From Home-Studios to Mobile Phones: Recent Trends in Popular Music Recording and Sharing in Papua New Guinea

IF 0.2 0 MUSIC

Journal of World Popular Music Pub Date : 2019-11-07 DOI:10.1558/jwpm.36114

Oli Wilson

引用次数: 1

Abstract

This article explores changes in home-based recording contexts in Papua New Guinea to highlight the ways that digital recording and communication technologies become embedded in localized social practices. It seeks to contribute to the emerging discourse in ethnomusicology about new technologies, local agency and cultural diversity. The research is informed by ethnography undertaken with urban music producers, and explores the impact of mobile phonebased music sharing, as well as the dissemination of music through social media. The article problematizes notions of homogenization in the context of indigenous music recording practices, and contributes to an emerging discourse on musical cultures in the Pacific that positions local popular music as a constituent part of local social relations. I conclude by considering how technological disruptions represent new possibilities for understanding the ways that cultures embed technologies in the context of music recording and production.

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从家庭工作室到移动电话:巴布亚新几内亚流行音乐录制和分享的最新趋势

本文探讨了巴布亚新几内亚家庭录音环境的变化，强调了数字录音和通信技术融入当地社会实践的方式。它旨在为民族音乐学中关于新技术，地方机构和文化多样性的新兴话语做出贡献。该研究由城市音乐制作人进行的人种学研究提供信息，并探讨了基于手机的音乐共享以及通过社交媒体传播音乐的影响。本文对土著音乐录音实践背景下的同质化概念提出了质疑，并为太平洋地区音乐文化的新兴话语做出了贡献，该话语将当地流行音乐定位为当地社会关系的组成部分。最后，我考虑了技术的颠覆如何为理解文化在音乐录制和制作的背景下嵌入技术的方式提供了新的可能性。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Journal of World Popular Music MUSIC-

CiteScore

0.40

自引率

0.00%

发文量

期刊介绍： Journal of World Popular Music is a peer-reviewed academic journal that publishes research and scholarship on recent issues and debates surrounding international popular musics, also known as World Music, Global Pop, World Beat or, more recently, World Music 2.0. The journal provides a forum to explore the manifestations and impacts of post-globalizing trends, processes, and dynamics surrounding these musics today. It adopts an open-minded perspective, including in its scope any local popularized musics of the world, commercially available music of non-Western origin, musics of ethnic minorities, and contemporary fusions or collaborations with local ‘traditional’ or ‘roots’ musics with Western pop and rock musics. Placing specific emphasis on contemporary, interdisciplinary, and international perspectives, the journal’s special features include empirical research and scholarship into the global creative and music industries, the participants of World Music, the musics themselves and their representations in all media forms today, among other relevant themes and issues; alongside explorations of recent ideas and perspectives from popular music, ethnomusicology, anthropology, musicology, communication, media and cultural studies, sociology, geography, art and museum studies, and other fields with a scholarly focus on World Music. The journal also features special, guest-edited issues that bring together contributions under a unifying theme or geographical area.