Appropriation, Culture and Meaning in Electroacoustic Music: A composer's perspective
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
This paper explores issues related to cultural appropriation in acousmatic electroacoustic music. Through its use of sound recording technology, acousmatic electroacoustic music facilitates a broad range of potential mechanisms for cultural appropriation, from the abstract (idea) to the concrete (sound object). But appropriating culturally identifiable material is not without its hazards, and the composer may face accusations of superficial exoticism, cultural offence, or the violation of personal or legal rights. To complicate matters for the composer, each listener will bring his or her own knowledge to their understanding of the meaning of the material. A similar reception effect occurs with any artistic medium, of course. But in electroacoustic music, the clarity and immediacy of high-fidelity recording and playback can strongly enhance the identifiability of the material, and, by extension, the audience's potential attachment to it. As illustrations, I refer briefly to several works, including three of my own acousmatic pieces, that have made use of appropriation. Through those examples, we consider both the broader issues noted above and some specific concerns about language and voice. The goal is to provide an overview of some of the opportunities and possible pitfalls of cultural appropriation in electroacoustic music, as well as a brief map of one composer's journey through that thorny landscape.
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Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it