Quite a few things cross my path in the realms of musics and ethnomusicological wonderments. Probably time to have a place to cache thoughts and discoveries.27 June 2003
Songs of the Minotaur Hybridity and Popular Music in the Era of Globalization: A Comparative Analysis of Rebetika, Tango, Rai, Flamenco, Sardana and English Urban Folk (Research into Popular Music and Jazz) Gerhard Steingress (Editor) Lit Verlag; ISBN: 3825863638Having such a topical hook seems like a necessity, and tying to 'globalization' connects with various other resources I already have. There are 'music industry' issues, and 'musician' and 'audience' issues... and lots more... A google search gets 250K+...
How Will the Music Industry Weather the Globalization Storm? (Wilfred Dolfsma in FirstMonday)the world of music bibliography vols. 19 - 44 — 1977 - 2002(2) --see journal home page
Brazilian Popular Music and Globalization edited by Charles A. Perrone & Christopher Dunn. Gainesville : University Press of Florida, c2001. CALL NO. ML3487.B7 B76 2001.
UCLA International Institute google search
Globalization and Indian Classical Music: The North American Scene Balwant N. Dixit (Transcript of a paper presented at the seminar on "Globalization and Indian Classical Music" at the National Centre for the Performing Arts in Mumbai, India, in January 2002)
RAP IN INDONESIAN YOUTH MUSIC OF THE 1990s: "GLOBALIZATION", "OUTLAW GENRES", AND SOCIAL PROTEST Michael Bodden University of Victoria Pacific and Asian Studies
from Gage Averill at NYU:What follows is the preliminary bibliography. I’ve included only works of a more theoretical nature, as opposed to the many possible choices for instantiating globalization in ethnographies. I have also kept the list closely focused on music and haven’t listed the vastly expanding number of sources about globalization per se. The list’s first two obvious faults are its largely Northern and male authorship, and this I hope we can address in person.
Appadurai, Arjun. 1990. “Disjuncture and Difference in the Global Cultural Economy,” Public Culture 2(2), pp. 1-24.
Burnett, Robert. 1996. The Global Jukebox: The International Music Industry. London and New York: Routledge.
Erlmann, Veit. 1993. “The Politics and Aesthetics of World Music,” the world of music 35(3), pp. 3-15.
Feld, Steven. 1995. “From Schizophonia to Schismogenesis: The Discourses and Practices of World Music and World Beat" in Marcus, George E. and Fred R. Meyers, The Traffic in Culture. Berkeley: University of California Press.
Lipsitz, George. 1994. Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place. London and New York: Verso. [Argues that in an era of transnational capital, traditional forms of cultural and political resistance are ineffectual, and that, increasingly, subaltern communities are voicing their politics in an immanent musical critique that is as mobile and as dynamic as the forces of capital].
Lovering, John. 1998. “The Global Music Industry: Contradictions in the Commodification of the Sublime,” in Andrew Leyshon, David Matless and George Revill, eds. The Place of Music, pp31-56.
Mitchell, Tony. 1996. Popular Music and Local Identity: Rock, Pop, and Rap in Europe and Oceania. London and New York: Leicester University Press.
Nettl, Bruno. 1985. The Western Impact on World Music: Change, Adaptation, and Survival. New York: Schirmer Books (A Division of Macmillan, Inc).
Wallis, Roger; and Krister Malm. 1984. Big Sounds From Small People: The Music Industry In Small Countries. New York: Pendragon Press.
Slobin, Mark. 1993. Subcultural Sounds: Micromusics of the West. Hanover, NH: University Press of New England.
Taylor, Timothy D. 1997. Global Pop: World Music, World Markets. New York and London: Routledge.
A couple of my own pieces on the topic:
Averill, Gage. 1996. “Global Imaginings," in Making and Selling Culture. Eds. Richard Ohmann (senior editor), Gage Averill, Michael Curtin, and David Shumway. Middletown: Wesleyan University Press. [This article models cultural globalization, looks at the continuing asymmetries in power and accumulation, weighs in against “prophetic criticism”, and finds that post-Fordist systems of flexible production and distribution (global niche marketing/customization) permit transnational capitalism to address shallow forms of cultural difference while championing universal commodity consumption.]
Averill, Gage. 1995. Music in the Global System," in Alvina Ruprecht and Cecilia Taiana, eds. The Reordering of Culture: Latin America, the Caribbean and Canada In the Hood. Ottawa: Carleton University Press, 339-362. [Using a case study of a local music industry and its connection with global markets, this article argues against models of globalization predicated on deterritorialization and a loss of identity. It finds that newly globalizing musics come to represent identities that are themselves both local and supra-local. It considers the relationship of subaltern sounds to subaltern literature as a post-colonial discourse and takes a pragmatic approach to understanding globalized subaltern sounds as critique and as visibility on the margins of the world system.]
RootsWorld "listening to the planet" --see also rootster.com
28 February 2004
Fela Kuti project
31 May 2004
Chris Corrigan's Webjay playlists --with a 'play this page' feature...
Laughing Record (Henry's Music Lesson), performed by Miss Sally Stembler & Edward Meeker Edison 51063-R, recorded 1923 (.ram from LoC)
Laughing song (.ram) Jones, Sidney and Greenbank, Harry (author) Farkóa, Maurice (performer)