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The technology, aesthetics and cultural politics of a collaborative, transnational music recording project : Veiga Veiga and the itinerant overdubs

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journal contribution
posted on 06.12.2017, 00:00 by D Crowdy, Karl Neuenfeldt
New media innovations and the popularity of 'world music' have facilitated crosscultural and transnational recording projects in the past few decades. New media technology makes collaboration at a distance feasible and a market for the very eclectic genre(s) of 'world music' makes projects potentially economically viable. Beginning approximately in the mid-1980s with the popularity, and contentiousness, of Paul Simon's Graceland project (Meintjes 1990) and other 'world music' projects such as Deep Forest (Feld 2000), academic researchers have explored the nature, legality and cultural dynamics of such recordings (e.g. Mills 1996; Zemp 1996).

Funding

Category 1 - Australian Competitive Grants (this includes ARC, NHMRC)

History

Volume

7

Start Page

2003)

ISSN

1444-3775

Location

Rockhampton

Publisher

Central Queensland University

Language

en-aus

Peer Reviewed

Yes

Open Access

No

External Author Affiliations

Faculty of Informatics and Communication; TBA Research Institute;

Era Eligible

Yes

Journal

Transformations.

Usage metrics

CQUniversity

Exports