other qualitative research. However, the specific contribution of this article is that it examines the questions that arise when the typical structures and patterns of research practice – which are themselves embedded in a spatialized politics of knowledge – are reversed. Historically, research in the social sciences (including management and organization studies) has been conducted by researchers from the center in relation to others in the non-center. Furthermore, in so doing, epistemologies, theories and methods developed in and for the center are deployed to examine and explain phenomena in those other places. This article addresses the question of what Corresponding author: Rafael Alcadipani, São Paulo Business School, Fundação Getúlio Vargas (EAESP-FGV), Rua Itapeva, 474–11º andar—CEP 01332-000, São Paulo, Brazil.
    [Show full text]
  • Sound Studies: New Technologies and Music
    Sound Studies: New Technologies and Music Trevor Pinch and Karin Bijsterveld Developments in sound technologies over the last 50 years have dramat- ically changed the way that music is produced and consumed. In the 19th century most music was experienced as live performance. Today most music is listened to individually through technologically mediated devices, such as a personal stereo or a personal computer that enables the down- loading of MP3 files over the Internet, and in the past few decades music has been produced with new electronic instruments such as the Theremin, the Hammond Organ, the electric guitar, the synthesizer, and the digital sampler. Technologies such as the phonograph, tape-recorder, and com- pact disk have enabled ‘sound’ to be produced, controlled, and manipu- lated independently from musicians. In today’s recording studios the sound engineers can be as important in the production of ‘the sound’ as are the musicians themselves. But how can such changes be understood and what do they mean for listeners and for science and technology studies (S&TS)? The papers in this special issue address such issues. The papers were first presented at an international workshop, ‘Sound Matters: New Tech- nology in Music’, held at the University of Maastricht, the Netherlands, in November 2002. The scholars at the workshop were drawn from such diverse fields as ethnomusicology, history, anthropology, cultural studies, sociology, and S&TS. All were working on some aspect of what we might call ‘auditory culture’. For such scholars, sound matters. The topic of the workshop was new technologies and music. The papers covered a range of technological innovations in the way in which music was produced and consumed.
    [Show full text]