Rachel Harris
- Published in print:
- 2004
- Published Online:
- January 2012
- ISBN:
- 9780197262979
- eISBN:
- 9780191734717
- Item type:
- book
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262979.001.0001
- Subject:
- Music, Ethnomusicology, World Music
The Sibe are an immigrant group, Qing dynasty bannermen who made a three-year ‘long march’ from Manchuria in the 18th century to serve as a border garrison in the newly conquered Western Regions of ...
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The Sibe are an immigrant group, Qing dynasty bannermen who made a three-year ‘long march’ from Manchuria in the 18th century to serve as a border garrison in the newly conquered Western Regions of the Qing Chinese empire. They preserved their military structure and a discrete identity in the multi-ethnic region of Xinjiang and are now officially recognised as an ethnic minority nationality under the People's Republic. They are known in China today as the last speakers of the Manchu language, and as preservers of their ancient traditions. This study of their music culture reveals not fossilised tradition but a shifting web of borrowings, assimilation, and retention. It is an informed account of culture and performance in the Chinese region of Xinjiang. The book approaches musical and ritual life in this ethnically diverse region through an understanding of society in terms of negotiation, practice, and performance. It explores the relations between shamanism, song, and notions of externality and danger, bringing recent theories on shamanism to bear on questions of the structural and affective powers of ritual music. The book focuses on the historical demands of identity, boundary maintenance, and creation among the Sibe, and on the role of musical performance in maintaining popular memory, and it discusses the impact of state policies of the Chinese Communist Party on village musical and ritual life. It draws on a wide range of Chinese, Sibe-Manchu language sources, and oral sources including musical recordings and interviews gathered in the course of fieldwork in Xinjiang.Less
The Sibe are an immigrant group, Qing dynasty bannermen who made a three-year ‘long march’ from Manchuria in the 18th century to serve as a border garrison in the newly conquered Western Regions of the Qing Chinese empire. They preserved their military structure and a discrete identity in the multi-ethnic region of Xinjiang and are now officially recognised as an ethnic minority nationality under the People's Republic. They are known in China today as the last speakers of the Manchu language, and as preservers of their ancient traditions. This study of their music culture reveals not fossilised tradition but a shifting web of borrowings, assimilation, and retention. It is an informed account of culture and performance in the Chinese region of Xinjiang. The book approaches musical and ritual life in this ethnically diverse region through an understanding of society in terms of negotiation, practice, and performance. It explores the relations between shamanism, song, and notions of externality and danger, bringing recent theories on shamanism to bear on questions of the structural and affective powers of ritual music. The book focuses on the historical demands of identity, boundary maintenance, and creation among the Sibe, and on the role of musical performance in maintaining popular memory, and it discusses the impact of state policies of the Chinese Communist Party on village musical and ritual life. It draws on a wide range of Chinese, Sibe-Manchu language sources, and oral sources including musical recordings and interviews gathered in the course of fieldwork in Xinjiang.
Juniper Hill
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780199568086
- eISBN:
- 9780191731044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568086.003.0006
- Subject:
- Psychology, Music Psychology, Social Psychology
This chapter focuses on one of the most fundamental sociocultural determinants of creative activities: ideology. Drawing from ethnomusicological ethnographic research, it examines differing cultural ...
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This chapter focuses on one of the most fundamental sociocultural determinants of creative activities: ideology. Drawing from ethnomusicological ethnographic research, it examines differing cultural belief systems, values, and attitudes that may restrict, inhibit, encourage, or liberate musical creativity. It presents six case studies that demonstrate widely varying beliefs and conventions concerning musical creativity. They are: Venda traditional music from South Africa; pre-1970s Suya ceremonial music from Mato Grosso, Brazil; Western Classical and Romantic art music as studied and performed in Western Europe and North America in the late 20th century; American post-revival folk music; Finnish contemporary folk music; and festival music of the Aymara-speaking indigenous people from Conima, Peru.Less
This chapter focuses on one of the most fundamental sociocultural determinants of creative activities: ideology. Drawing from ethnomusicological ethnographic research, it examines differing cultural belief systems, values, and attitudes that may restrict, inhibit, encourage, or liberate musical creativity. It presents six case studies that demonstrate widely varying beliefs and conventions concerning musical creativity. They are: Venda traditional music from South Africa; pre-1970s Suya ceremonial music from Mato Grosso, Brazil; Western Classical and Romantic art music as studied and performed in Western Europe and North America in the late 20th century; American post-revival folk music; Finnish contemporary folk music; and festival music of the Aymara-speaking indigenous people from Conima, Peru.
S. J. Harrison
- Published in print:
- 2004
- Published Online:
- January 2012
- ISBN:
- 9780197262979
- eISBN:
- 9780191734717
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262979.003.0007
- Subject:
- Music, Ethnomusicology, World Music
This chapter sums up the key findings of this study on the musical history of the Sibe people in Xinjiang, China. It provides evidence to show that in spite of their reputation as a people who have ...
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This chapter sums up the key findings of this study on the musical history of the Sibe people in Xinjiang, China. It provides evidence to show that in spite of their reputation as a people who have kept themselves aloof and kept their ancient traditions alive, Sibe culture in general and music culture in particular is distinguished by a high degree of syncretism and rapid change. The chapter also argues that though the contexts of music and the media through which it is disseminated are changing rapidly and radically, certain underlying themes in the discussion of music remain constant as modernity takes root in the region.Less
This chapter sums up the key findings of this study on the musical history of the Sibe people in Xinjiang, China. It provides evidence to show that in spite of their reputation as a people who have kept themselves aloof and kept their ancient traditions alive, Sibe culture in general and music culture in particular is distinguished by a high degree of syncretism and rapid change. The chapter also argues that though the contexts of music and the media through which it is disseminated are changing rapidly and radically, certain underlying themes in the discussion of music remain constant as modernity takes root in the region.
David D. Harnish and Anne K. Rasmussen
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780195385410
- eISBN:
- 9780199896974
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195385410.003.0001
- Subject:
- Music, Ethnomusicology, World Music, History, Western
This introductory chapter discusses the development of music and Islam in Indonesia. Music has played a central role in religious ritual in historic Indonesia and was often used as a vehicle to ...
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This introductory chapter discusses the development of music and Islam in Indonesia. Music has played a central role in religious ritual in historic Indonesia and was often used as a vehicle to empower rulers and to spread knowledge and ideology. Islam has been an inspiration for music associated with courtly arts, folk music, and popular music for centuries, but there has been a marked increase in popularity of Islam-inspired forms of various sorts in the 21st century. An overview of the subsequent chapters is also presented.Less
This introductory chapter discusses the development of music and Islam in Indonesia. Music has played a central role in religious ritual in historic Indonesia and was often used as a vehicle to empower rulers and to spread knowledge and ideology. Islam has been an inspiration for music associated with courtly arts, folk music, and popular music for centuries, but there has been a marked increase in popularity of Islam-inspired forms of various sorts in the 21st century. An overview of the subsequent chapters is also presented.
Steve Swayne
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780195388527
- eISBN:
- 9780199894345
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195388527.001.0001
- Subject:
- Music, History, American, History, Western
The musical landscape of New York City and the United States of America would look quite different had it not been for William Schuman. This book, the first objective and comprehensive biography of ...
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The musical landscape of New York City and the United States of America would look quite different had it not been for William Schuman. This book, the first objective and comprehensive biography of Schuman, portrays a man who had a profound influence upon the artistic and political institutions of his day and beyond. The book draws heavily upon Schuman's letters, writings, and manuscripts as well as unprecedented access to archival recordings and previously unknown correspondence. The winner of the first Pulitzer Prize in Music, Schuman composed music that is rhythmically febrile, harmonically pungent, melodically long-breathed, and timbrally brilliant, and the book offers an astute analysis of his work, including many unpublished music scores. Swayne also describes Schuman's role as president of the Juilliard School of Music and of Lincoln Center for the Performing Arts, tracing how he both expanded the boundaries of music education and championed the performing arts. Filled with new discoveries and revisions of the received historical narrative and published in Schuman's centenary year, Orpheus in Manhattan confirms Schuman as a major figure in America's musical life.Less
The musical landscape of New York City and the United States of America would look quite different had it not been for William Schuman. This book, the first objective and comprehensive biography of Schuman, portrays a man who had a profound influence upon the artistic and political institutions of his day and beyond. The book draws heavily upon Schuman's letters, writings, and manuscripts as well as unprecedented access to archival recordings and previously unknown correspondence. The winner of the first Pulitzer Prize in Music, Schuman composed music that is rhythmically febrile, harmonically pungent, melodically long-breathed, and timbrally brilliant, and the book offers an astute analysis of his work, including many unpublished music scores. Swayne also describes Schuman's role as president of the Juilliard School of Music and of Lincoln Center for the Performing Arts, tracing how he both expanded the boundaries of music education and championed the performing arts. Filled with new discoveries and revisions of the received historical narrative and published in Schuman's centenary year, Orpheus in Manhattan confirms Schuman as a major figure in America's musical life.
Peter La Chapelle
- Published in print:
- 2007
- Published Online:
- May 2012
- ISBN:
- 9780520248885
- eISBN:
- 9780520940000
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520248885.003.0005
- Subject:
- Music, History, American
This chapter argues that pressure to fit in was an important impetus for the rightward turn in country music. Consumers, sponsors, and musical producers strived in the mid- to late 1950s to ...
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This chapter argues that pressure to fit in was an important impetus for the rightward turn in country music. Consumers, sponsors, and musical producers strived in the mid- to late 1950s to rehabilitate local country music's hayseed image and disassociate the genre from the Depression-era anti-Okie campaign and its lingering stigma by downplaying working-class and Okie identity, discouraging liberal-populist political dissent and stressing how elements of the music culture could convey social status. While this muzzled some performers, it also provided room for a small group of wealthy, well-connected performers—especially some of the 1930s cinematic singing cowboys—to come to the forefront and present themselves as antielitist spokesmen for a new, conservative cultural populism.Less
This chapter argues that pressure to fit in was an important impetus for the rightward turn in country music. Consumers, sponsors, and musical producers strived in the mid- to late 1950s to rehabilitate local country music's hayseed image and disassociate the genre from the Depression-era anti-Okie campaign and its lingering stigma by downplaying working-class and Okie identity, discouraging liberal-populist political dissent and stressing how elements of the music culture could convey social status. While this muzzled some performers, it also provided room for a small group of wealthy, well-connected performers—especially some of the 1930s cinematic singing cowboys—to come to the forefront and present themselves as antielitist spokesmen for a new, conservative cultural populism.
Valerie R. Peters
- Published in print:
- 2014
- Published Online:
- August 2014
- ISBN:
- 9780199363032
- eISBN:
- 9780199363063
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199363032.003.0008
- Subject:
- Music, Performing Practice/Studies
This chapter examines several theoretical perspectives that may be useful in framing curricular approaches to the study of world music pedagogy in local music cultures. These theoretical frameworks ...
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This chapter examines several theoretical perspectives that may be useful in framing curricular approaches to the study of world music pedagogy in local music cultures. These theoretical frameworks were used as a guide to conceptualize three case studies in different local communities in Quebec, Canada. Data from the case studies are used to exemplify the theoretical frameworks. One of the objectives of the case studies was to describe the phenomenon of secondary music students using the tools of inquiry of ethnographers (participant observation, interviewing, and transcribing) to construct and represent their understanding of a local traditional music culture including concepts, beliefs, and values embedded in musical/cultural practices. While theoretical frameworks are helpful in guiding the work of music educators, empirical evidence from the field is needed to validate theoretical claims, as well as exemplify how these claims might be translated into practice.Less
This chapter examines several theoretical perspectives that may be useful in framing curricular approaches to the study of world music pedagogy in local music cultures. These theoretical frameworks were used as a guide to conceptualize three case studies in different local communities in Quebec, Canada. Data from the case studies are used to exemplify the theoretical frameworks. One of the objectives of the case studies was to describe the phenomenon of secondary music students using the tools of inquiry of ethnographers (participant observation, interviewing, and transcribing) to construct and represent their understanding of a local traditional music culture including concepts, beliefs, and values embedded in musical/cultural practices. While theoretical frameworks are helpful in guiding the work of music educators, empirical evidence from the field is needed to validate theoretical claims, as well as exemplify how these claims might be translated into practice.
Dan Laughey
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780748623808
- eISBN:
- 9780748653034
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748623808.003.0003
- Subject:
- Society and Culture, Cultural Studies
This chapter outlines a dynamic interactionism used to problematise structuralism as a framework for understanding music cultures and media, with reference to archival research. The archive in ...
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This chapter outlines a dynamic interactionism used to problematise structuralism as a framework for understanding music cultures and media, with reference to archival research. The archive in question is the Mass-Observation Archive, named after the social research organisation that generated its ethnographic material. The chapter interprets the findings of Mass-Observers located in north-west England who observed youth music and dance practices during the pre-war and intra-war years (1936–49). These practices and the various contexts in which they were enacted (ballrooms, dance schools, living rooms) are seen to resonate in particular with ideas about the ‘carnivalesque’ and everyday consumer tactics that escape the influence of producers. It is argued that the notion of what might be termed ‘promenade performances’ of demonstration and display afforded by varying levels of involvement and competence in dancing practices illustrates the significance of interactive processes of cultural exchange — or cultural transmission — scarcely evident in many contemporary youth cultural accounts.Less
This chapter outlines a dynamic interactionism used to problematise structuralism as a framework for understanding music cultures and media, with reference to archival research. The archive in question is the Mass-Observation Archive, named after the social research organisation that generated its ethnographic material. The chapter interprets the findings of Mass-Observers located in north-west England who observed youth music and dance practices during the pre-war and intra-war years (1936–49). These practices and the various contexts in which they were enacted (ballrooms, dance schools, living rooms) are seen to resonate in particular with ideas about the ‘carnivalesque’ and everyday consumer tactics that escape the influence of producers. It is argued that the notion of what might be termed ‘promenade performances’ of demonstration and display afforded by varying levels of involvement and competence in dancing practices illustrates the significance of interactive processes of cultural exchange — or cultural transmission — scarcely evident in many contemporary youth cultural accounts.
Dan Laughey
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780748623808
- eISBN:
- 9780748653034
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748623808.003.0007
- Subject:
- Society and Culture, Cultural Studies
This chapter ties together the theories and research on music and youth cultures. It advocates a situational interactionist model for the study of everyday youth music cultures and media that ...
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This chapter ties together the theories and research on music and youth cultures. It advocates a situational interactionist model for the study of everyday youth music cultures and media that conceptualises contexts, practices, involvement and accessibility in terms which support previous theoretical propositions and fieldwork/archival analyses. This model will then be applied to a more thorough examination of two central themes to have emerged in the course of this study: intergenerational narratives and localised performances.Less
This chapter ties together the theories and research on music and youth cultures. It advocates a situational interactionist model for the study of everyday youth music cultures and media that conceptualises contexts, practices, involvement and accessibility in terms which support previous theoretical propositions and fieldwork/archival analyses. This model will then be applied to a more thorough examination of two central themes to have emerged in the course of this study: intergenerational narratives and localised performances.
Tracey E. W. Laird
- Published in print:
- 2005
- Published Online:
- October 2011
- ISBN:
- 9780195167511
- eISBN:
- 9780199850099
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167511.003.0005
- Subject:
- Music, Ethnomusicology, World Music
The history of KWKH demonstrates the potency of the use of radio signals for communication from a regional to a national audience. It started from local radio. This chapter looks at the effects of ...
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The history of KWKH demonstrates the potency of the use of radio signals for communication from a regional to a national audience. It started from local radio. This chapter looks at the effects of World War II on the industry wherein early radio created new opportunities for isolated theaters of music and culture. It also opened contexts of exchange for business, ides, and, music. Over time, radio's potency resulted in the creation of a hybridized music culture. Though the pioneer developers of radio technology envisioned radio not as just entertainment, after a few years, radio took over the phonograph in its primacy in American media. KWKH's formation in the mid-1920s provided the gateway for the emergence of independent radio.Less
The history of KWKH demonstrates the potency of the use of radio signals for communication from a regional to a national audience. It started from local radio. This chapter looks at the effects of World War II on the industry wherein early radio created new opportunities for isolated theaters of music and culture. It also opened contexts of exchange for business, ides, and, music. Over time, radio's potency resulted in the creation of a hybridized music culture. Though the pioneer developers of radio technology envisioned radio not as just entertainment, after a few years, radio took over the phonograph in its primacy in American media. KWKH's formation in the mid-1920s provided the gateway for the emergence of independent radio.
Diane Railton and Paul Watson
- Published in print:
- 2011
- Published Online:
- September 2012
- ISBN:
- 9780748633227
- eISBN:
- 9780748671021
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748633227.003.0008
- Subject:
- Society and Culture, Media Studies
This chapter reviews the craze on Lady Gaga which accompanied the release and reception of ‘Telephone’. It is indicated that such phenomena might jump-start critical interest in music video as an ...
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This chapter reviews the craze on Lady Gaga which accompanied the release and reception of ‘Telephone’. It is indicated that such phenomena might jump-start critical interest in music video as an important form of contemporary popular culture. The distinction between the video as a promotional tool for the song and the song proper is increasingly giving way. ‘Telephone’ presents a particularly fascinating perspective on the relationship between the internet, digital music culture and contemporary patterns of music video production, distribution and consumption. It also offers a deliberately ambiguous and playfully perverse image of femininity that defies normative conceptions of female sexuality. For contemporary feminism, and theorists of popular culture more generally, it perhaps matters less if Lady Gaga turns out to be more ‘material girl’ than ‘postfeminist icon’ in the long run than that the debate occasioned by her videos finds a path from the blog to the academy.Less
This chapter reviews the craze on Lady Gaga which accompanied the release and reception of ‘Telephone’. It is indicated that such phenomena might jump-start critical interest in music video as an important form of contemporary popular culture. The distinction between the video as a promotional tool for the song and the song proper is increasingly giving way. ‘Telephone’ presents a particularly fascinating perspective on the relationship between the internet, digital music culture and contemporary patterns of music video production, distribution and consumption. It also offers a deliberately ambiguous and playfully perverse image of femininity that defies normative conceptions of female sexuality. For contemporary feminism, and theorists of popular culture more generally, it perhaps matters less if Lady Gaga turns out to be more ‘material girl’ than ‘postfeminist icon’ in the long run than that the debate occasioned by her videos finds a path from the blog to the academy.
E D Montano
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199949311
- eISBN:
- 9780199364749
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199949311.003.0006
- Subject:
- Music, Popular, History, American
Fusing sample-based literature and scene-centered discussion, this chapter explores sampling in the context of the industry logics that underpin scene formation. Based on a decade of ethnographic ...
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Fusing sample-based literature and scene-centered discussion, this chapter explores sampling in the context of the industry logics that underpin scene formation. Based on a decade of ethnographic research in the Sydney club scene, it situates the growth of electronic dance music (EDM) culture in a framework of global dance music. The central argument is that the city’s dance music industry has become increasingly international in outlook through sampling the content of overseas scenes and through the technologies that have eroded previously existing scene boundaries. In the same way that many dance music tracks sample and mash the sounds of other sources, the chapter demonstrates how contemporary EDM scenes sample and select from the content of a global circuit of EDM culture. It discusses the relationship of Sydney to other international scenes, making points about conventional notions of center and periphery and illustrating the global flow of cultural objects.Less
Fusing sample-based literature and scene-centered discussion, this chapter explores sampling in the context of the industry logics that underpin scene formation. Based on a decade of ethnographic research in the Sydney club scene, it situates the growth of electronic dance music (EDM) culture in a framework of global dance music. The central argument is that the city’s dance music industry has become increasingly international in outlook through sampling the content of overseas scenes and through the technologies that have eroded previously existing scene boundaries. In the same way that many dance music tracks sample and mash the sounds of other sources, the chapter demonstrates how contemporary EDM scenes sample and select from the content of a global circuit of EDM culture. It discusses the relationship of Sydney to other international scenes, making points about conventional notions of center and periphery and illustrating the global flow of cultural objects.
Graham St John
- Published in print:
- 2012
- Published Online:
- November 2015
- ISBN:
- 9780231156851
- eISBN:
- 9780231504683
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231156851.003.0009
- Subject:
- Religion, Religion and Society
This chapter discusses the electronic dance music culture (EDMC)—clubs, festivals and the like—in relation to religiosity. Studies suggest that the collective alterations of consciousness happening ...
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This chapter discusses the electronic dance music culture (EDMC)—clubs, festivals and the like—in relation to religiosity. Studies suggest that the collective alterations of consciousness happening in EDMCs such as moral panics and hysteria are similar to the alterations of consciousness expressed by Christian fundamentalists during an intense spiritual revival. In addition, sociologist Paul Heelas says that the contemporary studies about EDMC exemplify the shift from the “revolutionary” to subjective or “expressive life,” in which participants that are typically strangers to one another may experience a spontaneous “flash of mutual understanding on an existential level, and a ‘gut’ understanding of synchronicity.” This empathetic sociality reveals a compulsion consistent with the “neotribes” identified by sociologist Michel Maffesoli.Less
This chapter discusses the electronic dance music culture (EDMC)—clubs, festivals and the like—in relation to religiosity. Studies suggest that the collective alterations of consciousness happening in EDMCs such as moral panics and hysteria are similar to the alterations of consciousness expressed by Christian fundamentalists during an intense spiritual revival. In addition, sociologist Paul Heelas says that the contemporary studies about EDMC exemplify the shift from the “revolutionary” to subjective or “expressive life,” in which participants that are typically strangers to one another may experience a spontaneous “flash of mutual understanding on an existential level, and a ‘gut’ understanding of synchronicity.” This empathetic sociality reveals a compulsion consistent with the “neotribes” identified by sociologist Michel Maffesoli.
Huib Schippers and Catherine Grant (eds)
- Published in print:
- 2016
- Published Online:
- November 2016
- ISBN:
- 9780190259075
- eISBN:
- 9780190259105
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190259075.001.0001
- Subject:
- Music, Ethnomusicology, World Music
The sustainability of music and other intangible expressions of culture has been high on the agenda of scholars, governments, and nongovernmental organizations in recent years. However, there is a ...
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The sustainability of music and other intangible expressions of culture has been high on the agenda of scholars, governments, and nongovernmental organizations in recent years. However, there is a striking lack of systematic research into what exactly affects sustainability across music cultures. By analyzing case studies of nine highly diverse music cultures against a single framework that identifies key factors in music sustainability, Sustainable Futures for Music Cultures offers an understanding of both the challenges and dynamics of music sustainability in the contemporary global environment, as well as breathing new life into the discredited realm of comparative musicology, but now from an emphatically non-Eurocentric perspective. Situated within the expanding field of applied ethnomusicology, this book confirms some commonly held beliefs, challenges others, and reveals sometimes surprising insights into the dynamics of music cultures by examining, comparing, and contrasting highly diverse contexts, from thriving to “in urgent need of safeguarding.” Analyzing sustainability across five carefully defined domains, the book identifies pathways to strategies and tools that may empower communities and other stakeholders to sustain and revitalize their music heritage on their terms. In this way, the book aims to contribute to greater scholarly insight, new (sub)disciplinary approaches, and pathways to improved practical outcomes for the long-term sustainability of music cultures.Less
The sustainability of music and other intangible expressions of culture has been high on the agenda of scholars, governments, and nongovernmental organizations in recent years. However, there is a striking lack of systematic research into what exactly affects sustainability across music cultures. By analyzing case studies of nine highly diverse music cultures against a single framework that identifies key factors in music sustainability, Sustainable Futures for Music Cultures offers an understanding of both the challenges and dynamics of music sustainability in the contemporary global environment, as well as breathing new life into the discredited realm of comparative musicology, but now from an emphatically non-Eurocentric perspective. Situated within the expanding field of applied ethnomusicology, this book confirms some commonly held beliefs, challenges others, and reveals sometimes surprising insights into the dynamics of music cultures by examining, comparing, and contrasting highly diverse contexts, from thriving to “in urgent need of safeguarding.” Analyzing sustainability across five carefully defined domains, the book identifies pathways to strategies and tools that may empower communities and other stakeholders to sustain and revitalize their music heritage on their terms. In this way, the book aims to contribute to greater scholarly insight, new (sub)disciplinary approaches, and pathways to improved practical outcomes for the long-term sustainability of music cultures.
Peter Manuel
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038815
- eISBN:
- 9780252096778
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038815.003.0006
- Subject:
- Music, Ethnomusicology, World Music
This concluding chapter presents some hypotheses and conclusions about Bhojpuri diasporic dynamics, broader implications for diaspora studies in general, the relation of music genres like tassa to ...
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This concluding chapter presents some hypotheses and conclusions about Bhojpuri diasporic dynamics, broader implications for diaspora studies in general, the relation of music genres like tassa to Afrocreole culture, and the implications of this relationship for our understanding of the phenomenon of Caribbean creolization. It suggests that Indo-Caribbean culture, including music culture, can be seen as an ongoing dialectic product of three primary cultural realms—the transplanted but deeply local Bhojpuri little tradition, the imported North Indian great traditions (whether of visiting godmen or Bollywood blockbusters), and Afrocreole culture. The relation between the local Bhojpuri little tradition and the imported Indian great traditions is complex and in some ways competitive. While some cultural activists do lament the hegemony of imported filmsong over local music, others seem to feel that both Bhojpuri traditional songs and Bollywood fare can comfortably coexist.Less
This concluding chapter presents some hypotheses and conclusions about Bhojpuri diasporic dynamics, broader implications for diaspora studies in general, the relation of music genres like tassa to Afrocreole culture, and the implications of this relationship for our understanding of the phenomenon of Caribbean creolization. It suggests that Indo-Caribbean culture, including music culture, can be seen as an ongoing dialectic product of three primary cultural realms—the transplanted but deeply local Bhojpuri little tradition, the imported North Indian great traditions (whether of visiting godmen or Bollywood blockbusters), and Afrocreole culture. The relation between the local Bhojpuri little tradition and the imported Indian great traditions is complex and in some ways competitive. While some cultural activists do lament the hegemony of imported filmsong over local music, others seem to feel that both Bhojpuri traditional songs and Bollywood fare can comfortably coexist.
Keith Howard
- Published in print:
- 2010
- Published Online:
- November 2016
- ISBN:
- 9780824833930
- eISBN:
- 9780824870416
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824833930.003.0010
- Subject:
- Anthropology, Asian Cultural Anthropology
For the last one hundred years, the dominant music culture in Korea has been Western. Nonetheless, kugak, traditional Korean music, stands for “Korea” in tourist brochures and on countless Internet ...
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For the last one hundred years, the dominant music culture in Korea has been Western. Nonetheless, kugak, traditional Korean music, stands for “Korea” in tourist brochures and on countless Internet sites, in historical films and TV dramas, and in the great majority of academic articles and books by musicologists and ethnomusicologists. This chapter explores how promoters and performers of a new genre, kugak fusion, are attempting to commodify kugak for new audiences, to make kugak more commercial, and to ensure that kugak remains a part of the local music industry. “Kugak fusion” is a new term that refers to music performed by a young generation of musicians that has porous boundaries and, insofar as it features musicians trained in kugak, might be considered as traditional music made modern. Unlike in world music elsewhere, the fusion in kugak fusion is not a mix of indigenous and foreign but a mix of Korean and Korean. It appropriates, for Korean musical consumption, elements of Western music styles present in Korea, be they jazz, classical, or pop, coupling these to elements of kugak.Less
For the last one hundred years, the dominant music culture in Korea has been Western. Nonetheless, kugak, traditional Korean music, stands for “Korea” in tourist brochures and on countless Internet sites, in historical films and TV dramas, and in the great majority of academic articles and books by musicologists and ethnomusicologists. This chapter explores how promoters and performers of a new genre, kugak fusion, are attempting to commodify kugak for new audiences, to make kugak more commercial, and to ensure that kugak remains a part of the local music industry. “Kugak fusion” is a new term that refers to music performed by a young generation of musicians that has porous boundaries and, insofar as it features musicians trained in kugak, might be considered as traditional music made modern. Unlike in world music elsewhere, the fusion in kugak fusion is not a mix of indigenous and foreign but a mix of Korean and Korean. It appropriates, for Korean musical consumption, elements of Western music styles present in Korea, be they jazz, classical, or pop, coupling these to elements of kugak.
Peter Manuel
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038815
- eISBN:
- 9780252096778
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038815.003.0003
- Subject:
- Music, Ethnomusicology, World Music
This chapter discusses two distinct traditional entities in Indo-Caribbean music culture—the antiphonal folksong genre called chowtal and the dantāl, a common metallophone—which have flourished in ...
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This chapter discusses two distinct traditional entities in Indo-Caribbean music culture—the antiphonal folksong genre called chowtal and the dantāl, a common metallophone—which have flourished in the diaspora. In fact, they have become considerably more widespread, on a per capita basis, than their counterparts in North India. In the process, they illustrate how the neotraditional stratum of the international Bhojpuri diaspora—including both the Caribbean and Fiji—can constitute an entity that shares features that, despite being of traditional Indian origin, nevertheless are distinct from the Bhojpuri ancestral culture. These phenomena illustrate how, in this sense, neotraditional Bhojpuri diasporic music culture is best seen not as a microcosm of its nineteenth-century Bhojpuri-region ancestor, but as an entity with its own distinctive features, in which inherited features may assume trajectories quite distinct from their North Indian counterparts.Less
This chapter discusses two distinct traditional entities in Indo-Caribbean music culture—the antiphonal folksong genre called chowtal and the dantāl, a common metallophone—which have flourished in the diaspora. In fact, they have become considerably more widespread, on a per capita basis, than their counterparts in North India. In the process, they illustrate how the neotraditional stratum of the international Bhojpuri diaspora—including both the Caribbean and Fiji—can constitute an entity that shares features that, despite being of traditional Indian origin, nevertheless are distinct from the Bhojpuri ancestral culture. These phenomena illustrate how, in this sense, neotraditional Bhojpuri diasporic music culture is best seen not as a microcosm of its nineteenth-century Bhojpuri-region ancestor, but as an entity with its own distinctive features, in which inherited features may assume trajectories quite distinct from their North Indian counterparts.
Jesús A. Ramos-Kittrell
- Published in print:
- 2016
- Published Online:
- August 2016
- ISBN:
- 9780190236816
- eISBN:
- 9780190236830
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190236816.003.0002
- Subject:
- Music, History, Western
Given that approaches toward the study of New Spanish music culture have changed considerably since the 1930s (when Gabriel Saldívar’s book Historia de la música en México first appeared), it seemed ...
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Given that approaches toward the study of New Spanish music culture have changed considerably since the 1930s (when Gabriel Saldívar’s book Historia de la música en México first appeared), it seemed appropriate to get a historiographic glimpse of literature pertinent to this field. While some of the scholarship addressed in this chapter does not deal necessarily with New Spain, it is still worth mentioning because its view of colonial music history resonates with narratives that have focused on this area. The chapter closes by addressing how the present book contributes to recent work in the field of colonial music studies, with a particular emphasis on New Spain.Less
Given that approaches toward the study of New Spanish music culture have changed considerably since the 1930s (when Gabriel Saldívar’s book Historia de la música en México first appeared), it seemed appropriate to get a historiographic glimpse of literature pertinent to this field. While some of the scholarship addressed in this chapter does not deal necessarily with New Spain, it is still worth mentioning because its view of colonial music history resonates with narratives that have focused on this area. The chapter closes by addressing how the present book contributes to recent work in the field of colonial music studies, with a particular emphasis on New Spain.
K. E. Goldschmitt
- Published in print:
- 2019
- Published Online:
- October 2019
- ISBN:
- 9780190923525
- eISBN:
- 9780190923563
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190923525.003.0007
- Subject:
- Music, Ethnomusicology, World Music
In place of a large-scale fad, boom, or trend, the Brazilian artists who have found Anglophone publics in the 2010s have done so through a more dispersed approach than the watershed moments that ...
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In place of a large-scale fad, boom, or trend, the Brazilian artists who have found Anglophone publics in the 2010s have done so through a more dispersed approach than the watershed moments that characterized Brazil’s breakthroughs of the past. Brazilian artists utilize new strategies of co-branding and marketing to break through to Anglophone publics, due in part to an explosion of musical diversity over the last few decades. As a result of new mediation and distribution paths, Brazilian artists have upended old expectations for how to find success abroad, resulting in the looser iteration of the country’s musical brand. Yet old stereotypes of what counts as Brazilian music have adapted to a new music marketplace, emphasizing Brazil’s links to a new iteration of Afro-diasporic music.Less
In place of a large-scale fad, boom, or trend, the Brazilian artists who have found Anglophone publics in the 2010s have done so through a more dispersed approach than the watershed moments that characterized Brazil’s breakthroughs of the past. Brazilian artists utilize new strategies of co-branding and marketing to break through to Anglophone publics, due in part to an explosion of musical diversity over the last few decades. As a result of new mediation and distribution paths, Brazilian artists have upended old expectations for how to find success abroad, resulting in the looser iteration of the country’s musical brand. Yet old stereotypes of what counts as Brazilian music have adapted to a new music marketplace, emphasizing Brazil’s links to a new iteration of Afro-diasporic music.
Douglas Harrison
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252036972
- eISBN:
- 9780252094095
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036972.003.0007
- Subject:
- Music, History, American
This concluding chapter contains reflections on scholarly investigations into religion and American culture, arguing that southern gospel as a field of religious thought, action, and feeling asks us ...
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This concluding chapter contains reflections on scholarly investigations into religion and American culture, arguing that southern gospel as a field of religious thought, action, and feeling asks us to reimagine the concept of “organized religion” as a phenomenon—in this case, a popular music culture—that exists alongside, within, and beyond the church. It envisions a relational dynamic in which evangelical habits of mind and feeling and the expression of feelings shift along lines of individual and collective needs and desires. Furthermore, the chapter briefly delves into and defends the notion of gospel music as a meaningful language for postmodern transcendence.Less
This concluding chapter contains reflections on scholarly investigations into religion and American culture, arguing that southern gospel as a field of religious thought, action, and feeling asks us to reimagine the concept of “organized religion” as a phenomenon—in this case, a popular music culture—that exists alongside, within, and beyond the church. It envisions a relational dynamic in which evangelical habits of mind and feeling and the expression of feelings shift along lines of individual and collective needs and desires. Furthermore, the chapter briefly delves into and defends the notion of gospel music as a meaningful language for postmodern transcendence.
