In August 2017 Bloomsbury launched 33 1/3 global, a series of short music-based books related to but independent from their series 33 1/3. The new series brings the focus to music throughout the world, starting with Supercell’s “Supercell” featuring Hatsune Miku by Keisuke Yamada, in the subseries 33 1/3 Japan.
The lead singer on Supercell’s eponymous first album is Hatsune Miku (初音ミク), a Vocaloid character created by Crypton Future Media with voice synthesizers. A virtual superstar, over 100,000 songs, uploaded mostly by fans, are attributed to her. By the time Supercell was released in March 2009, the group’s Vocaloid works were already well-known to fans.
This book explores the Vocaloid and DTM (desktop music) phenomena through the lenses of media and fan studies, looking closely at online social media platforms, the new technology for composing, avid fans of the Vocaloid character, and these fans’ performative practices. It provides a sense of how interactive new media and an empowered fan base combine to engage in the creation processes and enhance the circulation of DTM works.
Below, Hatsune Miku in action.
The global jukebox is the culmination of a lifetime of groundbreaking work by Alan Lomax, whose efforts to record and compile song and dance from around the world led to this collaborative project—an interactive portal for the world’s music, dance, and speaking traditions from almost every corner of the earth, recorded by hundreds of pioneering ethnographers.
This open-access resource is divided into three broad areas of inquiry: cantometrics, an analysis of the elements of song within and across cultures, and choreometrics and parlametrics, which similarly evaluate dancing and speaking.
Users can search by genre or culture and experience thousands of songs and videos that come from a myriad of traditions; seek their ancestry through song and dance; uncover the roots and connections of their favorite musical genres; take a guided tour through the vibrant musical culture of a single region or style; look at clusters of any tradition’s song styles; or search for their own answers with the site’s analytical tools.
Below, Lomax discusses the background of the project.
In many societies musical roles are divided along gender lines: Women sing and men play. Men also sing and women sometimes play; yet, unlike men, women who play often do so in contexts of sexual and social marginality.
Contemporary anthropological theories regarding the interrelationship between social structure and gender stratification illuminate how women’s use of musical instruments is related to broader issues of social and gender structure; changes in the ideology of these structures often reflect changes that affect women as performers.
This according to “When women play: The relationship between musical instruments and gender style” by Ellen Koskoff (Canadian university music review/Revue de musique des universités canadiennes XVI/1  pp. 114–27; reprinted in A feminist ethnomusicology: Writings on music and gender [Urbana: University of Illinois Press, 2014]).
Above and below, kulintang, a women’s instrumental genre discussed in the article.
In an interview, Yo-Yo Ma discussed the genesis of the Silk Road Project.
“I’ve been traveling around the world for 25 years, performing, talking to people, studying their cultures and musical instruments, and I always come away with more questions in my head than can be answered.”
“One of these is the idea of culture as a transnational influence, and the Silk Road, though basically a trade route, also connected the cultures of the peole who used it.”
“The project started with several symposia of scholars, and it was eventually decided to form a nonprofit, knowledge-based organization that would combine new and traditional information about places where people have been making exciting, wonderful music….Our idea is to bring together musicians who represent all these traditions, in workshops, festivals, and conferences, to see how we can connect with each other in music.”
Excerpted from “Continuity in diversity” by Edith Eisler (Strings XV/8:94 [May–June 2001] pp. 46–54).
Today is Yo-Yo Ma’s 60th birthday! Above and below, performing with the Silk Road Ensemble, an offshoot of the Project.
Folkways in Wonderland (FiW) is a cyberworld for musical discovery with social interaction, allowing avatar-represented users to explore selections from the Smithsonian Folkways world music collection while communicating through text and audio channels. FiW is built on Open Wonderland, a framework for creating collaborative 3D virtual worlds.
FiW is populated with track samples from Folkways Recordings. Since acquiring the label in 1987, Smithsonian Folkways has expanded and digitized the Folkways collection while enhancing and organizing its metadata, all of which are now available electronically.
FiW is collaborative: multiple avatars can enter the space, audition track samples, contribute their own sounds (speech or other) to the soundscape, and also communicate through text chat. Nearby users can hear music together, as well as hear and see each other. Wonderland also provides in-world collaborative applications, such as a shared web browser or whiteboard. Thus users are provided with a real-time, immersive, audiovisual representation of the virtual sociomusical environment, together with multiple means of communicating within it.
This according to “Folkways in Wonderland” by Rasika Ranaweera, Michael Frishkopf, and Michael Cohen (Sound matters 3 March 2015).
Above, a screenshot of a typical session (click to enlarge); below, a brief demonstration.
The term world music arose among academics in the 1960s as a way to promote interest in the study of diverse musics. By the 1980s, world music was a marketing category whose success was propelled by the interest and involvement of popular music stars; by the 1990s, it had become a booming commercial enterprise on its own. Critical and scholarly responses to this development involve two types of narrative: the anxious and the celebratory.
Creative responses have included examples like the inclusion of Hugo Zemp’s field recording of the song Rorogwela, available on the CD Solomon Islands: Fateleka and Baegu Music from Malaita (UNESCO/Audivis, 1990), as Sweet lullaby on the worldbeat CD Deep forest (Sony Music, 1992), where it was given drum machine and synthesizer accompaniment and backing vocals.
The marketing of tropes like green enviroprimitivism and spiritual new age avant-garde romanticism has created a situation where a “sweet lullaby” is a fitting metaphor for the soothing multicultural aura surrounding the industrialized globalization of music.
This according to “A sweet lullaby for world music” by Steven Feld (Public culture XII/1  pp. 145–171). Below, the official Sweet lullaby music video. Above, the 30th annual World of Music, Arts, and Dance Festival (WOMAD), which drew thousands of world music fans to Charlton Park in 2012.
Related article: Telek, Bridie, and schismogenesis
Folk lexicon: Lexicon of the modern folk fan was published by Caffè Lena in 2013.
This free online resource provides information on the folk music scene as it has evolved (mainly in North America) since the 1950s. Categories include awards, folk festivals, instruments, musical styles, publications, radio shows, and record companies, along with discussions of terminology and corny nicknames.
Above, the Weavers were influential founders of the contemporary scene. Below, the group’s 1980 reunion at Carnegie Hall.
A multi-instrumentalist and multi-linguist who has lived and performed in Tehran, Paris, Geneva, Brussels, Stockholm, and Frankfurt, Dr. Lloyd Miller has been fusing jazz and world music since the early 1960s.
The California native finds that the modal music of Asia is completely compatible with the African American tradition. “It is all the same musical system,” he says. “The same spirit, the same feeling, the same notes, and some of the same melodic patterns and repetitive and mirroring phrases.”
Long documented only by rare recordings, Miller’s music can now be heard in the compilation A lifetime of Oriental jazz (Jazzman JMANCD 208).
This according to “Jazz in an unfamiliar key: The wanderings of Lloyd Miller” by Francis Gooding (The IAJRC Journal XLIV/2 [June 2011] pp. 9–13]). Below, a compilation of Miller’s broadcasts.
The music of the South Korean vocalist Na Yun-seon may be understood as challenging which sounds may be classified as jazz, and who may be included in its audiences.
Na may also be seen as negotiating the increasing freedom of jazz that stems from the proliferation of media globalization to imagine new interrelations between the political and economic hierarchies that influence the flow of such media objects. She thereby addresses a tension fundamental to the dynamics of globalization.
This according to “Jazz at large: Scapes and the imagination in the performances of Moses Molelekwa and Nah Youn-Sun” by Jan Harm Schutte (Jazz research journal IV/1 [May 2010] pp. 43–56). Below, Na’s Calypso blues exemplifies some of the challenges that she proposes.