This collection provides readers with a diverse and contemporary overview of research in the field. Drawing upon scholarly writing from a range of disciplines and approaches, it provides case studies from a wide range of 'non Western' musical contexts. In so doing the volume attends to the central themes that have emerged in this area of popular music studies; cultural politics, identity and the role of technology. This collection does not seek to establish a new theoretical paradigm, but being primarily aimed at researchers and students, offers as comprehensive a view of the research that has been carried out over the last few decades as possible, given the global scope of the subject. Inevitably, the experience of globalisation itself runs through many of the contributions, not only because musicians find themselves part of an immense flow of international culture, technology and finance, but also because Western scholarship can also be considered an aspect of such a flow. The articles selected for the volume take different disciplinary approaches; many are close ethnographic descriptions of musical practices whilst others take a more historical view of a musical 'scene' or even a single musician. Some essays consider the effects of emerging technologies upon the production, dissemination and consumption of music, whilst the political context is central to other authors. The collection as a whole serves as a resource for those who wish to be better acquainted with the diversity of research that has been carried out into non-western pop, whilst also highlighting the broader themes that have, so far, shaped academic approaches to the subject.
While promotion and marketing techniques often fail , it is difficult to question Adorno's statement ( echoed by Marcuse , Hauser , Gramsci and others ) that " the mechanisms of distribution carry at least as much weight as that which ...
The main purpose of the book is to explore basic music theory so thoroughly that the interested student will then be able to easily pick up whatever further theory is wanted.
"--Will Straw, co-editor of Theory Rules: Art as Theory/ Theory and Art "The great value of this collection lies in the wealth of questions that it raises--questions that together crystallize the recent concerns of musicology with force and ...
Non-western Music and the Western Listener
Craig J. Thompson , in another response to Schor , echoes Holt's emphasis on the social construction of ... Christopher Shannon , A World Made Safe for Differences : Cold War Intellectuals and the Politics of Identity ( Lanham ...
... Faye Hipsman, and Isabel Ball, “Fifty Years On, the 1965 Immigration and Nationality Act Continues to Reshape the United States,” Migration Policy Institute, 15 Oct. 2015, www.migrationpolicy.org/article/fifty-years-1965-immigra ...
18. For more on this, see Atkins 2001, 65; Jian and Guo 2004; Jones 2001, 53. 19. Jones 2001, 62. 20. Jones 2001, 164. 21. Jones 2001, 165. 22. R. Chow 1991, 38. 23. For more on this, see I. Wong 2002, 249. 24.
... Century Lucknow : Problems of Transcription . " British Journal of Ethnomusicology 3 ( 1994 ) : 73-88 . - English Musicians in the Age of Exploration . Sociology of Music 8. Stuyvesant , NY : Pendragon Press , 1995 . " The ' Hindostannie ...
But the western also had a resounding international impact, from Europe to Asia, and this volume distinguishes itself by its careful consideration of music in non-Hollywood westerns, such as Ravenous and The Good, the Bad, and the Ugly and ...
People are stimulated and entertained by the fascinating sounds and rhythms of non-Western music yet they generally know little about its underlying principles.This detailed and hugely informative reference book examines...