This is a welcome addition to recently published work on the
popular musics which have emerged in many countries as a response
to and as a result of the encounter of local musical traditions
with Anglo-American pop/rock. . . . The empirical components make
this an impressive book. . . . It is also quite unique. . . . The
data collected is presented in a successful combination of
quantitative information and 'windows' of text telling the story of
different individual musicians, and tracing the influence on them
of economics and politics, of local and foreign musicians.
--Cambridge Journals "The book is a magnificent achievement and
stands on par with the work by Wallis & Malm with which it
inevitably must be compared. One looks forward to the companion
volumes of the project. Of particular note is the research style
that drew on 40 indigenous researchers from over 20 countries. This
is a highly ambitious project in intercultural studies and stands
as a landmark in intercultural cooperation." --Canadian Journal of
Communication "Music at the Margins is the utopian experiment par
excellence. . . . We are treated to an intriguing print montage of
the current 'world music' landscape; this book's multicultural
scholarship is a tour de force in cross-cultural dialogics. . . .
The results of the studies help to set the agenda for further
research in the field. . . . The book is an extremely ambitious
project. . . . Music at the Margins . . . is a groundbreaking study
of popular music in its international contexts. The book is a must
for anyone interested in the subject." --Journal of Communication
"Music at the Margins: Popular Music and Global Cultural Diversity
fills an important scholarly gap by investigating the nature of the
international recording industry and production of music by local
performers working at the margins of that industry in a variety of
national contexts. The authors report on cross-cultural research
done by a large international team that "tests the cultural
imperialism hypothesis" that a largely one-way flow of cultural
texts is leading to worldwide cultural homogenization."
--International Journal of Intercultural Relations "A very
interesting, highly readable book about the global pop-music world,
reflecting its complexity and its artistic, economic,
cultural-social, and political involvement and influence. . .
.Music at the Margins is a special book and will be relished by
music fans, general readers, and students in music, sociology,
economics and other courses." --Academic Library Book Review "One
of the better books in the trend toward establishing legitimacy of
popular culture studies through pseudoacademic trappings, this is a
responsible attempt to collate and make sense of information and
perceptions gleaned by researchers in more than 15 First-, Second-,
and Third-World countries." --Choice "It inspires great respect for
its authors. For someone who writes about popular music for a daily
newspaper and magazines as well as academic settings, it has a lot
of value and interest. The broad conceptual framework alone helps
me think about what's happening with all aspects of pop culture,
not just music. . . . Most important for me is the evidence the
book provides of how the process of cultural production actually
works at both individual and national levels." --Lynn Darroch, Mt.
Hood Community College "An exhaustive academic account of the
forces governing the international music industry. . . . Music at
the Margins is an ambitious project encompassing many complex
issues. . . . For anyone interested in the past, present and future
of international popular music, it is an impressive and rewarding
volume." --Tracking "An amazingly rich tour-de-force of contested
territory: how meanings are negotiated between domination and
diversity, cultural erosion and enrichment. Indispensable for
students of mass media and popular culture, as well as of music."
--George Gerbner, Annenberg School for Communication, University of
Pennsylvania Popular music is a form of communication easily
recognized and understood around the world. But as it spreads from
culture to culture, is it becoming more homogenized? Or,
conversely, is there a continuing and perhaps ever-increasing
diversity of song styles and forms? Music at the Margins explores
the debate surrounding popular music's spread, testing the more
conventional "cultural imperialism" hypothesis as based on
empirical findings from a study by the International Communication
and Youth Culture Consortium. The primary focus is on how the
process of popular music production is perceived by local
musicians--people who are immersed in overlapping international,
national, and local contexts of production. Discussions on theory,
local case studies, and interview data are provided and integrated
to show how societal influences are tempered by and interpreted
through cultural and semiotic codes--as well as individual
musicians' experiences and creative talents. Specific topics
addressed include the rise of the international recording industry,
music production in socialist or formerly socialist countries,
censorship, and sociopolitical influences, to name but a few. Music
at the Margins will appeal to a wide range of scholars and students
in the fields of communication, popular culture, and sociology.
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