Postnational Musical Identities: Cultural Production, Distribution, and Consumption in a Globalized ScenarioIgnacio Corona, Alejandro L. Madrid Lexington Books, 2008 - 240 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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Contenido
Introduction The Postnational Turn in Music Scholarship and Music Marketing | 3 |
Nationalist and Postnationalist Perspectives in American Musicology | 23 |
Productive Orientalisms Imagining Noise and Silence Across the Pacific 19571967 | 45 |
A Transnational Caribbean | 63 |
The Miamization of LatinAmerican Pop Music | 65 |
Nostalgia and the Negotiation of Dislocated Identities Puerto Rican Boleros in New York and Nuyorican Poetry | 81 |
Across the USMexico Border | 97 |
Ideology Flux and Identity in Tijuanas Nortec Music | 99 |
RockIn la Frontera Mexican Rock Globalization and National Identity | 151 |
SouthAmerican Connections | 171 |
Before and After Samba Modernity Cosmopolitanism and Popular Music in Rio de Janeiro at the Beginning and End of the Twentieth Century | 173 |
The AfroColombianization of HipHop and Discourses on Authenticity | 185 |
Transnational Soundscapes Ambient Music and Bossatrönica | 209 |
Selected Discography | 219 |
Selected Bibliography | 221 |
229 | |
Quest for the Local Building Musical Ties between Mexico and the United States | 119 |
Assimilation Reclamation and Rejection of the NationState by Chicano Musicians | 137 |
Otras ediciones - Ver todas
Postnational Musical Identities: Cultural Production, Distribution, and ... Ignacio Corona,Alejandro L. Madrid Vista previa limitada - 2007 |
Postnational Musical Identities: Cultural Production, Distribution, and ... Ignacio Corona,Alejandro L. Madrid Sin vista previa disponible - 2010 |
Términos y frases comunes
Afro-Colombian album Angeles artists audience banda bands become bolero border Cage capital century Chicano City Colombian composers concept construction context continues cosmopolitan created critical cultural dance discourses discussion dominant Duke University early economic ethnic European example experience expression fact genre global Hernández hip-hop hybrid idea identity immigrants important industry interest Japanese Juan labels Latin American Latin American Music listeners live major means Mexican Mexico Miami movement musicians musicology nationalist Nor-tec notes original past performance piece play political popular music position postnational practices present produced Puerto Rican rappers record refers regional relations represent result rock sense social song sound space Spanish style Takemitsu Tijuana tion traditional transnational understand United University Press urban Western world music York