Nigel Pegrum, 'didjeridu-friendly sections', and what constitutes an "indigenous" CD : an Australian case study of producing "world music" recordings

"This chapter uses a case study from Australia to explore some of the dynamics and relationships embedded in the industrial and cultural production of diverse musical styles loosely grouped under the rubric "Indigenous" (Mitchell 1(993), which often falls within the marketing niche of "world music" (Taylor 1997: 1-37). The cultural politics, ethical dilemmas, and rip-offs arising out of such recording projects have attracted considerable academic and legal attention. Less attended to, however, is the studio practice of music producers and engineers (a notable exception is Mcintjes 2003), specifically relating to how they address aesthetic, ethical, and economic factors when they impact upon notions of what is and is not an Indigenous recording and thus "authentic" (Erlmann 1996).