"["Western Music and Its Others] will be taken as an important book
signalling a new turn within the field. It takes the best features
of traditional, rigorous scholarship and brings these to bear upon
contemporary, more speculative questions. The level of theoretical
sophistication is high. The studies within it are polemical and
timely and of lasting scholarly value."--Will Straw, co-editor of
"Theory Rules: Art as Theory/ Theory and Art
"The great value of this collection lies in the wealth of
questions that it raises--questions that together crystallize the
recent concerns of musicology with force and clarity. But it also
lies in the authors' resistance to the easy 'postmodernist' answers
that threaten to turn new musicology prematurely grey. The editors'
comprehensive, intellectually adventurous introduction exemplifies
the sort of eager yet properly skeptical receptivity to scholarly
innovation that fosters lasting disciplinary reform. It alone is
worth the price of the book." --Richard Taruskin, author of
"Stravinsky and the Russian Traditions: A Biography of the Works
Through" Mavra"
"When cultural-studies methods first appeared in musicology 15
years ago, they triggered a storm of polemics that sometimes
overshadowed the important issues being raised. As the canon wars
recede, however, scholars are finding it possible to focus on the
concerns that led them to cultural criticism in the first place:
the study of music and its political meanings. "Western Music and
Its Others brings together leading musicologists,
ethnomusicologists, and specialists in film and popular music to
explore the ways European and North American musicians have drawn
on or identified themselves intension with the musical practices of
Others. In a series of essays ranging from examination of the
Orientalist tropes of early 20th-century Modernists to the tangled
claims for ownership in today's World Music, the authors in this
collection greatly advance both our knowledge of specific case
studies and our intellectual awareness of the complexity and
urgency of these problems. A timely intervention that should help
push music studies to the next level." --Susan McClary, author of
"Conventional Wisdom: The Content of Musical Form (2000)
"This collection provides a sophisticated model for using theory
to interrogate music and music to interrogate theory. The essays
both take up and challenge the dominance of notions of
representation in cultural theory as they explore the relevance of
the concepts of hybridity and otherness for contemporary art music.
Sophisticated theory, erudite scholarship and a very real
appreciation for the specificities of music make this a powerful
and important addition to our understanding of both culture and
music." --Lawrence Grossberg, author of "Dancing in Spite of
Myself
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