Abstract
This article reflects on a number of issues surrounding the appropriation of culturally identifiable sound material for artistic purposes – both overall or broader concerns and those that may arise particularly in conjunction with electroacoustic musical composition. More specifically, we explore questions potentially raised by three electroacoustic compositions recently commissioned by the Instruments INDIA project, a unique cultural partnership between Liverpool Hope University (represented by Dr Manuella Blackburn) and Milapfest (represented by Alok Nayak). Those three compositions were created exclusively with materials from an extensive library of Indian music performances, curated and recorded by Blackburn specifically for Instruments INDIA, and premiered in concert in Liverpool, UK, 20 January 2017. Following the broader discussion of relevant concerns, we briefly review some perspectives offered by the three composers (one of whom is the author), as they relate to cultural appropriation in general, and working with the Instruments INDIA sound library in particular.
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