DRAFT: Ethical Scholarly Publishing Practices, Copyright and Open Access: A view from Ethnomusicology and Anthropology.
Creators: name: Reigersberg, Muriel Swijghuisen
Publisher: name: figshare
Year: 2017
Subjects: subject: Anthropology
subject: FOS: Sociology
subject: FOS: Sociology
subject: 190409 Musicology and Ethnomusicology
subject: FOS: Arts (arts, history of arts, performing arts, music)
subject: FOS: Arts (arts, history of arts, performing arts, music)

description: DRAFT text for OpenBook volume. Critically exploring open access and the pros and cons of sharing information openly from an ethnomusicological and anthropological perspective. The volume is for a multidisciplinary audience, whose knowledge about ethnomusicological issues may not be in-depth. In addition I'll contributing to ethnomusicological knowledge by engage with debates on publishing ethics, de-colonising the academy, copyright, archiving and a variety of other discussions pertinent to ethnomusicological practice.<br>Intro:Whose book is it anyway? Whose research is it really? Is writing the best way to capture musical practice, given music’s ephemeral, fleeting nature? What if musical experience is co-created, such as when choirs sing? Who owns musical experience? Who, if anyone, has the right to write about shared musical experience, and then sell this writing, or gain a doctorate from it? Has written musical experience in Western academe, however incomplete and personal, become a commodity which can be copyrighted and sold? Is this selling ethical or is it exploitative and ethnocentric, particularly when working outside Western European frameworks of cultural ownership and copyright? The above concerns have occupied me and other ethnomusicologists and anthropologists for some time. In this chapter I will explore some of these questions in relation to copyright and how these in turn have the potential to influence new debates around publishing ethics, open access dissemination, co-authorship and new technologies. Firstly, I will briefly describe what ethnomusicologists research and how they research it, demonstrating that ethnomusicology’s inherent interdisciplinarity and practice research focus make it an ideal discipline for exploring copyright and open access topics in arts, humanities and social sciences. This will be followed by a quick outline of recent developments within the global open access movement to date and the unity of purpose which joins what is quite a diverse grouping. This discussion foregrounds the more in-depth enquiry as to why rights to authorship and copyright should be accorded to creative practitioners when they help inform academic monographs through practice and participation. Through problematising Foucault’s (1969) concept of authorship, I shall discuss how ethical guidelines, definitions of open access, technical developments and copyright legislation either hinder or facilitate the possibility of sharing authorship rights. In conclusion, I will propose a variety of ways in which we might actively develop the ideas proposed here to applied action which critically engages with the academic responsibility of sharing research ethically and all that this entails.