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Mark Thorley (Conventry University): Participatory music culture: the challenges for identity, creativity and recognition The advent of recording technology served to break down the link between musician and audience (Eisenberg 2005), and the music participant became the music consumer. Emerging digital technologies are now reversing this trend and music participation is all the more possible.

One place the tradition of fans recording live shows and trading the bootleg tapes (ala the Grateful Dead) is being brought to the digital world is at archive.org's Live Music Archive Bands officially agree to allow the practice, and then archive.org stores and allows access to the files for eternity... Some info about those details: http://wiki.etree.org/index.php?page=TradeFriendly For example, here is my friends, a ROCKING bluegrass band from Duluth Minnesota: https://archive.org/details/TrampledbyTurtles The rights statement is actually an email: On February 7, 2007 Trampled by Turtles a GO! for archive.org: "Hello, This is Dave Simonett from Trampled by Turtles. I'm writing to give permission for our music to be posted at archive. Please let me know what you need from me. Thanks for the email. Dave Simonett trampled by turtles info@trampledbyturtles.com www.trampledbyturtles.com" "Welcome to Internet Archive's Live Music library. etree.org is a community committed to providing the highest quality live concerts in a lossless, downloadable format. The Internet Archive has teamed up with etree.org to preserve and archive as many live concerts as possible for current and future..."

Cool...

Awesome resource - thanks for sharing. I have often found the conflict between quality recordings and open access to be a challenge. It seems the music that is free isn't usually high-quality, whereas the higher quality isn't usually free. :)

"...we need to recognize you can't kill the instinct the technology produces. We can only criminalize it. We can't stop our kids from using it. We can only drive it underground. We can't make our kids passive again. We can only make them, quote, "pirates." And is that good?" - Larry Lessig This is a great talk about the free use of materials to make something new. The crux of Mr Lessig's argument is that every time a "kid" remixes a song with a video they are committing a criminal act. By doing this the law is making their free expression criminal. He shows three great examples of this starting at 8:29 in the video. He suggests that by using Creative Commons materials, we can avoid being criminals, and by doing this we can break the cartel of the RIAA and others. He uses the example of BMI causing the downfall of ASCAP. You can see this at 4:55 in the video. Here is the quote: "Finally. Before the Internet, the last great terror to rain down on the content industry was a terror created by this technology [Shows a picture of a broadcast radio antenna]. Broadcasting: a new way to spread content, and therefore a new battle over the control of the businesses that would spread content. Now, at that time, the entity, the legal cartel, that controlled the performance rights for most of the music that would be broadcast using these technologies was ASCAP. They had an exclusive license on the most popular content, and they exercised it in a way that tried to demonstrate to the broadcasters who really was in charge. So, between 1931 and 1939, they raised rates by some 448 percent, until the broadcasters finally got together and said, okay, enough of this. And in 1939, a lawyer, Sydney Kaye, started something called Broadcast Music Inc. We know it as BMI. And BMI was much more democratic in the art that it would include within its repertoire, including African American music for the first time in the repertoire. But most important was that BMI took public domain works a

A very large library of music for video and other projects. It appears that they are changing their model a bit but still offer free licenses for YouTube projects and some student projects. Other uses will have a fee associated. The quality of music is very high and I have used this site a good deal in the past for student work.

YouTube, Full Sail University, Published on Mar 12, 2014 "Technology has made it easier than ever to publish your own work. This Full Sail University panel discusses how to successfully self-publish your own work, and how to do it without getting lost in the sea of all of the other content that's out there." A panel of successful self-published authors talk about the flexibility of new technology within the publishing realm to sell books/music: formatting your work, business models, copyright , print on demand options, music aggregators,, marketing, worldwide distribution, etc.

The video length of one+ hour might seem a bit daunting at first, but I ended up watching most of it in one go - this is really an excellent and easy-to-follow overview of all the important aspects of self-publishing. (I was especially pleased that this video listens to well in the background, as opposed to most other videos that I find require more "involvement" and that do not fit well with a busy day schedule.) What is best about this is that it is all based on actual people experiences - successful self-published authors participating in the panel, and sharing their knowledge & tips in real-time. I was especially curious to find out about the marketing side of of self-publishing a book, and was pleased to discover quite a few helpful ideas and tips. As someone who is thinking about self-publishing soon, this has answered a lot of questions and definitely sparked confidence in the process as a whole. Thank you very much for sharing! Hopefully, this will help and encourage many more self-publishers to be.

Relating to the digital copyrights issue, here's a recent article regarding Satellite radio…in this day and age where new and old music is being played, it's become more confusing as to what rights music services (or other arts) have. They might be playing music that they may or may not have the right too (and yet bands have no idea). Unfortunately copyright laws seem to have a long way to go before they become untangled. In the battle between today's digital-music services and yesterday's oldies artists, score one for the geezers. The founders of the '60s rock band the Turtles won a summary judgment on Monday against Sirius XM Radio Inc., in a lawsuit alleging that the satellite-radio company violated California copyright law by playing the band's songs without permission.

Interesting TED talk about artists who sample other artists' music for their songs. As Owen Chapman states, the artists who are successful with sampling and song mash-ups are the ones who do not make profit from the actual songs. Rather, they make their living from their concerts. I liked this video because it exposed me to a different avenue of making it in the music world - sample and mash-up popular songs to build a fan base, then have that fan base turn into a demand for live performances.

This site explains why people choose to illegally downloads, even if some people know that they are breaking the copyright law.

Interesting read as I'm guilty of illegally downloading/streaming TV and music. Very surprised to see that the rich are the ones who illegally download on a regular basis.

"I'd have to wait too long to see it on TV" is the reason I hear the most about when it comes to illegal downloading. Those people generally do make an effort to watch it when it does officially come out on TV though, to off-set their piracy. The way companies will show something in one country and then sit on it for five months before letting someone in another country watch it seems silly to me at this point, though. Yes digital piracy is illegal, but it seems to be getting to the point of the Prohibition Era in the United States: yes, it's illegal, but everyone's doing it anyway. I think somebody's going to need to change things up here, and it seems doubtful that the companies producing these shows can alter the cultural norms without a lot more work than it seems they're willing to put in.

YouTube launches a subscription service that lets users stream music videos without adverts and download them to smartphones and tablets.

This post (from a royalty-free stock database) summarizes acceptable and unacceptable practices for the fair use of music. Topics include sheet music, research, recordings, and copies. There are also links to related topics, e.g. copyright law, Creative Commons licensing, rules of fair use, etc.

Underdeveloped website for public domain classical sheet music. I would love to see better sites with the inclusion of much more public domain music that is easy to explore and navigate. Would love any suggestions!

"School of Open is a global community of volunteers providing free online courses, face-to-face workshops, and innovative training programs on the meaning, application, and impact of "openness" in the digital age. Through School of Open, you can learn how to add a Creative Commons license to your work, find free resources for classroom use, open up your research, remix a music video, and more!"

ccMixter is a community remix site operated by ArtisTech Media, created by Creative Commons

This free musical is one of the most original way of teaching us about science. A musical celebration of humanity, its origins, and achievements, contrasted with a somber look at our environmentally destructive tendencies and deep similarities with other primates. Featuring Jacob Bronowski, Alice Roberts, Carolyn Porco, Jane Goodall, Robert Sapolsky, Neil deGrasse Tyson and David Attenborough.

Socientize Project is funded by EU 7th framework program, and hosts several citizen science projects, including SavingEnergy@home (collecting global thermal data), Cell spotting (looking at images of treated cancer cells), Collective Music Experiment (creating music from audio samples), Urban Bees and others. The page also includes links to useful citizen science resources (e.g. Pybossa, EpiCollect, BOINC), policy pecommendations & news regarding citizen science.

The change has come more slowly to books than it came to music or to business correspondence, but by now it feels inevitable. The digital era is upon us. The Twilights and Freedoms of 2025 will be consumed primarily as e-books. In many ways, this is good news. Books will...

when I take a book in my hands, I always start with smelling paper (old or new), can we do the same thing with technology?

I do like physical book in my hand, but I find e-books more convenient either when I am writing my research paper or I want to read certain book right away. I heard that more and more universities are supporting e-book system, and getting rid of physical textbooks due to costs and other reasons. A lot more e-books will become useful in the future. I think paper books will exist, but it will be rare in the future.

Creative Commons began providing licenses for the open sharing of content only a decade ago. More than 400 million CC-licensed works are now available on the Internet, varying from music, photos, research findings to entire courseware. Creative Commons provides the legal and technical infrastructure that allows effective sharing of knowledge, art and data by individuals, organizations and governments. Millions of creators world over are taking advantage of that infrastructure to share work that enriches the global commons for all humanity. The book The Power of Open collects the stories of those creators, some such famous creators are like ProPublica, a Pulitzer Prize-winning investigative news organization or the nomadic filmmaker Vincent Moon. The breadth of uses is as great as the creativity of the individuals and organizations choosing to open their content to the rest of the world.

Published on Dec 30, 2012 Short programme, produced in the year 2000, on the emergence of a technology called Napster, the file sharing software application that revolutionised music distribution world-wide.