Postnational Musical Identities: Cultural Production, Distribution, and Consumption in a Globalized ScenarioIgnacio Corona, Alejandro L. Madrid Lexington Books, 2007 M12 28 - 250 páginas Postnational Musical Identities gathers interdisciplinary essays that explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizenship beyond the nation-state, and how music works as a site of resistance against globalization. 'Hybridity,' 'postnationalism,' 'transnationalism,' 'globalization,' 'diaspora,' and similar buzzwords have not only informed scholarly discourse and analysis of music but also shaped the way musical productions have been marketed worldwide in recent times. While the construction of identities occupies a central position in this context, there are discrepancies between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has historically been incorporated. As such, music has always been linked to the construction of regional and national identities. The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identification. |
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Página 6
... first century? If. as we have suggested above, a postnationalist approach in dialogue with a postcolonial approach would acknowledge the injustices, the omissions, the dismissals, and the repudiations that univocal nationalist ...
... first century? If. as we have suggested above, a postnationalist approach in dialogue with a postcolonial approach would acknowledge the injustices, the omissions, the dismissals, and the repudiations that univocal nationalist ...
Página 8
... first part of this task by discussing the relationship between globalization, the world music market, and the idea of the postnational. Numerous globalization scholars have called attention to how transnational economic interests make ...
... first part of this task by discussing the relationship between globalization, the world music market, and the idea of the postnational. Numerous globalization scholars have called attention to how transnational economic interests make ...
Página 16
... first-world musicians are playfully inverted or alluded to as an implicit ideological contestation of certain identitarian constructions, as it is the case of recent covers of The Clash's “Rock El Casbah” by Algerian musician Rachid ...
... first-world musicians are playfully inverted or alluded to as an implicit ideological contestation of certain identitarian constructions, as it is the case of recent covers of The Clash's “Rock El Casbah” by Algerian musician Rachid ...
Página 17
... first-World audiences. The diffusion of traditional African rhythms (although more ofien, modern musical hybrids commonly grouped under the label of Afro—Pop) constitutes an example of such a phenomenon, as Simon Frith explains ...
... first-World audiences. The diffusion of traditional African rhythms (although more ofien, modern musical hybrids commonly grouped under the label of Afro—Pop) constitutes an example of such a phenomenon, as Simon Frith explains ...
Página 20
... first afro-pop musicians with a major profile in the country. They seemingly rode in on the reggae cultural wave and the popularity achieved by Bob Marley in particular. 38. See Bradley Smith's The Billboard Guide to Progressive Music ...
... first afro-pop musicians with a major profile in the country. They seemingly rode in on the reggae cultural wave and the popularity achieved by Bob Marley in particular. 38. See Bradley Smith's The Billboard Guide to Progressive Music ...
Contenido
A Transnational Caribbean | 63 |
Across the USMexico Border | 97 |
SouthAmerican Connections | 171 |
Selected Discography | 219 |
Selected Bibliography | 221 |
Index | 229 |
Notes on Contributors | 237 |
Otras ediciones - Ver todas
Postnational Musical Identities: Cultural Production, Distribution, and ... Ignacio Corona,Alejandro L. Madrid Vista previa limitada - 2008 |
Postnational Musical Identities: Cultural Production, Distribution, and ... Ignacio Corona,Alejandro L. Madrid Sin vista previa disponible - 2010 |
Términos y frases comunes
aesthetic Afro-Colombian album ambient music American music Angeles artists audience balada banda bands bolero border Brazilian Cage Cage’s century Chicano Choc Quib Town Colombian hip-hop composers conflict contemporary context cosmopolitan cultural cumbia dance defined discourses economic electronic essay ethnic ethnomusicology European film find first Garcia Canclini genre global hip-hop hybrid identity ideologies immigrants industry influence instruments Japanese jazz John Cage José Juan labels landscape Latin American Latin Pop listeners Los Lobos Mexican Mexico City Miami migration modern movement musical styles musicians musicology Myriam Hernandez nationalist Nor-tec’s Nor-tee nortefia Nuyorican performance political pop music popular music postnational produced Puerto Rican ranchera rappers record reflected regional rhythms Rico Rio de Janeiro rock samba sense shakuhachi significant social song Sony sound Spanish specific Takemitsu technobanda telenovelas Tijuana tion tional traditional transnational University Press urban Western world music York