Music of the village in the global marketplace: Self-expression, inspiration, appropriation, or exploitation?

摘要

Music of the Village in the Global Marketplace: Self-Expression, Inspiration, Appropriation or Exploitation? is a paper that serves as an introduction to issues embedded in the Western practice of appropriating the music of indigenous peoples and incorporating it in new compositions. The paper highlights strides taken by indigenous peoples to protect their heritage.; Chapter One provides a discussion of studies conducted by/in consultation with indigenous peoples, with case studies of concerns raised. Chapter Two explores myths constructed about indigenous peoples that facilitate appropriation. Chapter Three outlines how the World Intellectual Property Organization and governments are attempting to protect folklore through legal means, with an in-depth study of copyright laws. Chapter Four asks whether or not folklore should be protected, considering collisions of irreconcilable values between cultures, the mismatch of copyright and the creative process, and some of the possibilities opened to indigenous musicians for resistance through practices of appropriation.; Apart from study conducted at The University of Michigan libraries, and comments gleaned from paper presentations, research has included a study trip to WIPO, a meeting with the Copyright Office in Ghana, and participation in the UN Working Group's redrafting of the "Principles and Guidelines for the Protection of the Cultural Heritage of Indigenous People."; Rosie the Riveter is a musical composition commissioned by H. Robert Reynolds for The University of Michigan Symphonic Band. Scored for full symphonic band with trumpet soloist, the piece features an exceptionally large percussion battery including an array of metals.; When the United States entered World War II in 1941, nearly all able-bodied men were drafted into active duty. The production of weapons, aircraft, ships and the like had to he accomplished by someone, and the War Department launched a propaganda campaign to enlist women into the workforce as welders, riveters, electrical workers, machine operators, and so forth. "Rosie the Riveter" was the name the War Department chose as a label for the epitome of the patriotic woman. Rosie the Riveter is a tribute to the pioneering women of the World War II era. The duration of the piece is nine minutes, thirty seconds.