Anthropology of music. Etc. Especially pop, and contemporary, as far as I am concerned.
The intersection of music and culture. The dawning realisation by Europeans that not everyone respects the borders they draw around tone and rhythm. And the other dawning realisation that there is money to be made by packaging the music of other people up and selling it to hipsters, and you might even be able to avoid paying royalties.
Also something something intercultural understanding something quote Bob Marley.
“Sonic Gallery is the online exhibition space| for new, experimental and cross-cultural music. Sonic Gallery was established as a music initiative by the Australia Asia Foundation in 2004 for the presentation of cross-cultural music. Even though the early exhibitions at Sonic Gallery focused strongly on works by Australian and Asian composers, Sonic Gallery welcomes contributions from composers and sound artists of any nationalities.”
The problematic Sublime Frequencies
Jamaican music-making practices present an interesting case study in the relationship between culture, copyright law, technology and power. In this talk Larisa Mann — a DJ, journalist, and student of Berkeley Law School’s Jurisprudence and Social Policy Program — shows how the street dance, the explosively creative heart of Jamaican musical practice, suggests several ways that technology can help or hinder people currently excluded from formal systems of power.
The dream of the 90s rave scene is alive, just not for the ravers.
- See also the methodological back story
Batu Malablab works a dislocating magic, indulging in a tradition of western fantasy of non-western music. Recalling gamelon-inspired experimental classics such as John Cage’s prepared piano work, Can’s “Ethnological Forgery Series” and Jon Hassell’s “Fourth World” ambient music, Batu Malablab is imaginary global music made in the Baltimore basement studio pictured on the back of the LP/CD.