ORIGINAL VERSION:

Drawing on the tools of the ethnomusicologist, this presentation

explores the processes, social layers and insider meanings of a weekly open
mic event in a rural university town in southeastern Missouri. The study
combines urban ethnography, discourse analysis, interviews and participant
observation supported and guided by a review of recent literature in
ethnomusicology, anthropology and cultural studies. The paper considers the
various roles the open mic plays in the formation and maintenance of
individual musical identities and group community via its unique position of
recognizing and overriding the discrete spheres of musical performance
such as professional/amateur, performance/practice, and formal/informal.
Drawing on the work of a variety of scholars encourages me to
consider several questions. In an effort to identify and account for all
participants in this activity and community, I employ Christopher Smalls
ideas about musicking, recognizing the social and musical meanings of the
event as mutually authored, experienced and interpreted based on the
perspective of each person involved. Jacques Attalis conflation of music and
economics leads me to consider recent trends such as DIY culture and
various grassroots movements, as manifested in sites like Ebay or
Kickstarter (allowing community re-appropriation of resale/distribution and
patronage/investing, respectively). His model calls into question the role of
musical events in power relations, allowing interesting questions on the role
of the cover song in both establishing community and identity and enforcing
the supremacy of certain rules of performance and popular music styles. And
Marcus Aldredges sociological observations of open mic night communities
in New York City offer me a wider scholarly framework where my work finds a
place.

CHOPPED VERSION: (max 120 words. Current: ~190)

Drawing on the tools of the ethnomusicologist, this presentation

explores the processes, social layers and insider meanings of a weekly open

mic in a rural university town in southeastern Missouri. The study combines

interviews and participant with the support of recent literature in
ethnomusicology, anthropology and cultural studies. The paper considers the
role the open mic plays in the formation and maintenance of individual
musical identities and group community via its unique position of recognizing
and overriding the discrete spheres of musical performance such as
professional/amateur and performance/practice.
The work of a variety of scholars encourages me to consider several
questions. My approach employs Christopher Smalls ideas about
musicking, recognizing the social and musical meanings of the event as
mutually authored, experienced and interpreted based on the perspective of
each person involved. Jacques Attalis conflation of music and economics
calls into question the role of musical events in power relations, fostering
questions on the role of the open mic in establishing community and identity
while reinforcing the accepted standards of performance. And Marcus
Aldredges sociological observations of open mic night communities in New
York City offer me a wider scholarly framework where my work finds a place.