As the music industry moves away from downloads and toward building streaming platforms, international sovereignty becomes more of a barrier to people listening to music and discussing it with others, because they don’t have access to the same music on the same platforms. As Sean Michaels points out in The Morning News several years ago:
one of the undocumented glitches in the current internet is all its asymmetrical licensing rules. I can’t use Spotify in Canada (yet). Whenever I’m able to, there’s no guarantee that Spotify Canada’s music library will match Spotify America’s. Just as Netflix Canada is different than Netflix US, and YouTube won’t let me see Jon Stewart. As we move away from downloads and toward streaming, international sovereignty is going to become more and more of a barrier to common discussions of music.
Location has always been a challenge to music access, but it’s important to keep in mind that the internet and music streaming has not been an equitable boon to music access—it is still controlled.
I am privileged enough to know a second language (although as the years pass, my proficiency is faltering…). The government and the military have a great need for foreign language proficiency for its employees (though apparently that isn’t much of a requirement for U.S. diplomats…). Given their need, they coordinated with the University of Maryland to develop a cognitive test that is supposed to determine how proficient someone can become in a foreign language. It may soon be publicly available, but honestly I don’t know if I’d be interested in taking it. While helpful as an aptitude test for job functions, oftentimes the interest and the attempt at proficiency is a great help for cultural relations with non-American countries. I’d be concerned that a test like this would cause people to give up languages earlier–if they know they’d never become fully proficient, why learn more than the basics or general education requirement?
In terms of making foreign languages more accessible, however, there is also the matter of translations. I’m currently writing about how language and national identity can have a tendency to segment the Internet, but it also has an impact on literature. One man wants to change that, by encouraging others to start their own publishing houses. He did, and focuses primarily on translated works from Russia and Central and Southern America, as he started his publishing house in Dallas, Texas. It’s a great read, with insights about the publishing business and notes about the commonality (or lack thereof) of translated literature in the United States.
Pitchfork recently published a great longform essay on music streaming. It covered the past, history, and present of music streaming, and brought up a lot of great points. These are my reactions.
The piece discussed how “the “omnivore” is the new model for the music connoisseur, and one’s diversity of listening across the high/low spectrum is now seen as the social signal of refined taste.” It would be interesting to study how this omnivority splits across genres, age groups, and affinities. I find myself personally falling into omnivore status, as I am never able to properly define my music taste according to genre, and my musical affinities shift daily, weekly, monthly, with common themes.
Also discussed is the cost of music, whether it be licensing, royalties, or record label advances. Having to deal with the cost of music is a difficult matter. I wonder if I would have been such a voracious consumer of music if I hadn’t grown up with so many free options with the library, the radio, and later, music blogs. Now that I’m older, I make the effort to purchase music when I feel the artist deserves it, but as I distance myself (incidentally, really) from storing music on my computer, that effort becomes less important to expend.