This leading edge choice of articles deals an immense complete review of recent advancements in cultural concept as utilized to Western song. Addressing a extensive diversity of basically twentieth-century track, the authors study comparable phenomena: musical borrowings or appropriations, and the way track has been used to build, evoke, or signify distinction of a musical or a sociocultural variety.
The essays scrutinize a various physique of tune and speak about a variety of major examples, between them musical modernism's idealizing or ambivalent kinfolk with renowned, ethnic, and non-Western song; exoticism and orientalism within the experimental song culture; the illustration of others in Hollywood movie tune; music's function within the formation and contestation of collective identities, with regards to Jewish and Turkish renowned track; and problems with illustration and distinction in jazz, global track, hip hop, and digital dance music.
Written by way of prime students from disciplines together with old musicology, sociology, ethnomusicology, anthropology, renowned track experiences, and movie stories, the essays supply exceptional insights into how cultural identities and changes are developed in song.
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Extra info for Western Music and Its Others: Difference, Representation, and Appropriation in Music
This is the moment summed up by the homology model. (4) When the musical representations of sociocultural identity come, after the fact, to be reinterpreted and debated discursively and, out of this process, “reinserted” as representations into the changing social-cultural formation (as Stokes shows for arabesk, and Brown for Bartók’s reading of gypsy musics). This form also sums up the primary macrohistorical, transformative dynamic to which all musics are subject: that is, how musics become subject to inevitable historical processes of reinterpretation and then reinsertion into the changing sociocultural formation—a kind of discursive and practical reflexivity around music.
It is accused of reifying and hypostatizing what are more accurately conceived as fluid and processual dynamics in the formation and change of social and cultural identities. A new model has emerged based on these criticisms, which amounts to a current orthodoxy. 81 In this view, music engenders communities or “scenes”;82 it allows a play with, a performance of, and an imaginary exploration of identities. Its aesthetic pleasure has much to do with this vicarious exploration of identities. How do we reconcile these contending models?
We cannot afford to jettison completely a reflectionist model when, for example, as Stokes has shown in relation to the role of marching bands in Northern Ireland, or Parkes for song performance among the Kalasha of northwest Pakistan, or Mach for the role of Chopin’s music in the changing face of Polish nationalisms,83 in certain circumstances music does function primarily and powerfully to articulate the boundaries defining the collective identities or mutual antagonisms of pre-existing sociocultural groups, groups defined by shared cultural systems quite distinct from music.
Western Music and Its Others: Difference, Representation, and Appropriation in Music