Fear of music : sounded poetry and the poetry soundtrack

This essay proposes the term ‘poetry soundtrack’ for a form of sounded poetry that I have been practising for some years (examples of which can be found in this issue of Axon). The poetry soundtrack is a sonic object made up of original poetry, music, and sound design. Such a form is now being produced—under various names—by numerous poets, thanks to the development of the Digital Audio Workstation (or DAW). In my essay, I argue that the poetry soundtrack has occupied an aesthetic no man’s land between avant-garde ‘sound poetry’ and documentary-style recordings of poetry readings. I propose that a general ‘fear of music’ has led critics to favour such forms, and concomitantly to ignore musico-poetic forms of sounded poetry. In addition, I analyse the ‘digital poetics’ that can be found in producing sounded poetry with a DAW, especially with regard to the ‘vocal staging’ that such technology can produce in the poetry soundtrack.

THE MUSIC PERFORMED FOR THE SACRIFICIAL RITE AT THE ROYAL ANCESTRAL SHRINE OF THE CHOSŎN DYNASTY (1392–1910): INDIVIDUAL AGENCY AND DISCOURSE ON MUSIC EXPRESSED IN THE EIGHTEENTH-CENTURY KOREAN ENCYCLOPEDIA _TONGGUK MUNHŎN PIGO_ (1770)

In 1964, the South Korean government designated the music for the sacrificial rite at the Royal Ancestral Shrine (Chongmyo) as Intangible Cultural Property No. 1, and in 2001 UNESCO awarded the rite and music a place in the Intangible Cultural Heritage of Humanity. The Royal Ancestral Shine sacrificial rite and music together have long been an admired symbol of Korean cultural history, and they are currently performed annually and publicly in an abridged form. While the significance of the modern version of the music mainly rests on the claimed authenticity and continuity of the tradition since the fifteenth century, scholarly inquiry sheds further light on contextual issues such as nationalism, identity, and modernity in the post-colonial era (after 1945), as well as providing additional insights into the music. This dissertation focuses on the Royal Ancestral Shrine’s musical past as reflected in documentary sources, especially those compiled in the eighteenth century during the Chosŏn dynasty (1392–1910). In particular, the substantial music section of an encyclopedic work, Tongguk Munhŏn pigo (Encyclopedia of Documents and Institutions of the East Kingdom, 1770), mainly compiled by a government official, Sŏ Myŏngŭng (1716–1787), provides a considerable amount of information on not only the music and sacrificial rite program, but also on eighteenth-century and earlier concerns about them, as discussed by the kings and ministers at the Chosŏn royal court. After detailed examination of various relevant documentary sources on the historical, social and political contexts, I investigate the various discourses on music and ritual practices. I then focus on Sŏ Myŏngŭng’s familial background, his writings on music prior to the compilation of the encyclopedia, and the corresponding content in the encyclopedia. I argue that Sŏ successfully converted the music section of the encyclopedia from a straightforward scholarly reference work to a space for publishing his own research on and interpretation of the musical past, illustrating what he considered to be the inappropriateness of the existing music for the sacrificial rite at the Royal Ancestral Shrine in the later eighteenth century.

DOCUMENTARY RESCUE OF POPULAR TRADITIONS OF THE CENTRAL AREA CANTONS HEREDIA PROVINCE

This paper presents the results of documentary rescue demonstrations performed in different counties present in the central area of the province of Heredia.This idea was enhanced thanks to the Organization of the United Nations Educational, Scientific and Cultural Organization (UNESCO) has provided the rescue and preservation of folk traditions, both tangible and intangible, throughout the world.Coupled with this, the Ministry of Education under the direction of Professor Manuel Antonio Bolaños, launched in the administration of La Espriella Pacheco (2002-2006) the development of an educational project aimed at rescuing the popular traditions of the province of Heredia, which under the title"Draft Heredianidad" became one of the main inspiring to be translated into a multimedia all information collected in the process of this research.The final graduation consisted of three major axes: the memory, the media containing all the information collected and a database in which (the) user (s) and to describe the bibliographic production on the subject of popular traditions Heredia has occurred, would help to physically locate these publications.To achieve the objectives we proceeded to conduct visits to public libraries and municipalities in the province as well as interviews with different artistic personalities of the cantons heredianos, thereby gained access to various legends, anecdotes, stories, songs, music and history of the province of Heredia.

Community music making and philanthropy: with One Voice choirs

Across the globe there are numerous philanthropic organizations that support community music engagement. Philanthropy is the desire to promote the welfare of others and is generally supported by the generous donation of money to good causes. One such group situated in Melbourne is Creativity Australia who oversees the With One Voice choirs. This program offers weekly community choirs that are led by a professional conductor. Each meeting is followed by supper. The choirs are supported by public sponsorship and currently around 68% of the choir members are subsidised. In this multiple case study we interviewed stakeholders, conductors and members of several of the choirs. This research is part of a larger joint research project, begun in 2008, Well-being and ageing: community, diversity and the arts in Victoria. Data were gathered from documentary sources and by individual and focus group semi-structured interviews (2014-2015) and were analysed using interpretative phenomenological analysis. This paper explores the intersections of community music making and philanthropy

Music copyright in the digital age: creators, commerce and copyright - an empirical study of the UK music copyright industries

Copyright markets, it is said, are ‘winner takes all’ markets favouring the interests of corporate investors over the interests of primary creators. However, little is known about popular music creators’ ‘lived experience’ of copyright. This thesis interrogates key aspects of copyright transactions between creators and investors operating in the UK music industries using analysis of various copyright related documents and semi-structured interviews with creators and investors. The research found considerable variety in the types of ‘deal’ creators enter into and considerable divergence in the potential rewards. It was observed that new-entrant creators have little comprehension of the basic tenets of copyright, but with experience they become more ‘copyright aware’. Documentary and interview evidence reveals creators routinely assign copyright to third party investors for the full term of copyright in sound recordings: the justification for this is questionable. An almost inevitable consequence of this asymmetry of understanding of copyright and asymmetry of bargaining power is that creators become alienated from their copyright works. The empirical evidence presented here supports historic and contemporary calls for a statutory mechanism limiting the maximum copyright assignment period to ten-years.

Music purchase behaviour : the effect of emotional loyalty on intention to purchase.

This paper explores the influence of emotional loyalty on music purchase behaviour. Specifically, it examines whether emotional attachment to an artist's music influences loyalty to that artist, and how emotional loyalty influences a consumer's decision to purchase music. Data collection involved fifteen semi-structured interviews with young (18-30) subjects recruited through non-probability convenience sampling. Findings show that consumers who are emotionally loyal to an artistes) are more inclined to purchase the music rather than download free of charge.

Technical support and professional development : using remote desktops to address bottlenecks in music technology

This paper presents research findings about the use of remote desktop applications to teach music sequencing software. It highlights the successes, shortcomings and interactive issues encountered during a pilot project with a theoretical focus on a specific interactive bottleneck. The paper proposes a new delivery and partnership model to widen this bottleneck, which currently hinders interactions between the technical support, education and professional development communities in music technology.