Hilder 2017
Notes on Hilder (2017) Music Indigeneity Digital Media.pdf.
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Hilder – The Politics of Virtuality
Discusses virtuality and recording in the context of the Sámi (indigenous northern Europeans) muisic practice of joik. An interesting and useful picture of a music practice besides Western art music.
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%%PREFIX%%mation at unprecedented speed?2%%HIGHLIGHT%% ==Digital databases have become crucial for empowering Indigenous communities by, for example, providing opportunities for local documentation and repatriation of cultural heritage.== %%POSTFIX%%53 Such a fluid relationship bet
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{"created":"2022-03-17T00:29:15.897Z","updated":"2022-03-17T00:29:15.897Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":3592,"end":3775},{"type":"TextQuoteSelector","exact":"Digital simulation also enables the convergence of different communication forms (oral, written, audiovisual) and thus the supposed reunification of the senses upon which they rely.6","prefix":"ternative visions of reality.63 ","suffix":"4 That this overcomes the logoce"}]}]}%%
%%PREFIX%%ternative visions of reality.63%%HIGHLIGHT%% ==Digital simulation also enables the convergence of different communication forms (oral, written, audiovisual) and thus the supposed reunification of the senses upon which they rely.6== %%POSTFIX%%4 That this overcomes the logoce
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{"created":"2022-03-17T00:30:31.497Z","text":"See my thoughts on [[Eidsheim 2015]], digital tech, space, reverb","updated":"2022-03-17T00:30:31.497Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":9438,"end":9668},{"type":"TextQuoteSelector","exact":"Sámi CD production can “sound spatiality” by referencing places and spaces.97 In particular, she notes the ways in which the mixing of field recordings can help in the construction of what joi- kerWimme Saari calls “sound worlds.","prefix":"eene, Diamond also explores how ","suffix":"” But these references are not n"}]}]}%%
%%PREFIX%%eene, Diamond also explores how%%HIGHLIGHT%% ==Sámi CD production can “sound spatiality” by referencing places and spaces.97 In particular, she notes the ways in which the mixing of field recordings can help in the construction of what joi- kerWimme Saari calls “sound worlds.== %%POSTFIX%%” But these references are not n
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See my thoughts on Eidsheim 2015, digital tech, space, reverb
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{"created":"2022-03-17T00:31:30.945Z","updated":"2022-03-17T00:31:30.945Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":16189,"end":16429},{"type":"TextQuoteSelector","exact":"Perea argues that the use of technologies in learning, performing and teaching, as well as the personal, social and aesthetic implications they have, are Commensurate with the orality necessary for the transmission of Indigenous traditions.","prefix":"orm current practice. Moreover, ","suffix":" Indeed, he stresses the ever-tr"}]}]}%%
%%PREFIX%%orm current practice. Moreover,%%HIGHLIGHT%% ==Perea argues that the use of technologies in learning, performing and teaching, as well as the personal, social and aesthetic implications they have, are Commensurate with the orality necessary for the transmission of Indigenous traditions.== %%POSTFIX%%Indeed, he stresses the ever-tr
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{"created":"2022-03-17T00:31:47.342Z","text":"Interesting—hadn't considered politics of these transformations directly—would be good to they to be explicitly aware going forward","updated":"2022-03-17T00:31:47.342Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":18089,"end":18386},{"type":"TextQuoteSelector","exact":"Recording technologies (both analog and digital), because they can reproduce and distribute sound in ways that complicate the relationship between composer, performer, and listener, can become politically charged when employed by musicians, producers, teachers, archivists, or ethnomusicologists.","prefix":" and use of musical traditions. ","suffix":" Over the last decades, the nonc"}]}]}%%
%%PREFIX%%and use of musical traditions.%%HIGHLIGHT%% ==Recording technologies (both analog and digital), because they can reproduce and distribute sound in ways that complicate the relationship between composer, performer, and listener, can become politically charged when employed by musicians, producers, teachers, archivists, or ethnomusicologists.== %%POSTFIX%%Over the last decades, the nonc
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Interesting—hadn't considered politics of these transformations directly—would be good to they to be explicitly aware going forward
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{"created":"2022-03-17T00:33:09.785Z","text":"ease of transfer—[[Sterne 2012]], mp3, piracy","updated":"2022-03-17T00:33:09.785Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}%%
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ease of transfer—Sterne 2012, mp3, piracy
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{"created":"2022-03-17T00:34:47.300Z","text":"[[Sterne 2012]]","updated":"2022-03-17T00:34:47.300Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":18618,"end":18735},{"type":"TextQuoteSelector","exact":"How is musical activity turned into an object—and in the case of a YouTube video, ten minutes of audiovisual footage?","prefix":" This has3 2 2• SHZR EE TAN'« B","suffix":" Recording and music production"}]}]}%%
%%PREFIX%%This has3 2 2• SHZR EE TAN'« B%%HIGHLIGHT%% ==How is musical activity turned into an object—and in the case of a YouTube video, ten minutes of audiovisual footage?== %%POSTFIX%%Recording and music production
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Sterne 2012
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{"created":"2022-03-17T00:36:04.546Z","updated":"2022-03-17T00:36:04.546Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":29487,"end":29692},{"type":"TextQuoteSelector","exact":"Returning to young Amis singers again, a final remark can be made on their digital musical indigeneities, which ultimately have to be understood as only one, postdigital aspect of their varied lifestyles. ","prefix":"thoughtful comments on politics.","suffix":"Pau-dull’s YouTube channel, for "}]}]}%%
%%PREFIX%%thoughtful comments on politics.%%HIGHLIGHT%% ==Returning to young Amis singers again, a final remark can be made on their digital musical indigeneities, which ultimately have to be understood as only one, postdigital aspect of their varied lifestyles.== %%POSTFIX%%Pau-dull’s YouTube channel, for
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{"created":"2022-03-17T00:36:48.770Z","text":"mediation / construction of time by digital media formats","updated":"2022-03-17T00:36:48.770Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":37759,"end":38064},{"type":"TextQuoteSelector","exact":"Lu’s temporally phased representations on YouTube and CD reflect a particular kind of technological determinism at work. This in turn has to be understood in an environment where concepts such as “technological catchup,” “backward,” or “up-to-date” cannot be ruled only by the linear progression of time.","prefix":"e of age; the latter is of time.","suffix":" If anything, there is a constan"}]}]}%%
%%PREFIX%%e of age; the latter is of time.%%HIGHLIGHT%% ==Lu’s temporally phased representations on YouTube and CD reflect a particular kind of technological determinism at work. This in turn has to be understood in an environment where concepts such as “technological catchup,” “backward,” or “up-to-date” cannot be ruled only by the linear progression of time.== %%POSTFIX%%If anything, there is a constan
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mediation / construction of time by digital media formats
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{"created":"2022-03-17T00:38:17.373Z","updated":"2022-03-17T00:38:17.373Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":46579,"end":46713},{"type":"TextQuoteSelector","exact":"Dr. Hoehner stipulated that we would learn the songs aurally; we were not allowed to use Western musical notation to write them out. ","prefix":"riginals made by Dr. Hoehner.29 ","suffix":"Lakhóta lyrics were provided by "}]}]}%%
%%PREFIX%%riginals made by Dr. Hoehner.29%%HIGHLIGHT%% ==Dr. Hoehner stipulated that we would learn the songs aurally; we were not allowed to use Western musical notation to write them out.== %%POSTFIX%%Lakhóta lyrics were provided by
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{"created":"2022-03-17T00:38:44.690Z","text":"Archives not static in sound","updated":"2022-03-17T00:38:44.690Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":50284,"end":50528},{"type":"TextQuoteSelector","exact":" “What is traditional about traditional ecological knowledge is not its antiquity, but the way it is acquired and used. In other words, the social : processes of learning and sharing knowledge . . . lies at the heart of its tra- Í ditionality.\"","prefix":"on (Chickasaw, Cheyenne) state:","suffix":"36 If one extends their understa"}]}]}%%
%%PREFIX%%on (Chickasaw, Cheyenne) state:%%HIGHLIGHT%% ==“What is traditional about traditional ecological knowledge is not its antiquity, but the way it is acquired and used. In other words, the social : processes of learning and sharing knowledge . . . lies at the heart of its tra- Í ditionality."== %%POSTFIX%%36 If one extends their understa
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Archives not static in sound
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{"created":"2022-03-17T00:39:42.618Z","updated":"2022-03-17T00:39:42.618Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":58597,"end":59180},{"type":"TextQuoteSelector","exact":"What do digital media bring to or how do they threaten Indigennous musical performance, composition, and transmission ?Intent is key to how a technology is used by a cultural or linguistic group. If the intent is to document a language, a song, or a dance, then the use of digital media is very good for its intention. If the intent is to construct a new work based on traditional forms then, again, the use of digital media is good. If, however, the intention is to appropriate or to exploit a cultural or linguistic aspect of a group, then the use of digital media is not so good.","prefix":"n and grandchildren those songs.","suffix":"How did you learn Salish song, a"}]}]}%%
%%PREFIX%%n and grandchildren those songs.%%HIGHLIGHT%% ==What do digital media bring to or how do they threaten Indigennous musical performance, composition, and transmission ?Intent is key to how a technology is used by a cultural or linguistic group. If the intent is to document a language, a song, or a dance, then the use of digital media is very good for its intention. If the intent is to construct a new work based on traditional forms then, again, the use of digital media is good. If, however, the intention is to appropriate or to exploit a cultural or linguistic aspect of a group, then the use of digital media is not so good.== %%POSTFIX%%How did you learn Salish song, a
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{"created":"2022-03-17T00:40:16.012Z","text":"plenty of important points on these pages","updated":"2022-03-17T00:40:16.012Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":61595,"end":61685},{"type":"TextQuoteSelector","exact":"In North America there is still an entrenched mindset that anything Indigenous is inferior","prefix":" Salish musics at the same time.","suffix":". In music we still find that tr"}]}]}%%
%%PREFIX%%Salish musics at the same time.%%HIGHLIGHT%% ==In North America there is still an entrenched mindset that anything Indigenous is inferior== %%POSTFIX%%. In music we still find that tr
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plenty of important points on these pages
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{"created":"2022-03-17T00:40:58.101Z","text":"!!! what the process of recording is is actually a process of making","updated":"2022-03-17T00:40:58.101Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":70704,"end":71187},{"type":"TextQuoteSelector","exact":"Like most producers whom I have met, both Crewe and Fjellheim regard recording and audio production as a distinct art form not an imitative one.15 Fjellheim expressed this as follows: “I always consider the recording format as an artistic expression on its own, rather than a recreation of a ‘reality.’”16 His use of the word “reality” in quotes is noteworthy, since it recognizes that recording and mixing never simply replicate acoustic sound, but always mediate the sound source.","prefix":" he also understands academia.14","suffix":" Fjellheim’s comment further imp"}]}]}%%
%%PREFIX%%he also understands academia.14%%HIGHLIGHT%% ==Like most producers whom I have met, both Crewe and Fjellheim regard recording and audio production as a distinct art form not an imitative one.15 Fjellheim expressed this as follows: “I always consider the recording format as an artistic expression on its own, rather than a recreation of a ‘reality.’”16 His use of the word “reality” in quotes is noteworthy, since it recognizes that recording and mixing never simply replicate acoustic sound, but always mediate the sound source.== %%POSTFIX%%Fjellheim’s comment further imp
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!!! what the process of recording is is actually a process of making
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{"created":"2022-03-17T00:41:58.777Z","updated":"2022-03-17T00:41:58.777Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":74748,"end":75072},{"type":"TextQuoteSelector","exact":"The strength of genre expectations often influences the circulation of Indigenous recordings. Peter Dunbar-Hall and Chris Gibson quote the veteran Murri recording artist Kev Carmody about the fact that mainstream radio “has an obsession with ‘radio friendly’ music. They won’t even touch anything that’s not ‘safe’ to play.","prefix":"ence toward genre definitions. ","suffix":" They don’t like anything or any"}]}]}%%
%%PREFIX%%ence toward genre definitions.%%HIGHLIGHT%% ==The strength of genre expectations often influences the circulation of Indigenous recordings. Peter Dunbar-Hall and Chris Gibson quote the veteran Murri recording artist Kev Carmody about the fact that mainstream radio “has an obsession with ‘radio friendly’ music. They won’t even touch anything that’s not ‘safe’ to play.== %%POSTFIX%%They don’t like anything or any
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{"created":"2022-03-17T00:42:15.120Z","text":"gender and voice—the bodily nature of singing practice; imposition of timbre referent [stability?] [[Eidsheim 2015]]","updated":"2022-03-17T00:42:15.120Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":77450,"end":77950},{"type":"TextQuoteSelector","exact":"In addition to genre references, gender constructions were frequently mentioned in conversations with both the Sámi producers and in earlier interviews with performers. The earliest recording technologies were often said to reproduce male voices better than female voices.45 Techniques for moderating any harshness in female vocals are still part of some sound engineering training. The joik sound, on the other hand, is consistently said not to be gendered. The “colors” of every range are savored.","prefix":"rican popular music producers.44","suffix":" Sámi women, then, who perform p"}]}]}%%
%%PREFIX%%rican popular music producers.44%%HIGHLIGHT%% ==In addition to genre references, gender constructions were frequently mentioned in conversations with both the Sámi producers and in earlier interviews with performers. The earliest recording technologies were often said to reproduce male voices better than female voices.45 Techniques for moderating any harshness in female vocals are still part of some sound engineering training. The joik sound, on the other hand, is consistently said not to be gendered. The “colors” of every range are savored.== %%POSTFIX%%Sámi women, then, who perform p
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gender and voice—the bodily nature of singing practice; imposition of timbre referent [stability?] Eidsheim 2015
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{"created":"2022-03-17T00:43:40.274Z","text":"temporality & material mediation—again, tech; freely choosing from \"past\" temporalities (can we choose future ones? how?)","updated":"2022-03-17T00:43:40.274Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":83687,"end":84055},{"type":"TextQuoteSelector","exact":"It is not surprising that Crewe’s concept of sonic temporality would be oriented differently from that of the Sámi musicians, nor that his comments are often related to technological change. This is one of seven or eight places where he cast old sounds as the “AM radio” sound and saw it as a means of creating contrast by harkening back to an older sound aesthetic.5","prefix":"in which the recording was made.","suffix":"1 This perception is quite diff"}]}]}%%
%%PREFIX%%in which the recording was made.%%HIGHLIGHT%% ==It is not surprising that Crewe’s concept of sonic temporality would be oriented differently from that of the Sámi musicians, nor that his comments are often related to technological change. This is one of seven or eight places where he cast old sounds as the “AM radio” sound and saw it as a means of creating contrast by harkening back to an older sound aesthetic.5== %%POSTFIX%%1 This perception is quite diff
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temporality & material mediation—again, tech; freely choosing from "past" temporalities (can we choose future ones? how?)
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{"created":"2022-03-17T00:45:34.686Z","updated":"2022-03-17T00:45:34.686Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":88787,"end":89096},{"type":"TextQuoteSelector","exact":"The sonic associations we make and the conceptual frames we read onto sound, are indeed power laden. They constitute one of the potentially dangerous aspects of the separation of recorded sound from its sources, as Murray Schafer first taught us and as Steven Feld, among others, has so usefully elaborated.","prefix":"etty close to real life for him.","suffix":" The ways in which studio produc"}]}]}%%
%%PREFIX%%etty close to real life for him.%%HIGHLIGHT%% ==The sonic associations we make and the conceptual frames we read onto sound, are indeed power laden. They constitute one of the potentially dangerous aspects of the separation of recorded sound from its sources, as Murray Schafer first taught us and as Steven Feld, among others, has so usefully elaborated.== %%POSTFIX%%The ways in which studio produc
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{"created":"2022-03-17T00:45:39.051Z","updated":"2022-03-17T00:45:39.051Z","document":{"title":"Unknown Title","link":[{"href":"urn:x-pdf:b0ff599a0b52087eba43ce851b00eef4"},{"href":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf"}],"documentFingerprint":"b0ff599a0b52087eba43ce851b00eef4"},"uri":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","target":[{"source":"vault:/PDFs/Hilder (2017) Music Indigeneity Digital Media.pdf","selector":[{"type":"TextPositionSelector","start":86736,"end":86933},{"type":"TextQuoteSelector","exact":"Such strategies often disrupt expectations about “genre.” Genres have been identified as epistomologies of purification that govern expectations about how groups of people or places should sound.63","prefix":" reinterpreting cultural memory.","suffix":" Genres, similarly, have often b"}]}]}%%
%%PREFIX%%reinterpreting cultural memory.%%HIGHLIGHT%% ==Such strategies often disrupt expectations about “genre.” Genres have been identified as epistomologies of purification that govern expectations about how groups of people or places should sound.63== %%POSTFIX%%Genres, similarly, have often b
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^299yrflu4v