Informed by theories pertaining to transnational mobility, ethnicity and race, gender, postcolonialism, as well as Japanese studies, Transnational Musicians explores the way Japanese musicians establish their transnational careers in the hierarchically-structured classical music world. Drawing on rich material from multi-sited fieldwork and in-depth interviews with Japanese artists in Japan, France and Poland, this study portrays the structurally – and individually – conditioned opportunities and constraints of becoming transnational classical musician. It shows how transnational artists strive to conciliate the irreconcilable: their professional identification with the dominant image of ‘rootless’ classical musicianship and their ethno-cultural affiliation with Japan. As such this book critically engages with the neoliberal discourse on talent and meritocracy prevailing in the creative/cultural industry, which promotes the common image of cosmopolitan artists, whose high, universal skills allow them to carry out their occupational activity internationally, regardless of such prescriptive criteria as gender, ethnicity and race. Highly interdisciplinary, this book will appeal to students and researchers interested in such fields as migration, transnational mobility, ethnicity and race in the creative/cultural sector, gender studies, Japanese culture and related social issues. It will also be instructive for professionals from the world of classical music, as well as ordinary readers passionate about Japanese society.
Furthermore, the essays in this book problematize some of the widespread misconceptions about U.S.-Mexico border history and culture in the current debate about immigration.
This book offers the first in-depth study of experimental and popular music scenes in Beirut, looking at musicians working towards a new understanding of musical creativity and music culture in a country that is dominated by mass-mediated ...
country required a revolution of its own.36 For his part, Tejada Gómez joined the Communist Party, an affiliation that soon extended to others in his artistic circle, including Mercedes Sosa. Matus and Sosa, who had been frustrated by ...
... Rafael Altamira, exiled from his native Spain in 1936 and who had begun to promote a project of “liberal Americanism ... 1909–1910: historia e historiografía del proyecto americanista de la Universidad de Oviedo (Madrid: Consejo Superior ...
Peter Wade, for example, has shown that the classic Spanish-African- Amerindian triad is constantly adduced when Colombian music and national identity are discussed (Wade 2000, pp. 65-66). Wade also points out that in talking about ...
This volume examines the transnational character of popular music since the Cold War era to the present.
Isaac Stern and Sergw Celbtdache. ... 1972-75: Muse Director, New York Chamber Symphony, 1Э77-; Music Director. ... and Juilliard School, 1996-; Conductor of the Year, Musical Amerca International Directory of Performing Arts, 1994.
Bossa mundo: Brazilian music in transnational media industries focuses on watershed moments of musical breakthrough across the world over more than a half century--from bossa nova in the 1960s through to the streaming music era.
In Musicians in Transit Matthew B. Karush examines the transnational careers of seven of the most influential Argentine musicians of the twentieth century: Afro-Argentine swing guitarist Oscar Alemán, jazz saxophonist Gato Barbieri, ...
This book demonstrates the significance of transnationality for studying and writing the lives of artists.