Under a blanket (or ‘compulsory’ license) for consumer downloads, record labels fear they would lose control of their hard-fought grip on physical distribution channels, and lose control over pricing. In fact, they’d simply have to work harder to gain a bigger share of the pie, and innovate to find new outlets for their copyrighted material.

the staff at the RIAA are thoughtful, good people who work hard to protect their constituency

À moins de s’intéresser de près au Brésil ou à un sujet qui peut y être lié ou particulièrement étudié ici, très peu d’étudiants liront des articles ou livres d’ethnomusicologues et anthropologues brésiliens, sauf peut-être les « classiques » de Roberto da Matta, Gilberto Freyre ou Mario de Andrade, par exemple. Il existe pourtant une littérature abondante qui traite de sujets liés de près ou de loin à l’ethnomusicologie (anthropologie, « études culturelles », « folklore », politiques publiques et culturelles, éducation artistique, droit des minorités, etc.), ainsi que des ouvrages d’ethnomusicologie (habituellement édités par les presses des universités fédérales). Dommage que celle-ci ne soit que très peu traduite en anglais ou en français. À ce sujet, je dirais qu’il existe de nombreux échanges entre les pays d’Amérique latine et le Brésil. La proximité des langues portugaise et espagnole rend ces collaborations plus faciles et les préoccupations des chercheurs semblent être comparables. Si les professeurs lisent ce qui s’écrit à l’extérieur du Brésil, trop peu d’étudiants (surtout au baccalauréat et à la maîtrise) le font. La lecture de textes en anglais et en français (encore pire !) les rebrousse… Ceci laisse toutefois place au développement d’une ethnomusicologie « sud-américaine » et « brésilienne ».

Le Brésil étant un pays énorme et regorgeant de traditions culturelles musiques diverses selon les régions, les étudiants et professeurs choisissent généralement d’effectuer leurs recherches dans leur propre pays. Le travail de terrain dans une contrée inconnue ou totalement différente de la leur ne fait pas partie de la tradition ethnomusicologique brésilienne (probablement aussi parce que la plupart n’auraient pas la possibilité de le faire) et cette perspective fait même rigoler plusieurs d’entre eux. Comment un Brésilien pourrait comprendre les enjeux d’une musique bulgare ? Que ce soit auprès des communautés autochtones, afro-brésiliennes, des groupes minoritaires ou marginaux, plusieurs vont tenter de comprendre les préoccupations et revendications des communautés étudiées et adoptent en quelque sorte un rôle de médiateur entre les instances publiques et ces populations avec qui ils collaborent (je pourrais dire « ces populations qu’ils étudient », mais j’ai l’impression que la tendance actuelle va vers un travail de collaboration et de dialogue avec les populations étudiées). Cela dit, il existe diverses méthodes et préoccupations.

Le professeur Samuel Araújo, avec qui je travaille actuellement, fait partie des quelques chercheurs-ethnomusicologues brésiliens (avec, entre autres, Angela Luhning de l’UFBA) qui optent pour une ethnomusicologie « appliquée » et « participante », dans laquelle le retour aux communautés « étudiées » est primordial. D’ailleurs, les questions posées proviennent souvent de l’intérieur-même de ces communautés. Dans ce cas, le chercheur joue un rôle de médiateur et d’orienteur et suscite la réflexion au sein du groupe. Le dialogue engendré par cette méthode remet parfois en doute « l’autorité scientifique », puisqu’il s’agit d’une certaine façon d’intégrer et de considérer davantage le discours des personnes « étudiées ». Ainsi, on tente également de rapprocher les milieux académique et « populaires ».

Fait propre à l’Amérique latine, l’ « hétérogénéité multitemporelle » (voir à ce sujet : N.G. Canclini, 1998), c’est-à-dire une forme de coexistence des pratiques modernes à côté de celles traditionnelles et aussi ce résultat hybride du mélange entre le sacré, le populaire et la culture de masse, a certainement à voir avec le fait que l’étude des musiques populaires (autant que ce que nous pourrions appeler musiques régionales, traditionnelles ou autres) relève en grande partie de l’ethnomusicologie ici.

Ainsi, on a vu naître l’Association latino-américaine pour l’étude de la musique populaire (branche latino-américaine de l’IASPM) suite au congrès de la Havane (1994, je crois). L’ouvrage « Música Popular na América Latina – Pontos de Escuta » (UFRGS Editora, org. de Martha Ulhôa et Ana Maria Ochoa, en espagnol et portugais) est disponible à la bibliothèque de l’UdeM (sinon, auprès de Philip Tagg !) et donne une bonne idée des tendances actuelles dans l’études des musiques populaires en Amérique latine. On y retrouve plusieurs articles d’ethnomusicologues.

Ce lien entre ethnomusicologie et musiques populaires ne date pas d’hier dans la « tradition ethnomusicologique » brésilienne. Les premiers ouvrages traitant des musiques brésiliennes (Renato Almeida (1942), Mario de Andrade(1963 et 1972) incluent les différents styles de musiques populaires propres à chaque région. Toutefois, l’ethnomusicologie brésilienne est apparue officiellement au travers des programmes d’anthropologie, particulièrement dans la recherche en ethnologie indigène (Bastos, 1979). Les chercheurs actuels s’intéressent de plus en plus aux effets de la mise en marché des musiques, aux recherches en milieu urbain (hip hop, funk, rock ; soit les musiques qui ne font pas partie du courant MPB {música popular brasileira}), etc. Aussi, le contexte particulier du Brésil et de l’Amérique latine amène les chercheurs à s’intéresser à divers thèmes, telles que ceux de la violence ou de la sécurité publique(voir Araújo, A. Cragnolini), les politiques publiques (Araújo, Alves de Souza, R. Pereira Tugny).

Enfin, concernant les liens entre anthropologie et ethnomusicologie, la musique est au coeur de la vie des Brésiliens. Les anthropologues peuvent donc difficilement en faire abstraction et, comme le précise Menezes Bastos (Anais, II Encontro Nacional da ABET, 2004), « la musique s’avère presque indispensable pour une compréhension du Brésil ». Il existe encore aujourd’hui une tradition d’anthropologues qui étudient les phénomènes musicaux (étude des musiques brésiliennes « de fora » [de l’extérieur de la tradition ethnomusicologique). Hermano Vianna en est un bon exemple (anthropologue qui a fait des recherches sur la samba et le funk brasileiro, entre autrs). Mais l’ethnomusicologie occupe une place de plus en plus importante. La discipline (recherche et enseignement) est présente dans les États de Rio Grande do Sul, Santa Catarina, Rio de Janeiro, São Paulo, Brasília, bahia, Pernambuco et Paraíba. De plus, plusieurs Américains, Français et Anglais poursuivent des recherches au Brésil. Plusieurs ethnomusicologues brésiliens (Lucas, Luhning, Pinto, Araújo, Carvalho, Sandroni) trouvent que les travaux fait par des chercheurs provenant de d’autres disciplines (anthropologie, sociologie…) n’atteignent pas le même niveau de « maturité » que les publications provenant des ethnomusicologues. Dans le but de favoriser les échanges d’idées et de connaissances, les ethnomusicologues brésiliens ont créé, en 2001, l’Association brésilienne d’ethnomusicologie (ABET) a été créée et la revue « Música e cultura » vient de publier sa première édition (2006).<—4a6148cf0e2831f7927d372ae44f2f02—><—80f307f6ad08ef9007a8670814a61779—>

Why is French music from Quebec almost entirely absent from most Canadian online music services?

It’d be interesting to determine the effects of Canadian Content rules (“CanCon”) on the state of Quebec’s musics. It’s quite possible that CanCon has been one of the reasons behind the vitality of Francophone music in Quebec, especially when considering airplay on Anglophone radio stations. Yet, it seems to me that the current state of the “music industry” in Quebec is much less dependent on CanCon than it might have been in the past. This is not a full-fledged analysis on my part and I might be completely off-base. But this preliminary hypothesis is based on a few observations as a French-speaking Quebecker, a «Canadien errant» (an itinerant French-Canadian), and a fan of Francophone musics. My emphasis here is on «chanson», the type of music done by «auteurs compositeurs interprètes» (“singers-songwriters”). In terms of sales, it’s a relatively important market but it’s mostly significant as part of Québécois identity.
Through a significant period of Quebec’s recent history, there was a perception that musicians, especially singers, had to succeed in Paris to be recognized in Quebec. France was, and still remains to some extent, the main reference for Quebec’s “cultural institutions” and there was a sense that Quebec culture was dependent on French recognition. Many actors in Quebec’s music scenes looked up to France as a significant source of prestige. Obviously, Quebec artists were also influenced by British and American cultures. But pride in “our artists” was most often triggered by the accolades they would receive in France.
Quebec’s singers are now much less dependent on France. For instance, Daniel Bélanger, Ariane Moffatt, and other musicians on the Audiogram independent label have achieved significant success in Quebec before ever performing in France. In fact, a few French artists even achieve recognition in Quebec before they do so in France, partly because of large musicals like Plamondon and Cocciante’s adaptation of Notre-Dame de Paris. Some could say that Quebec culture is now much more inward-looking and insular than it ever was. The effect is a relative autonomy in the world of “cultural industries” (arts and entertainment, media, etc.).
Which brings another point, often bemoaned by many Quebeckers but clearly central to Quebec’s current situation: media convergence. In Quebec, “convergence” is often used as a buzzword to designate (and often decry) the practises of large corporations like Quebecor which own several media outlets and use this type of integration to cross-promote the people with whom they sign contract (or, as some put it, “to plug the artists they own”). Quebecor itself, seen as a giant, argues that it is in fact much smaller and more benevolent than the real threat of international media conglomerates (typically coming from the United States). Whatever the case may be, this discourse plays on cultural identity. No matter how evil or monopolistic it may be, Quebecor is still a Quebec institution (it says so in its name). And the contents they push are identified as part of Quebec culture, whether they’re original Quebec content or are adaptated from content which has worked in France and the United States.
By to the CRTC and content rules. Quebec content (QueCon) is covered in part by CanCon, at least through language-specific rules (Acadian and Franco-Ontarian musics are different though connected stories). Cultural protectionism does titillate cultural identity. Québécois don’t typically think of Canada’s federal agencies like the CRTC as defenders of Quebec’s distinct culture. In fact, some Québécois critics see the CRTC almost as a threat to Quebec culture, perhaps even more so than anything coming from the United States. This perception might be completely inaccurate but it does inform the attitudes of many Québécois on culture and media.
In such a context, how important is it for the CRTC to “protect” Quebec content?<—0e1e868329cb81e3a22a710f726d685e—>

Me relationship with the musicians and with the composers has continued to flourish, beyond what I could have ever aspired to. After the gala concert which took place saturday evening, the pianist in the ensemble thanked me for attending all of the activities in the Forum and for doing the “causeries” with the composers at such short notice. Then, just before I left, the 4 composers, Marko, Karola, Ezequiel and Geof, surprised me with a “thank you” gift. I was stunned, and profoundly touched by their gesture, when it was me who ought to thank them for having been so open to my questions and so welcoming.

I admit I returned home on a high that no legal marijuana could come close to giving me. After two intensive, exhausting weeks, I feel that I gave it my best and have learned, and recieved more than I could have ever hoped for.

It was one of the best experiences of my life.

Here a few pictures of the composers and I in the last two evenings of the event. One is of the musicians on the peer outside the Musiekgebouw. I was having coffee in the building’s café when I saw them all standing outside. I knocked on the glass until they noticed me and they paused for a picture.

One is from the gala concert after all the musical works had been performed. Marko’s piece, entitled, ” chambres des ténèbres /tombeau de Claude Vivier” recieved a distinction and will be reperformed in April in Montreal.

One is of all of us with Guilherme Carvalho, from the 2004 Forum, one is one of the rehearsals with one of the jury (John Rea) looking on and following the score, and one is with the composers during a break from rehearsal with John Rea, composer and member of the jury.

The questions I leave this experience with is this: what does an experience like this say about the way we think of time spent in the field: what are the advantages and disadvantages of an intensive field experience versus a more extensive experience over a longer period? Last but not least: what does it say about the relationship between “researcher” and “informant” in the age of technology, mutual expertise and globalization?

Thanks for reading and commenting!

Yara

<—b3f6d7dad735a0ecde0e0f7c5ce6c8bd—>

I have to say it was a very difficult experience for me and very uncomfortable. There we were chatting together yet exposed to the public. It felt violating and I wasn’t able to dialogue with Geof as I usually would. It was in a strange way a reversal of roles, where suddenly the public was the “observateur-participant” and both Geof and I were the “informants”. We were also being photographed and recorded which also was very “invading” for me personnally. Geof seemed also very nervous (probably because I was too). What is really ironic in all of that was that we had just had the exact same conversation right before the “official interview” and we just could not recreate the easy natural dialogue we had had while drinking a cup of coffee. The difference is quite “flagrant” when you listen to both interviews one after the other.

Another funny reversal of roles took place later on during the evening when I went to the hotel to interview Karola individually about her music. Geof decided to join us later during the interview. I had asked Karola to bring me some of her sketches. As the interview ended, Geof, with a little bit of a tease, said, “I would like to see your sketches sometime!” (sketches of the interviews), so I laughed and I explained a bit about how I organized my interviews and how I thought the dynamics in his forum were different from the last forum. And then I explained how I was probably going to analyse what I learned here, talking about the link between music and identity. At that point, Karola asked “are you recording this?” I said “no”. So Geof turned the recorder on me and they recorded me, explaining my thesis to them.

That was a wonderful experience, it felt liberating to show all my cards and they appreciated it. It was also a lot less stressful and invading than when I had to interview Geof in public.

Yara

J’ai jusqu’à présent évité d’envoyer ou poster des photos identifiant les
compositeurs, par simple précaution, bien qu’ils m’aient donné leur
consentement, mais après avoir reconfirmé de nouveau avec eux leur accord
de poster des photos plus explicites et identifiables, je peux enfin vous
envoyer des photos plus intéressantes.

Je vous envoie donc une photo du Muziekgebouw de loin et une des quatre
compositeurs dans un restaurant indien où nous avons passé un bon moment à
discuter de musique et identité. J’ai pu aujourd’hui organisé un
calendrier d’entrevues individuels avec chacun des compositeurs. Pour
aller au delà du discours SUR la musique et pour parler de discours
musical comme tel, j’ai demandé aux compositeurs d’apporter leurs
brouillons et partitions, et si possible des enregistrements à partir de
leurs logiciels de notation de leurs créations et nous allons faire
l’entrevue en prennant ces documents comme point de référence. J’ai pu le
faire aujourd’hui avec Ezequiel, le compositeur argentin, et vous ne
pouvez imaginer la richesse de la discussion. Il m’a beaucoup appris sur
le processus de création musicale et surtout sur sa façon d’approcher une
nouvelle pièce et de la construire.

Dans une tradition musicale très dépendante de l’écriture, j’ai compris
que la partition était incontournable et qu,il fallait l’inclure comme
“informateur” dans l’entretien ethnomusicologique. Ce qui rend la
conversation encore plus intéressante, c’est la présence du NEM, dont les
répétitions des créations tous les jours permet aussi d’examiner des
questions d’interprétation et de performance.

Je n’entrerai pas dans les détails des discussions (ce sera pour la
thèse!) mais je vous laisse au moins avec quelques photos. (une photo avec
la compositrice allemande, Karola, discutant de sa pièce avec Lorraine
Vaillancourt durant une répétition, une de Geof, le compositeur canadien
écoutant sa pièce sur scène durant une répétition et une de Marco, le
compositeur serbe, durant un master-class d’analyse de son oeuvre, et une
de Ezequiel, avec des brouillons de sa partitions suite à notre entretien
(Je voulais le photographier lisant la partition, mais il était trop
conscient de la caméra. J’ai eu droit à un magnifique sourire).

À bientôt!

Yara

<—1e3104e1343b999dc21ddfa8ff53ceea—>

As I talked to the musicians, I realized that they were really impressed with the place, it seemed that they were in their fairytale music hall, and couldn’t stop raving about the acoustics.

As for the composers, I had a nice bite with them over lunch and talked about different ideologies in music conservatories, and between the schools of electroacoustic music and instrumental music. Didn’t record … I decided to keep the “technology” out of the way until I establish a real rapport. All though I did record over three hours of repetitions with the ipod discreetly placed under the conductor in order to hear his comments on the piece. He seemd to be very comfortable with it.

So over all it was a pretty successful and impressive day. Just got back to catch up on some much needed sleep and make some phone calls … until I realized my low budget hotel doesn’t have a phone line in my room. Oh well! It was free wireless internet so who needs phones?

BTW Thanks Pascal for the links to the NEM!

Here is the link to the Muziekgebouw where the event is taking place and I’ll be uploading some pics right away:
http://www.muziekgebouw.nl/uk/gebouw_detail.asp?id=3

Yara

I’m sure I’ve earned a couple of bloody tourist looks here and there, especially after I dragged my bag right into the tiny tram carts, but I have to say, the atmosphere of the city is wonderful. It’s not the city of legal prostitution and legal drugs for nothing. It is also Rembrandt’s 400th anniversary so wherever you go you see Rembrandt staring at you with his Renaissance clair-obscure glare. I bought a three day ticket for the trams but I’m seriously considering renting a bike and just taking advantage of the canals and narrow streets. The weather is chilly but has that springy feel in it and the streets are filled with bikers and walkers. It makes you feel alive.

The Forum du NEM, which is the competition/event I’m researching starts today. Even though I haven’t slept yet, I’m probably going directly there as soon as I have my 5 euro toast and jam breakfast (expensive is the word I’m looking for here). I’m a little nervous as first days always are. This time there are 4 composers I’ll be trying to interview about music, identity, postcolonialism and all that stuff anthropologists are so fond of these days.

An update will be coming to you soon, probably tonight!

Yara<—4363fd2c1fe28a5708bcbc8300c25fab—>

What makes together? Notes on the life of political
collectivities
CASAZine #3: Borders, Markets, Movements

“Through the work of listening to others, of hearing
the force of their pain and the energy of their anger,
of learning to be surprised by all that one feels
oneself to be against; through all of this, a ‘we’ is
formed and an attachment is made.”
-Sarah Ahmed

The focus of this issue emerges from the 2005 Cultural
Analysis Summer Academy (CASA) international meeting
in Amsterdam organized around the themes of “Borders,
Markets and Movements”. CASA addressed a variety of
topics from immigration policy to working conditions
to the democratization of education. What united this
wide range of interests was a commitment to raising
questions of social responsibility, along with a
desire for collective analyses and collective
solutions for confronting and countering oppressions.

From this shared commitment, CASA 2005 became a space
for telling stories of our political successes and
failures in organizing, of our hopes and yearnings for
a more just world, as well as of our daily
negotiations with both privilege and marginalization
in the places where we work and live. The
conversations, narratives and anecdotes exchanged at
CASA reflect broader issues that people working toward
social justice consider in everyday life.

Call for Papers

Editors of what makes together?, the 3rd issue of
CASAZine, invite proposals that investigate the
commitments, relationships and attachments involved in
working collectively. We seek experiential writing
that critically reflects upon issues of the political,
ethical and emotional labour involved in imagining,
enacting and sustaining political collectivities that
work toward the creation of social justice.

Whether engaged in solidarity projects seeking justice
for refugees, localized struggles for worker’s rights
or international movement building around democratized
education, all of this political organizing demands
constant and critical reflection regarding the
processes of working collectively to enact social
change.

Focused on what we can gather from listening to each
other, we envision this collection as an “ethics of
tactics” rather than a guidebook or instruction
manual. Instead of telling each other what to do, we
see this ethics of tactics as an opening to what each
other has to tell, and as a proper listening that can
create the force and formation of a ‘we’. Toward this
aim, we seek writing that interrogates and expands
upon questions such as:

Submission Guidelines

Submissions should be between 500-3,000 words. We are
open to various writing styles and encourage
creativity and experimental forms.

Send email queries and submissions (as Word documents)
to whatmakestogether@riseup.net

Deadline: Feb 15th, 2006

CASA

CASA offers a platform for people to discuss and
combine efforts and information working towards social
transformation. For more information on CASA 2005
Borders, Markets, Movements and to find out about the
summer meeting CASA 2006: Constructing Social Change
go to http://www.casa.manifestor.org/<—f9c17f2605b7a71c464d2bf7659192e3—>

Contested Commons, Trespassing Publics: A Public Record Available for free download at http://www.sarai.net/events/ip_conf/ip_conf.htm

A rapporteur’s account of the Contested Commons conference (6-8 January 2005, Delhi), along with a range of interviews, links a wide spectrum of political, social and cultural issues embedded in “the property question”. It deconstructs the capital-driven processes of enclosure in the contexts of software, file-sharing, patents, biopiracy, Indigenous knowledge, cyber art, virtual exchange, literary history, theology and law, among others.

Varied voices explore new paradigms of practice in relation to the global intellectual property regime, its enforcement as well as its violation and subversion by a compelling array of resilient figures. These include the hacker, the pirate, the solitary “genius”, the reformer, the artist, the prisoner, the heretic, the thief, the “transformative” author, the theorist, the migrant, the vendor, the critic, the aesthete, the scribe, the citizen, the tenant, the worker, the chairman, the rebel, the coder, the squatter, the inventor, the farmer, the smuggler, the spectator, the judge…

This detailed account describes the radical contemporary shifts in the production, distribution and consumption of cultural materials through the networks of digital media. It complicates the meaning of “community”, and narrates how technology continues to enable an unprecedented levelling of exclusionary hierarchies and hegemonies all over the world.
Paperback, 170 pp, Euro 10, US$ 10

Monica Narula Raqs Media Collective Sarai-CSDS 29 Rajpur Road Delhi 110 054 http://www.raqsmediacollective.net http://www.sarai.net

GLOBAL STORIES: Citizens’ Media from Around the World
A week of events celebrating autonomous, independent media

October 17th to 21st at Concordia University

überculture collective, along with The Link, CKUT, CUTV and Concordia University, are pleased to invite you to join us for the second annual celebration of International Media Democracy Day in Montreal. Centring on the official date of IMDD, Oct. 18th, this year’s week of events aims to carry on where last year’s conference left off, examining how and where information is produced and disseminated and how we can build effective, grass-roots alternatives to corporate dominated media.

This year’s theme, GLOBAL STORIES: Citizens’ Media from Around the World, aims to look at citizen-based media both in Canada and abroad and hopes to explore how it has become possible for small, localized, independent media outlets to develop a global reach.

The week’s highlight will be a keynote address and Q & A on Tuesday Oct. 18 featuring Clemencia Rodriguez, a Latin American media activist who has extensively explored citizen-based media, and John Downing, founder and director of the Global Media Research Center and author of Radical Media.
Kicking off the week will be the Montreal instalment of the cross-Canada Measuring Security Measures series, co-sponsored by the NFB/CitizenShift. With events taking place in ten different Canadian cities, MSM will explore the changing nature of security measures in Canada since Sept. 11, 2001. The Montreal event, taking place at 7pm on Monday, Oct. 17th, will pay particularly close attention to the corporate media’s role in shaping the security agenda. MSM-Montreal will feature screenings of never before seen independent films examining state-security in Canada and a panel featuring Adil Charkaoui, Julius Grey and Yasmin Jawani.

Below is a brief schedule of events for the week. For more information and to download the program, please visit
überculture .

IMDD 2005 SCHEDULE OF EVENTS:

October 17:
5:45pm: Book Launch – Something New in the Air: A History of First Peoples’ Television in Canada, by Lorna Roth. Concordia’s School of Community and Public Affairs.

7pm: Measuring Security Measures – part of a Canada-wide project co-sponsored by the NFB looking at security measures in Canada since 9/11,vfeaturing security certificate activist Adil Charkaoui, civil rights lawyer Julius Grey and Concordia communication studies professor Yasmin Jawani. Room H-110, Hall Building.

October 18:
10am – 4pm: Alternative Media Fair bringing together over 30 independent media organizations from across Quebec and further. Mezzanine, Concordia Hall Building

7pm: Keynote address by Clemencia Rodriguez (Latin American media activist and author of Fissures in the Mediascape: An International Study of Citizens Media) and John DH Downing (founder, Global Media Research Center and author of Radical Media: Rebellious Communication and Social Movements). Room H-110, Hall Building.

October 19:
5:30pm: Building an Independent Media Movement from Montreal to Beirut, a presentation & interactive slide show on indymedia in Beirut by media activist and CKUT host Stefan Christoff. Co-sponsored by CKUT and ISM & CMAQ. Concordia University SCPA.

7:30pm: Security and Surveillance: How big is Big Brother? A public discussion with moderator Kenneth C. Werbin (Concordia University) and guests. Co-sponsored by University of the Streets. Café Esperanza, 5490 St. Laurent Blvd.

October 20
6pm: Being Controversial in the Media – Panel discussion organized by the Link, featuring Matthew Hays, Linda Kay, Josey Vogels and Jan Ravensbergen. D.B. Clarke Theatre, Hall Building.

October 21
7pm: Video for Change – A Witness Book Launch and Wine and Cheese with Liz Miller (Concordia University) and Katerina Cizek (Filmmaker and writer) and Video Projections from Volatile Works and Les Lucioles. Graduate Students Association Lounge.

8pm: Link Alumni party at Reggie’s Pub

10pm: Global Stories wrap party featuring live music, DJs and raffle at Reggie’s Pub (co-hosted by überculture and the Link)

überculture—>

A highly-influential global knowledge-building platform on Music and Society in the 21st Century.

Topics:
1) The Power of Music in a Fast Changing World
2) Music and Technology: What Lies Ahead
3) Globalization and the Future of Music
4) Urban music

Venue: Hollywood Renaissance Hotel, Los AngelesAudience: Policy-makers, industry executives, professionals, artists

Enquiries: forum.imc@unesco.org Web address: http://worldforumonmusic.com Organized by: International Music Council of UNESCO and City of Los Angeles Cultural Affairs Department<—1ef6d6a597c7dca61b2b23937abbb10e—>

• Fresh: Current issues, time-sensitive debates.


• Ongoing: Long-standing discussions.


• Sandbox: Fun, playful, disruptive.


• Soapbox: Voice of personal opinion, rants.


• CriticalWorld: Events and activities involving CW members.


• Any: Anything else, including administrative messages.

Keywords will be updated as we go along and should focus on Critical World’s main issues.

• Digits: Sound files, digital music transfers, music e-commerce.


• Diversities: Musical diversity, cultural diversity, social diversity, standardization.


• Ethnographies: Ethnography, fieldwork, field research, anthroplogy, ethnographic disciplines.


• Monies: Industries, commodification, musical economy.


• Rights: Copyright, copyleft, public domain, Creative Commons, intellectual property, artists’ right.


• Scenes: Local scenes.


• Sounds: Access to music.

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