Introduction XXIX European Seminar in Ethnomusicology: Cultural Mapping and Musical Diversity

«Cultural mapping» has become a central keyword in the UNESCO strategy to protect world cultural and natural heritage. It can be described as a tool to increase the awareness of cultural diversity. As Crawhall (2009) pointed out, cultural mapping was initially considered to represent the «landscapes in two or three dimensions from the perspectives of indigenous and local peoples». It thus transforms the intangible cultural heritage to visible items by establishing profiles of cultures and communities, including music traditions. Cultural mapping is used as a resource for a variety of purposes as broad as peace building, adaptation to climate change, sustainability management, heritage debate and management, but can also become highly useful in the analysis of conflict points. Music plays a significant role in each of these aspects. This year’s symposium invites to highlight, yet also to critically reassess this topic from the following ethnomusicological perspectives: - The method of cultural mapping in ethnomusicology What approaches and research techniques have been used so far to establish musical maps in this context? What kinds of maps have been developed (and, for example, how far do these relate to indigenous mental maps that have only been transmitted orally)? How far do these modern approaches deviate from the earlier cultural mapping approaches of the cultural area approaches that were still evident with Alan P. Merriam and in Alan Lomax` Cantometrics? In how far are the methods of cultural mapping and of ethnomusicological fieldwork different and how can they benefit from each other? - Intangible cultural heritage and musical diversity As the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage pointed out in Article 12, each state signing the declaration «shall draw up, in a manner geared to its own situation, one or more inventories of the intangible cultural heritage, present in its territory and monitor these.» This symposium calls for a critical re-assessment of the hitherto established UNESCO intangible cultural heritage lists. The idea is to highlight the sensitive nature and the effects of the various heritage representations. «Heritage» is understood here as a selection from a selection – a small subset of history that relates to a given group of people in a particular place, at a specific time (Dann and Seaton 2001:26). This can include presentations of case studies, yet also a critical re-analysis of the selection process, e.g. who was included – or even excluded (and why)? Who were the decision makers? How can the role of ethnomusicology be described here? Where are the (existent and possible) conflict points (politically, socially, legally, etc.)? What kinds of solution strategies are available to us? How is the issue of diversity – that has been so strongly emphasized in the UNESCO declarations – reflected in the approaches? How might diversity be represented in future approaches? How does the selection process affect musical canonization (and exclusion)? What is the role of archives in this process? - Cultural landscape and music As defined by the World Heritage Committee, cultural landscapes can be understood as a distinct geographical area representing the «combined work of nature and man» (http://whc.unesco.org/en/culturallandscape/). This sub-topic calls for a more detailed – and general – exploration of the exact relation between nature/landscape (and definition of such) and music/sound. How exactly is landscape interrelated with music – and identified (and vice versa)? How is this interrelation being applied and exploited in a (inter-)national context?

The Application of Digital Rights Management Systems in the Music Industry - An Empirical Investigation

Technology advances in hardware, software and IP-networks such as the Internet or peer-to-peer file sharing systems are threatening the music business. The result has been an increasing amount of illegal copies available on-line as well as off-line. With the emergence of digital rights management systems (DRMS), the music industry seems to have found the appropriate tool to simultaneously fight piracy and to monetize their assets. Although these systems are very powerful and include multiple technologies to prevent piracy, it is as of yet unknown to what extent such systems are currently being used by content providers. We provide empirical analyses, results, and conclusions related to digital rights management systems and the protection of digital content in the music industry. It shows that most content providers are protecting their digital content through a variety of technologies such as passwords or encryption. However, each protection technology has its own specific goal, and not all prevent piracy. The majority of the respondents are satisfied with their current protection but want to reinforce it for the future, due to fear of increasing piracy. Surprisingly, although encryption is seen as the core DRM technology, only few companies are currently using it. Finally, half of the respondents do not believe in the success of DRMS and their ability to reduce piracy.

New South Wales, Australia, 1853 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: New South Wales : compiled under the superintendence of the Society for the Diffusion of Useful Knowledge from the m.s. maps in the Colonial Office, the surveys of the Austral.n Agricult.l Company and the routes of Allan Cunningham, etc. engraved by J. & C. Walker. It was published by George Cox in Jany. 1st, 1853. Scale [ca. 1:1,800,000].The image inside the map neatline is georeferenced to the surface of the earth and fit to the World Miller Cylindrical projected coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as drainage, cities and other human settlements, administrative boundaries, roads, shoreline features, and more. Relief shown by hachures and spot heights. Includes also notes and inset: "Sydney, from the New South Wales Almanack".This layer is part of a selection of digitally scanned and georeferenced historic maps from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of originators, ground condition dates, scales, and map purposes.

Church music,

Mode of access: Internet.

The Maine register, for the year 1855: embracing the state and county officers, and an abstract of the laws and resolves: together with a complete business directory of the state, and a variety of useful information. /

Includes advertising material at end.

Labor in Australia,

Mode of access: Internet.

Modern cookery in all its branches : embracing a series of plain and simple instructions to private families and others, for the careful and judicious preparation of every variety of food as drawn from practical observation and experience /

Publisher's advertisements at end.

Old English composers for the virginals & harpsichord : a collection of preludes, galliards, pavanes, grounds, chaconnes, suites, overtures, sonatas, etc. /

Publisher's no.: Augener & Co.'s edition, 8300.

Batiste's voluntaries : fifty pieces for the organ, not difficult and carefully fingered : consisting of offertoires, elevations, communions, versets, sorties, preludes, etc. : op. 24 and 25 /

Mode of access: Internet.

Twenty piano compositions. [music] /

Bibliography of Haydn: 1 p. following p. xiii.

The Star collection of instrumental music; arranged for wind and string instruments, and for the use of small bands and orchestras.

Contains arrangements of songs, selections from operas, dances, etc.

Le trésor des pianistes; collection des oeuvres choisies des maitres de tous les pays et de toutes les époques depuis le XVIe siècle jusqu'a la moitié du XIXe accompagnées de notices biographiques, de renseignements bibliographiques et historiques ... des règles de l'appogiature ... etc., etc.,

Vol. 2-23 have half-title only; the work of each composer has special t.p. with separate pagination.

Universal album of 200 jigs, reels, hornpipes, etc. for the piano

Publisher's plate no.: 15376-89.

Piano lyrics and shorter compositions [of] Edvard Grieg. [music] /

"Edvard Grieg's works": p. [xv].