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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... hybrid—was facilitated by Alejandro L. Madrid's personal contact with the members of this group. For providing assistance, valuable information, and/or musical samples, along the different stages of this project, due credits go to Colin ...
... hybrid—was facilitated by Alejandro L. Madrid's personal contact with the members of this group. For providing assistance, valuable information, and/or musical samples, along the different stages of this project, due credits go to Colin ...
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... hybrid musical interests by rock, jazz, and some classical musicians) became a significant trend in the mid-19605 when popular (Anglo-American) music began to explore “world” sources of inspiration, from the mere use of non-Western ...
... hybrid musical interests by rock, jazz, and some classical musicians) became a significant trend in the mid-19605 when popular (Anglo-American) music began to explore “world” sources of inspiration, from the mere use of non-Western ...
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... hybrid musical forms with elements of Western genres, which made them palatable both to Western audiences and—sung in local languages—in the scenarios back home, where the musicians' success abroad validated their work locally: [In ...
... hybrid musical forms with elements of Western genres, which made them palatable both to Western audiences and—sung in local languages—in the scenarios back home, where the musicians' success abroad validated their work locally: [In ...
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... hybrid sounds.“ For this reason, while the term “world music” should technically encompass all non-Westem music (both traditional and modern manifestations), the fact is that it has actually come to mean the hybrid forms in which modern ...
... hybrid sounds.“ For this reason, while the term “world music” should technically encompass all non-Westem music (both traditional and modern manifestations), the fact is that it has actually come to mean the hybrid forms in which modern ...
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... hybrids commonly grouped under the label of Afro—Pop) constitutes an example of such a phenomenon, as Simon Frith explains: “African music . . . reaches us almost exclusively via France, via French studios, French engineers, and French ...
... hybrids commonly grouped under the label of Afro—Pop) constitutes an example of such a phenomenon, as Simon Frith explains: “African music . . . reaches us almost exclusively via France, via French studios, French engineers, and French ...
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