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. |
Dentro del libro
Resultados 1-5 de 55
Página vii
... Pop Music 65 Daniel Party Chapter 5 Nostalgia and the Negotiation of Dislocated 81 Identities: Puerto Rican Boleros in New York and Nuyorican Poetry Vanessa Knights Part III: Across the U.S.-Mexico Border Chapter 6 Ideology, Flux, and ...
... Pop Music 65 Daniel Party Chapter 5 Nostalgia and the Negotiation of Dislocated 81 Identities: Puerto Rican Boleros in New York and Nuyorican Poetry Vanessa Knights Part III: Across the U.S.-Mexico Border Chapter 6 Ideology, Flux, and ...
Página 9
... musical production, reproduction and transmission)?“ What the parameters and elements that comprise such a “universal pop aesthetic” may be is open to contention and debate, but surely Frith refers to the influence of pop-rock music as ...
... musical production, reproduction and transmission)?“ What the parameters and elements that comprise such a “universal pop aesthetic” may be is open to contention and debate, but surely Frith refers to the influence of pop-rock music as ...
Página 11
... music” with two important differences: it takes into account national borders and does not imply the postmodern celebration of difference and differentiation that Jameson talks about.29 As in other regions, Anglo-American pop-rock music ...
... music” with two important differences: it takes into account national borders and does not imply the postmodern celebration of difference and differentiation that Jameson talks about.29 As in other regions, Anglo-American pop-rock music ...
Página 12
... pop ballads such as “Norwegian Wood,” as a breakthrough moment in that process.3 I As van der Lee has pointed out, however, world music influences (Latin music for instance), had long been incorporated into Western popular music.32 The ...
... pop ballads such as “Norwegian Wood,” as a breakthrough moment in that process.3 I As van der Lee has pointed out, however, world music influences (Latin music for instance), had long been incorporated into Western popular music.32 The ...
Página 14
... music while in Bali. The jangly, dreamy percussion was a totally new sound on the American musical landscape and from those tapes [Teresa] Sterne made an album, 'Music ... pop culture from the part of the progressive movement, self-identified ...
... music while in Bali. The jangly, dreamy percussion was a totally new sound on the American musical landscape and from those tapes [Teresa] Sterne made an album, 'Music ... pop culture from the part of the progressive movement, self-identified ...
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