Papers by Delaina Sepko
This article traces the formation of the Library of Congresses’ recording laboratory and the Arch... more This article traces the formation of the Library of Congresses’ recording laboratory and the Archive of American Folk Song in relation to contested notions of Americanness and national identity. However, Representative Martin Dies, Jr. and the House Un-American Activities Committee objected to folk music collecting projects, viewing them as supporting and disseminating subversive notions of Americanness. Subjected to years of FBI harassment and investigation for their involvement in or support of folk music, three Library staff—Archibald MacLeish, Benjamin Botkin, and Alan Lomax—are discussed to illustrate not only the impact of music on the formation and dissemination
of national identity but also the Library of Congress’ role in shaping that identity.
National cultural heritage institutions are charged with representative preservation of their cou... more National cultural heritage institutions are charged with representative preservation of their countries’ cultural materials and the ways their staff undertake preservation activities impact to whom and how these materials are representative. Music is hailed as an integral part of a nation’s cultural heritage, but while aspects of its preservation are individually understood, their combined treatment in cultural institutions — music curation — and its ability to alter concepts of national identity are not. Consequently, we must ask how does music curation influence notions of national identity? By answering this question, this thesis seeks to contribute to our understanding of the ways that national cultural heritage institutions shape and promote a sense of national community. Since its beginning in 1800, the Library of Congress in Washington, D.C. has adopted several roles: a congressional resource; a copyright repository; a research centre; a hub for and leader in the library community; and cultural heritage institution. These combine to make the Library of Congress the de facto national library of the United States. However, these roles are not inherently congruent and in some instances undermine each other. Additionally, music has not always been easily integrated into its mission and its collections. Functioning as a national library, the Library of Congress potentially performs significant roles in the preservation and presentation of music, activities that make it an appropriate case study for investigating how music curation affects notions of national identity. Therefore, this work is structured in the following way: first, it offers an historical overview of the Library of Congress’ three music related departments — the Music Division, the American Folklife Center and the Recorded Sound component of the Motion Picture, Broadcast and Recorded Sound Division — to illuminate political, cultural and aesthetic forces that shaped their developments and their approaches to music curation. Second, it presents Howard Becker’s art world as the analytical framework by which this thesis critically engages narrative and identity theories. Third, employing the Library of Congress as a case study, it then investigates eight music curation narratives and juxtaposes them against its image as a cultural heritage institution. Narratives, gathered during semi-structured interviews and presented as interpretive stories, provide a focused insight into the tensions between staff and institution as well as institution and projected notions of national identity. In the context of music curation, this thesis’ conclusions illustrate a gap between the Library of Congress’ iconic image and its actual image, one that is perpetuated by its focus on research.
Conference Presentations by Delaina Sepko
This presentation covered the IASA Journal article Sounds Records, which has the following abstra... more This presentation covered the IASA Journal article Sounds Records, which has the following abstract:
Genres play a significant role in how popular music is located; however, they are subjective and their use needs qualification. As a result, archivists working with popular music need to engage with genres to improve access and explain how they have been used in archival description of popular music. Drawing on genre theory, this article will explain its relationship to popular music and introduce two of its key aspects: production and discourse. The Rules for Archival Description 2008 updates for general guidance and sound recordings will be used to represent a collection of popular music to demonstrate this standard’s strengths and weaknesses. Finally,
this article identifies the Scope and Content data element as the most appropriate area for genres’ qualifications.
This presentation discussed the challenges and opportunities present when music is classified and... more This presentation discussed the challenges and opportunities present when music is classified and catalogued for archival purposes. Current classification is restricted; this presentation explored the notion that these categories are inadequate for describing some critical aspects of contemporary popular music recordings. Using examples of cover songs and remixes, it also explored how and why the context of creation should be captured during cataloguing. The aim of this presentation was to open and further a dialogue between archivists in sound archives.
*note that programme does not match presentation topic*
Talks by Delaina Sepko
John W. Kluge Center and American Folklife Center supported public conference and panel discussio... more John W. Kluge Center and American Folklife Center supported public conference and panel discussion about Alan Lomax radio broadcasts.
In the style of Neil MacGregor's A History of the World in 100 Objects, this presentation examine... more In the style of Neil MacGregor's A History of the World in 100 Objects, this presentation examined the impact of two technologies used in music production - the multi track recorder and digital processing - on the preservation of music. Specifically, a 2" reel to reel tape and a MIDI controller keyboard were used to raise questions about preservation of music in cultural heritage institution such as archives and libraries.
Discography by Delaina Sepko
Get Cape. Wear Cape. Fly, 2008. Searching for the Hows and Whys. [CD] UK: Atlantic Records.
Goldilocks, 2008. Bear Safe EP. [CD] UK: Locked On.
Transglobal Underground, 2007. Moonshout. [CD] UK: Mule Satellite Recordings.
Tinchy Stryder, 2007. Star in the Hood. [CD] UK: Takeover Entertainment.
Mirror, Mirror, 2007. [58 min. documentary film] Zemirah Moffat. UK
Pet Shop Boys, 2006. Fundamental. [CD] UK: Parlophone.
Seal, 2006. One Night to Remember. [DVD] UK: Warner Music Vision.
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Papers by Delaina Sepko
of national identity but also the Library of Congress’ role in shaping that identity.
Conference Presentations by Delaina Sepko
Genres play a significant role in how popular music is located; however, they are subjective and their use needs qualification. As a result, archivists working with popular music need to engage with genres to improve access and explain how they have been used in archival description of popular music. Drawing on genre theory, this article will explain its relationship to popular music and introduce two of its key aspects: production and discourse. The Rules for Archival Description 2008 updates for general guidance and sound recordings will be used to represent a collection of popular music to demonstrate this standard’s strengths and weaknesses. Finally,
this article identifies the Scope and Content data element as the most appropriate area for genres’ qualifications.
*note that programme does not match presentation topic*
Talks by Delaina Sepko
Discography by Delaina Sepko
of national identity but also the Library of Congress’ role in shaping that identity.
Genres play a significant role in how popular music is located; however, they are subjective and their use needs qualification. As a result, archivists working with popular music need to engage with genres to improve access and explain how they have been used in archival description of popular music. Drawing on genre theory, this article will explain its relationship to popular music and introduce two of its key aspects: production and discourse. The Rules for Archival Description 2008 updates for general guidance and sound recordings will be used to represent a collection of popular music to demonstrate this standard’s strengths and weaknesses. Finally,
this article identifies the Scope and Content data element as the most appropriate area for genres’ qualifications.
*note that programme does not match presentation topic*