Ethnomusicology Review

Ethnomusicology Review A multimedia publication for interdisciplinary music scholarship: http://www.ethnomusicologyreview.org/ Ethnomusicology Review is a refereed Open Access journal that publishes interdisciplinary music research.

New post on our Ecomusicology sectionArticulating Landscapes: Non-human articulation in field recording by Adrian Doring...
05/24/2021
Articulating Landscapes โ€“ Non-Human Articulation in Field Recording

New post on our Ecomusicology section
Articulating Landscapes: Non-human articulation in field recording by Adrian Doring

https://ethnomusicologyreview.ucla.edu/content/articulating-landscapes-%E2%80%93-non-human-articulation-field-recording

  The term articulation used to describe how human societies manifest discourses, solidify political moments, intervene in the fabric of reality, and create culture has been strained in the

New post on our Ecomusicology sectionArticulating Landscapes: Non-human articulation in field recording by Adrian Doring...
05/24/2021
Articulating Landscapes โ€“ Non-Human Articulation in Field Recording

New post on our Ecomusicology section
Articulating Landscapes: Non-human articulation in field recording by Adrian Doring

https://ethnomusicologyreview.ucla.edu/content/articulating-landscapes-%E2%80%93-non-human-articulation-field-recording

  The term articulation used to describe how human societies manifest discourses, solidify political moments, intervene in the fabric of reality, and create culture has been strained in the

A special piece by the UCLA Hip Hop Studies Working Group (HHSWG), on hip hop studies at UCLA and the incredible seminar...
05/05/2021
Hip Hop Studies at UCLA: The Hip Hop Studies Working Group and Seminar

A special piece by the UCLA Hip Hop Studies Working Group (HHSWG), on hip hop studies at UCLA and the incredible seminar they organized this quarter ๐Ÿ’Ž

https://ethnomusicologyreview.ucla.edu/content/hip-hop-studies-ucla-hip-hop-studies-working-group-and-seminar

    UCLA is a major center for Hip Hop Studies both nationally and internationally with nearly a dozen scholars writing and researching the culture. Hip Hop Studies has a long hist

Book Review: 24 Bars to Kill: Hip Hop, Aspiration, and Japan's Social Margins by Andrew B. Armstrong - Reviewed by Antho...
01/20/2021
Review | 24 Bars to Kill: Hip Hop, Aspiration, and Japanโ€™s Social Margins

Book Review: 24 Bars to Kill: Hip Hop, Aspiration, and Japan's Social Margins by Andrew B. Armstrong - Reviewed by Anthony Bak Buccitelli

https://ethnomusicologyreview.ucla.edu/content/review-24-bars-kill-hip-hop-aspiration-and-japan%E2%80%99s-social-margins

24 Bars to Kill: Hip Hop, Aspiration, and Japan’s Social Margins. By Andrew B. Armstrong. New York: Berghahn Books, 2019. 193pp. ISBN: 9781789202670Reviewed by Anthony Bak Buccitelli  

FLIP IT and REVERSE IT"Bรขtards Sensibles" an excerpt from Laurent Fintoni's new book Bedroom Beats and B-SidesVelocity P...
12/02/2020
"Bรขtards Sensibles" Insights into French Rap Production (excerpt from Bedroom Beats and B-Sides)

FLIP IT and REVERSE IT

"Bรขtards Sensibles" an excerpt from Laurent Fintoni's new book Bedroom Beats and B-Sides
Velocity Press

https://ethnomusicologyreview.ucla.edu/content/b%C3%A2tards-sensibles-insights-french-rap-production-excerpt-bedroom-beats-and-b-sides

This text is an excerpt from Laurent Fintoni's book Bedroom Beats & B-Sides: Instrumental Hip-Hop and Electronic Music at the Turn of the Century     Author’s no

Research as Sites of Memory: Musings on N.E.R.D. and Tyler, the Creator by Danielle Davisfor our new section "Flip it an...
10/15/2020
Research as Sites of Memory: Musings on N.E.R.D. and Tyler, the Creator

Research as Sites of Memory: Musings on N.E.R.D. and Tyler, the Creator by Danielle Davis
for our new section "Flip it and Reverse it: Hip-Hop Worldwide"
https://ethnomusicologyreview.ucla.edu/content/research-sites-memory-musings-nerd-and-tyler-creator

What is a false memory? A sonic one at that? Is it when a person remembers things, events, places, feelings, thoughts and spaces that were untrue? I remember events that I never experienced before. To

Updated Deadline to our Special Issue on Live Music: January 15https://ethnomusicologyreview.ucla.edu/content/call-paper...
10/12/2020
Call for Papers: Born to Be Alive: Live Music as a Crucial Dimension of 21st Century Popular Music - Special Issue [Updated Deadline: January 15]

Updated Deadline to our Special Issue on Live Music: January 15

https://ethnomusicologyreview.ucla.edu/content/call-papers-born-be-alive-live-music-crucial-dimension-21st-century-popular-music-special
Keep It Simple, Make It Fast Maria de Guerra

Savage (2019) paints a devastating portrait of the music industry’s current state. In the United States, record sales have dropped about 80% in the last decade: from 450 to 89 million, and its p

"Out for Presidents to Represent Me": The Breakfast Club, Hip-Hop and the 2020 Elections - by Tabia Shawelhttps://ethnom...
09/10/2020
"Out for Presidents to Represent Me": The Breakfast Club, Hip-Hop, and the 2020 Elections

"Out for Presidents to Represent Me": The Breakfast Club, Hip-Hop and the 2020 Elections - by Tabia Shawel

https://ethnomusicologyreview.ucla.edu/content/out-presidents-represent-me-breakfast-club-hip-hop-and-2020-elections

With the rise of digital technologies, the murders of Black people at the hands of law enforcement have increasingly been recorded and broadcasted through various media channels. The pressure from rec

Scholar Strike - September 8 and 9https://www.scholarstrike.com/
09/08/2020
Home | Scholar Strike

Scholar Strike - September 8 and 9

https://www.scholarstrike.com/

Scholar Strike is an action inspired by the NBA, WNBA, Colin Kapernick and other athletes, to underscore the urgent importance of addressing racism and injustice in the United States.

Digicult
06/26/2020
Digicult

Digicult

Ecomusicologists can come from the fields of composition, acoustic ecology, bio-acoustics, ethnomusicology, historical musicology, biology as well as ecocriticism, biosemiotics, ecosemiotics, phenomenology.

Ethnomusicology Review would like to invite you to share perspectives from your research for our online platform "Sounding Board."

Special Issue on Live Music as a Crucial Dimension of 21st Century Popular MusicDeadline: October 20thhttps://ethnomusic...
05/10/2020

Special Issue on Live Music as a Crucial Dimension of 21st Century Popular Music

Deadline: October 20th

https://ethnomusicologyreview.ucla.edu/content/call-papers-born-be-alive-live-music-crucial-dimension-21st-century-popular-music-special

๐Ÿ“ŒETHNOMUSICOLOGY REVIEW

๐—–๐—ฎ๐—น๐—น ๐—ณ๐—ผ๐—ฟ ๐—ฃ๐—ฎ๐—ฝ๐—ฒ๐—ฟ๐˜€ | ๐—•๐—ผ๐—ฟ๐—ป ๐˜๐—ผ ๐—•๐—ฒ ๐—”๐—น๐—ถ๐˜ƒ๐—ฒ: ๐—Ÿ๐—ถ๐˜ƒ๐—ฒ ๐— ๐˜‚๐˜€๐—ถ๐—ฐ ๐—ฎ๐˜€ ๐—ฎ ๐—–๐—ฟ๐˜‚๐—ฐ๐—ถ๐—ฎ๐—น ๐——๐—ถ๐—บ๐—ฒ๐—ป๐˜€๐—ถ๐—ผ๐—ป ๐—ผ๐—ณ ๐Ÿฎ๐Ÿญ๐˜€๐˜ ๐—–๐—ฒ๐—ป๐˜๐˜‚๐—ฟ๐˜† ๐—ฃ๐—ผ๐—ฝ๐˜‚๐—น๐—ฎ๐—ฟ ๐— ๐˜‚๐˜€๐—ถ๐—ฐ | ๐—ฆ๐—ฝ๐—ฒ๐—ฐ๐—ถ๐—ฎ๐—น ๐—œ๐˜€๐˜€๐˜‚๐—ฒ

๐—ข๐—ฟ๐—ด๐—ฎ๐—ป๐—ถ๐˜‡๐—ฒ๐—ฟ๐˜€:Paula Guerra and Samuel Lamontagne

Savage (2019) paints a devastating portrait of the music industryโ€™s current state. In the United States, record sales have dropped about 80% in the last decade: from 450 to 89 million, and its plight continues. From 2017 to 2018, worldwide record sales percentage plummeted an additional 23%. At the latest Grammy Awards, two of the nominees for best album never had a physical release. The situation becomes more acute when analyzing 2018โ€™s top selling records: the vast majority relates to film soundtracks. How can the music industry react? We must first consider that this is a very recent reality and that the actorsโ€™ adaptability cannot keep up with the constant technological progress in music digitalization and that, these days, anyone with a computer or smartphone is able to download hundreds of albums and stockpile thousands of songs. We sometimes forget that those processes only started back in 1998 with the evolution of the MP3 player. At the time, the MP3 format allowed a revolutionary audio compression. It was a clear example of an actionโ€™s non-intended consequences: a tool which was supposed to help the music industry ended up harming it in the long run. As we know, after MP3 came sharing websites like Napster, KaZaa with peer-to-peer downloads of free music. If, on the one hand, the number of downloads was ever-growing, the music industryโ€™s reaction was to potentially sue any and all people who illegally downloaded a file (Morris, 2015). The most recent example of this phenomenon in everyoneโ€™s mind may be Metallicaโ€™s quixotic struggle.

The objective of this Special Issue is to question the directions this reality will move towards, as well as its impact on musicians, audiences, and the cultural industries. What will happen to musicians, especially those in small bands from peripheral scenes and countries who have to spend hours and hours on the road to get from concert to concert (Ballico & Carter, 2018; Smith & Thwaites, 2018)? What kind of impact will this have on the increasing precariousness of being a career musician, in the blurring between professional and private spheres and how the concept of โ€œchoosing povertyโ€ (Threadgold, 2018) may or may not explain the situation many musicians experience? The DIY ethos, which had been at the core of punk, is now a key source of influence and inspiration for other music genres, through the creation of alternative networks of production, performance and consumption (Bennett & Guerra, 2019a, 2019b). Following this, to what extent can the DIY ethos be used as a vehicle for musicians to adapt to this new reality, whether through the reduction in cost of music production or through the monetization of sociability, meaning, through the blurring between personal and professional spheres, the investment in social media as a means of forming contact networks to perform and tour in different countries? And what nefarious effects can this reality have for new players whose contact networks are not well established (Rogers, 2010) and who are in the more alternative aesthetic and artistic spheres? We know music scenes have always had an over-representation of men, based, above all, in the classic dichotomy between private and public spheres. Secondary and backstage tasks are the purview of women, while the performing and producing, the stage, are monopolized by men. That being the case, to what extent does this emphasis on live music reinforce masculinization processes, or does it, on the contrary, serve as a vehicle to undermine them?

๐—ช๐—ฒ ๐˜๐—ต๐—ฒ๐—ฟ๐—ฒ๐—ณ๐—ผ๐—ฟ๐—ฒ ๐—ถ๐—ป๐˜ƒ๐—ถ๐˜๐—ฒ ๐˜†๐—ผ๐˜‚ ๐˜๐—ผ ๐˜€๐˜‚๐—ฏ๐—บ๐—ถ๐˜ ๐—ฎ๐—ฟ๐˜๐—ถ๐—ฐ๐—น๐—ฒ๐˜€ ๐˜๐—ต๐—ฎ๐˜ ๐—ฎ๐—ฑ๐—ฑ๐—ฟ๐—ฒ๐˜€๐˜€ ๐˜๐—ต๐—ฒ ๐—ณ๐—ผ๐—น๐—น๐—ผ๐˜„๐—ถ๐—ป๐—ด ๐—พ๐˜‚๐—ฒ๐˜€๐˜๐—ถ๐—ผ๐—ป๐˜€:

๐—ช๐—ฒ ๐˜๐—ต๐—ฒ๐—ฟ๐—ฒ๐—ณ๐—ผ๐—ฟ๐—ฒ ๐—ถ๐—ป๐˜ƒ๐—ถ๐˜๐—ฒ ๐˜†๐—ผ๐˜‚ ๐˜๐—ผ ๐˜€๐˜‚๐—ฏ๐—บ๐—ถ๐˜ ๐—ฎ๐—ฟ๐˜๐—ถ๐—ฐ๐—น๐—ฒ๐˜€ ๐˜๐—ต๐—ฎ๐˜ ๐—ฎ๐—ฑ๐—ฑ๐—ฟ๐—ฒ๐˜€๐˜€ ๐˜๐—ต๐—ฒ ๐—ณ๐—ผ๐—น๐—น๐—ผ๐˜„๐—ถ๐—ป๐—ด ๐—พ๐˜‚๐—ฒ๐˜€๐˜๐—ถ๐—ผ๐—ป๐˜€:
โšซ๏ธ From amateurs to professionals of music.
๐Ÿ”— Organization of the live music business.
๐Ÿ“Œ Working in the gig economy.
๐Ÿ”ด A shifting concert sustainable ecology.
๐Ÿ“ The live music ecologies during and post-COVID-19.

Ethnomusicology Review is now accepting submissions for this Special Issue, scheduled for publication in Fall 2021. Started as Pacific Review of Ethnomusicology (PRE) in 1984, Ethnomusicology Review is an annual peer-reviewed journal managed by UCLA graduate students and a faculty advisory board. Our online format allows authors to rethink how they use media to present their argument and data, moving beyond the constraints of print journals. We encourage submissions that make use of video, audio, color photographs, and interactive media.

Articles are original essays of no more than 8000 words, and will be evaluated by the editors of this Special Issue. They are expected to extend current theoretical and/or methodological approaches to the study of music, broadly conceived, and may be written from a variety of disciplinary perspectives including ethnomusicology, musicology, anthropology, sociology and cultural studies. Articles explicitly engaging with contemporary ethnomusicological scholarship are particularly encouraged.

๐—ง๐—ต๐—ฒ ๐˜€๐˜‚๐—ฏ๐—บ๐—ถ๐˜€๐˜€๐—ถ๐—ผ๐—ป ๐—ฑ๐—ฒ๐—ฎ๐—ฑ๐—น๐—ถ๐—ป๐—ฒ ๐—ถ๐˜€ ๐—ข๐—ฐ๐˜๐—ผ๐—ฏ๐—ฒ๐—ฟ ๐Ÿฎ๐Ÿฌ, ๐Ÿฎ๐Ÿฌ๐Ÿฎ๐Ÿฌ.

MORE DETAILS: https://ethnomusicologyreview.ucla.edu/content/call-papers-born-be-alive-live-music-crucial-dimension-21st-century-popular-music-special

Call for Papers: Special IssueBorn to Be Alive: Live Music as a Crucial Dimension of 21st Century Popular MusicSubmissio...
04/27/2020
Call for Papers: Born to be Alive: Live Music as a Crucial Dimension of 21st Century Popular Music - Special Issue

Call for Papers: Special Issue
Born to Be Alive: Live Music as a Crucial Dimension of 21st Century Popular Music

Submission Deadline: October 20th

with Maria de Guerra from Keep It Simple, Make It Fast

https://ethnomusicologyreview.ucla.edu/content/call-papers-born-be-alive-live-music-crucial-dimension-21st-century-popular-music-special

Savage (2019) paints a devastating portrait of the music industry’s current state. In the United States, record sales have dropped about 80% in the last decade: from 450 to 89 million, and its p

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