Presented at the 2017 International Conference on Knowledge Management. This presentation discusses unofficial music records, and how they have been classified and archived.
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Presented at the 2017 International Conference on Knowledge Management. This presentation discusses unofficial music records, and how they have been classified and archived.
Physical Description
35 p.
Notes
Abstract: Unofficial concert recordings have been made since the dawn of portable recording devices. The collection and trading of those recordings constitutes a bustling subculture and, for some artists, a key element of their enduring legacy. Though they represent a legal grey area, these recordings are important pieces of history and art. This paper will examine the ways in which unofficial live recordings have been cataloged and classified over the years, culminating in a sea change with the switch from analogue tape to digital files and etree's remarkably effective folksonomy and database. Bands like the Grateful Dead with huge fan bases have benefited from a variety of folksonomies and reference works in the past, while smaller artists' information was much more decentralized. The internet acted as a great democratizer allowing all concert recordings a worldwide platform, with etree's naming standard, or some variation thereof, as its lingua franca. What's more, etree's naming standard works so well that it was adopted wholesale by the Internet Archive's Live Music Archive. In addition to being interesting on a purely intellectual level, an understanding of live music recordings and their classification will be vital to anyone who wishes to add this resource to their collection.
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International Conference on Knowledge Management (ICKM)
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