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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Resultados 1-5 de 69
Página viii
... Mexican Rock, Globalization, 151 and National Identity Greg Sch elonka Part IV: South-American Connections Chapter 10 Before and After Samba: Modernity, Cosmopolitanism, 173 and Popular Music in Rio de Janeiro at the Beginning and End ...
... Mexican Rock, Globalization, 151 and National Identity Greg Sch elonka Part IV: South-American Connections Chapter 10 Before and After Samba: Modernity, Cosmopolitanism, 173 and Popular Music in Rio de Janeiro at the Beginning and End ...
Página 6
... Mexican traditional musical genres. Several problems that permeate Mexican musicology, an activity still largely under the influence of the Mexican post-revolutionary nationalist project, are evident in this anecdote. First, a common ...
... Mexican traditional musical genres. Several problems that permeate Mexican musicology, an activity still largely under the influence of the Mexican post-revolutionary nationalist project, are evident in this anecdote. First, a common ...
Página 8
... Mexican ranchera, for instance, used to be thought of as a musical genre performed by people with strong roots in the Mexican countryside, recorded by local producers in local studios, accompanied by local musicians, and using ...
... Mexican ranchera, for instance, used to be thought of as a musical genre performed by people with strong roots in the Mexican countryside, recorded by local producers in local studios, accompanied by local musicians, and using ...
Página 11
... Mexican or Argentine or Brazilian music instead of simply rock or jazz. The Collapse of the “Grand Narratives” in Popular Music The current postnational marketing of music arguably operates within a different paradigm than the one ...
... Mexican or Argentine or Brazilian music instead of simply rock or jazz. The Collapse of the “Grand Narratives” in Popular Music The current postnational marketing of music arguably operates within a different paradigm than the one ...
Página 65
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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