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With just four record companies controlling nearly 80 per cent of
the world market in popular music, issues of globalization are
evidently significant to our understanding of how and why popular
music is made and distributed. As transnational industries seek to
open up increasingly larger markets, the question of how local and
regional music cultures can be sustained is a pressing one. To what
extent does the global music market offer opportunities for the
worldwide dissemination of local music within and beyond the major
industry? The essays in this volume examine the structure and
strategies of the transnational music industry, with its deployment
of mass communication technologies including sound carriers,
satellite broadcasting and the Internet. The book also explores
local and individual experience of global music and this music's
dissemination through migration and communities of interest, as
well as the ideological and political use of different kinds of
music. In contrast to recent arguments which posit an American
imperialist dominance of popular music, the contributors to this
volume find that the global repertoire of the major labels no
longer represents the culture of a certain country but is fed by
different sources. The essays here discuss how we can characterize
this vast de-centered industry, and offer perspectives on the
so-called 'international repertoire' that calls for a melodic
structure, ballad forms, unaccented vocalisation and an image that
has global recognition.
With just four record companies controlling nearly 80 per cent of
the world market in popular music, issues of globalization are
evidently significant to our understanding of how and why popular
music is made and distributed. As transnational industries seek to
open up increasingly larger markets, the question of how local and
regional music cultures can be sustained is a pressing one. To what
extent does the global music market offer opportunities for the
worldwide dissemination of local music within and beyond the major
industry? The essays in this volume examine the structure and
strategies of the transnational music industry, with its deployment
of mass communication technologies including sound carriers,
satellite broadcasting and the Internet. The book also explores
local and individual experience of global music and this music's
dissemination through migration and communities of interest, as
well as the ideological and political use of different kinds of
music. In contrast to recent arguments which posit an American
imperialist dominance of popular music, the contributors to this
volume find that the global repertoire of the major labels no
longer represents the culture of a certain country but is fed by
different sources. The essays here discuss how we can characterize
this vast de-centered industry, and offer perspectives on the
so-called 'international repertoire' that calls for a melodic
structure, ballad forms, unaccented vocalisation and an image that
has global recognition.
Am Beispiel musikalischer Vorlieben wird gezeigt, was eine
Soziologie des Geschmacks leistet. Ausgehend von der klassischen
Fragestellung der Musikasthetik, wie Urteile uber Musik zu
begrunden seien, gelangt der Autor zu einer Definition des
Musikgeschmacks, in der nicht nur die psychologischen Aspekte
Berucksichtigung finden, sondern auch seine Funktion in sozialen
Strategien thematisiert wird. Die zentralen, auf den Arbeiten von
Pierre Bourdieu, Gerhard Schulze und US-amerikanischen
Kultursoziologen basierenden Thesen werden am verfugbaren
empirischen Material uberpruft. Die Analysen laufen letztendlich
auf die paradoxe Feststellung hinaus, dass unter den aktuellen
gesellschaftlichen Umstanden gerade die Uberschreitung von
Geschmacksgrenzen, also ein breiter Geschmack, zur Grundlage der
Reproduktion gesellschaftlicher Ungleichheiten wird."
In der ersten Dekade des neuen Jahrtausends war Balkanmusik auf den
Weltmusikfestivals, in den Jazzclubs und Tanzlokalen OEsterreichs
allgegenwartig. Ein musikalischer Balkanboom hatte das Land
erfasst. Doch wie kam es dazu? Welche Voraussetzungen waren noetig,
damit sich Balkanmusik im oesterreichischen Musikleben etablieren
konnte? Detailreich zeichnen die AutorInnen dieses Buches die
Geschichte der Balkanmusik in OEsterreich seit 1990 nach. Dabei
wird deutlich, dass es nicht nur professioneller MusikerInnen und
der Unterstutzung am Musikmarkt bedurfte, sondern auch einer
spezifischen Prasentationsform, die in der oesterreichischen
Mehrheitsgesellschaft Resonanz erzeugte.
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