Western Music and Its Others: Difference, Representation,

This leading edge choice of articles bargains a massive finished assessment of latest advancements in cultural concept as utilized to Western track. Addressing a huge diversity of essentially twentieth-century song, the authors learn comparable phenomena: musical borrowings or appropriations, and the way track has been used to build, evoke, or signify distinction of a musical or a sociocultural variety.

The essays scrutinize a various physique of tune and talk about more than a few major examples, between them musical modernism's idealizing or ambivalent relatives with renowned, ethnic, and non-Western track; exoticism and orientalism within the experimental track culture; the illustration of others in Hollywood movie song; music's position within the formation and contestation of collective identities, just about Jewish and Turkish well known track; and problems with illustration and distinction in jazz, global tune, hip hop, and digital dance music.

Written via best students from disciplines together with old musicology, sociology, ethnomusicology, anthropology, well known tune experiences, and picture experiences, the essays supply unparalleled insights into how cultural identities and variations are built in track.

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Additional resources for Western Music and Its Others: Difference, Representation, and Appropriation in Music

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There is a need to acknowledge that music can variably both construct new identities and reflect 32 GEORGINA BORN AND DAVID HESMONDHALGH existing ones. Sociocultural identities are not simply constructed in music; there are “prior” identities that come to be embodied dynamically in musical cultures, which then also form the reproduction of those identities—no passive process of reflection. We cannot afford to jettison completely a reflectionist model when, for example, as Stokes has shown in relation to the role of marching bands in Northern Ireland, or Parkes for song performance among the Kalasha of northwest Pakistan, or Mach for the role of Chopin’s music in the changing face of Polish nationalisms,83 in certain circumstances music does function primarily and powerfully to articulate the boundaries defining the collective identities or mutual antagonisms of pre-existing sociocultural groups, groups defined by shared cultural systems quite distinct from music.

Throughout the twentieth century, even in the era when Anglo-American repertoire seemed to be dominating the world market, some non-Western popular musics have been successful in the West, whether in the guise of styles adopted by Western musicians, or in the importation by record companies and promoters of recordings and stars which could then be repackaged and sold on to consumers. A series of Latin dance musics have crossed the world, from the habañera popular in Bizet’s France in the nineteenth century, to the tango in the first decades of the twentieth century, to the lambada in the 1980s.

The problem is to trace the links between a musical form or practice and its production or consumption by particular social groups. This “homology” model has often been discredited for a mechanical, deterministic mapping of the relation between social base and cultural superstructure, whether in Marxian or Durkheimian formulations. It is accused of reifying and hypostatizing what are more accurately conceived as fluid and processual dynamics in the formation and change of social and cultural identities.

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