Item Details

Introduction: Technology and Ownership amongst “World Music” Practitioners: Ongoing Debates in a Globalizing World

Issue: Vol 2 No. 1 (2015)

Journal: Journal of World Popular Music

Subject Areas:

DOI: 10.1558/jwpm.v2i1.27168


The Introduction to the special issue identifies the overarching themes that frame the collection of articles within the volume. The actions and creations of musical practitioners not only demonstrate how technology is an integral part of the creative process, but also how different cultural circumstances create widely divergent attitudes towards musical ownership. In addition, the very nature of technology itself calls into question just what it is that is “owned”. Different stories from different cultural contexts reveal ongoing anxieties associated with technology and ownership. These stories demonstrate how, in a globalizing world, conventional notions of creative practice and ownership are concepts that are increasingly destabilized by musical practice itself.

Author: Andrew Alter, Denis Crowdy, Stephen Collins

View Full Text

References :

Berge, Ola K. and Mats Johansson. 2014. “Who Owns an Interpretation? Legal and Symbolic Ownership of Norwegian Folk Music”. Ethnomusicology 58/1: 30–53.

Biddle, I. and Vanessa Knights. 2007. “Introduction: National Popular Musics: Betwixt and Beyond the Local and Global”. In Music, National Identity and the Politics of Location: Between the Global and the Local, edited by I. Biddle and V. Knights, 1–18. Aldershot: Ashgate.

Bockstedt, Jesse C., Robert J. Kauffman and Frederick J. Riggins. 2006. “The Move to Artist-Led On-Line Distribution: A Theory-Based Assessment and Prospects for Structural Changes in the Digital Music Market”. International Journal of Electronic Commerce 10/3: 7–38.

Born, Georgina and David Hesmondhalgh. 2000. “Introduction: On Difference, Representation, and Appropriation in Music”. In Western Music and its Others: Difference, Representation, and Appropriation in Music, edited by Georgina Born and David Hesmondhalgh, 1–58. Berkeley and Los Angeles: University of California Press.

Chang, Vanessa. 2009. “Records that Play: The Present Past in Sampling Practice”. Popular Music 28/2: 143–59.

Dong, Xue “Snow” and Jayakar Krishna. 2013. “The Baidu Music Settlement: A Turning Point for Copyright Reform in China?” Journal of Information Policy 3: 77–103.

Dor, George. 2004. “Communal Creativity and Song Ownership in Anlo Ewe Musical Practice: The Case of Havolu”. Ethnomusicology 48/1: 26–51.

Feld, Steven. 1996. “pygmy POP: A Genealogy of Schizophonic Mimesis”. Yearbook for Traditional Music 28: 1–35.

Gordon, Steve. 2005. The Future of the Music Business. San Francisco: Backbeat Books.

Greene, Paul D. 2005. “Introduction: Wired Sound and Sonic Cultures”. In Wired for Sound: Engineering and Technologies in Sonic Cultures, edited by Paul D. Greene and Thomas Porcello, 1–22. Middletown, CT: Wesleyan University Press.

Homan, Shane. 2010. “Dancing without Music: Copyright and Australian Nightclubs”. Popular Music and Society 33/3: 377–94.

Knowles, Julian and Donna Hewitt. 2012. “Performance Recordivity: Studio Music in a Live Context”. Journal on the Art of Record Production 6 (June 2012). (accessed 10 February 2015).

Kusak, David and Gerd Leonhard. 2005. The Future of Music: Manifesto for the Digital Music Revolution. Boston: Berklee Press.

Lysloff, René T. A. and Leslie C. Gay, Jr. 2003. “Introduction: Ethnomusicology in the Twenty-first Century”. In Music and Technoculture, edited by René T. A. Lysloff and Leslie C. Gay, Jr, 1–22. Middletown, CT: Wesleyan University Press.

Manuel, Peter. 2010. “Composition, Authorship, and Ownership in Flamenco, Past and Present”. Ethnomusicology 54/1: 106–35.

Mills, Sherylle. 1996. “Indigenous Music and the Law: An Analysis of National and International Legislation”. Yearbook for Traditional Music 28: 57–86.

Tan, Shzr Ee. 2008. “Returning to and from ‘Innocence’: Taiwan Aboriginal Recordings”. Journal of American Folklore 121/480: 222–35.

Taylor, Timothy. 1997. Global Pop: World Music, World Markets. New York and London: Routledge.

—2003. “A Riddle Wrapped in a Mystery: Transnational Music Sampling and Enigma’s ‘Return to Innocence’”. In Music and Technoculture, edited by René T. A. Lysloff and Leslie C. Gay, Jr, 64–92. Middletown, CT: Wesleyan University Press.

Théberge, Paul. 2003. “‘Ethnic Sounds’: The Economy and Discourse of World Music Sampling”. In Music and Technoculture, edited by René T. A. Lysloff and Leslie C. Gay, Jr., 93–108. Middletown, CT: Wesleyan University Press.

Thomson, Derek. 2014. “Why Would Anyone Ever Buy Another Song?” The Atlantic, 14 March 2014. (accessed 12 January 2015).

Williamson, John and Marin Cloonan. 2007. “Rethinking the Music Industry”. Popular Music 26/2: 305–22.

Young, Sherman and Steve Collins. 2010. “A View from the Trenches of Music 2.0”. Popular Music and Society 33/3: 339–56.