The/An Ethnomusicologist and the Record Business

Abstract

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Les « voleurs intelligents »

“…L'une des affaires les plus commentées fut sans doute la reprise par Deep Forest du chant Rorogwela, chanté par Afunakwa, des îles Salomon, pour leur morceau Sweet Lullaby 9 . Le ressentiment des ethnomusicologues, formulé explicitement dans plusieurs articles (Zemp 1996 ;Feld 1996Feld , 2004, concerne notamment la manière dont le groupe français s'est enrichi sans reverser de droits à quiconque : ni à la chanteuse, ni à sa communauté, ni à l'ethnomusicologue, ni au CNRS (son employeur), ni à l'éditeur du disque original (Auvidis-Unesco). Ces derniers ne furent même pas mentionnés, ou alors seulement de manière allusive et incorrecte.…”

The Sublime Frequencies of New Old Media

“…The ethnomusicologist John Bailey (2010: 116) remembers that his early fieldwork recordings in 1970s Afghanistan were uncompensated productions "made as research documents, without thought as to their eventual publication as world music records." In recent decades, ethnomusicologists have turned their attention to issues of intellectual property, cultural rights, and repatriation of historical sound collections, as well as the popular recirculation of ethnomusicological field recordings (Feld 1996;Seeger 1996;Zemp 1996). There is no question that Sublime Frequencies provides access to an enormous range of rare and uncanny sounds. From its earliest releases in 2003, the label took as its mission the redistribution of "decaying documents and eccentric artifacts" drawn from "unknown" public media circulations in Southeast Asia and North Africa.…”

“…In 1992 the track was licensed from the United Nations Edu-1. Nineties literature in ethnomusicology and anthropology was particularly thick in the critique of world music; see in particular Feld 1994particular Feld , 1996particular Feld , 2000, as well as Meintjes 1990Meintjes , 2003Guilbault 1993;Erlmann 1996;Zemp 1996;Taylor 1997;Negus 1999;Frith 2000;Hutnyk 2000;Brennan 2001;and Stokes 2004. cational, Scientific and Cultural Organization (UNESCO) and sampled by the Belgian electronic group Deep Forest for their track "Sweet Lullaby," which was subsequently reworked by the Norwegian saxophonist Jan Garbarek as "Pygmy Lullaby."…”

Soundscapes: Toward a Sounded Anthropology

“…But Feld's Kaluli recordings and his discussion of them (1991b) especially challenged ethnographers to rethink the aural representation of culture. Influenced in part by Rouch's film playback and feedback experiments in the 1950s, 1960s, and 1970s, Feld has produced experimental collaborative projects (Annan & Feld 2008, Ryan & Feld 2007) that blur the boundaries between documentary, ethnographic, and compositional work, raising questions about the premise of these distinctions in the first place and theorizing the aesthetics of recordings (see Feld 2000, Feld & Brenneis 2004, Zemp 1996.…”