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This book examines music stores as sites of cultural production in
contemporary India. Analyzing social practices of selling music in
a variety of retail contexts, it focuses upon the economic and
social values that are produced and circulated by music retailers
in the marketplace. Based upon research conducted over a volatile
ten-year period of the Indian music industry, Beaster-Jones
discusses the cultural histories of the recording industry, the
social changes that have accompanied India's economic
liberalization reforms, and the economic realities of selling music
in India as digital circulation of music recordings gradually
displaced physical distribution. The volume considers the
mobilization of musical, economic, and social values as a component
of branding discourses in neoliberal India, as a justification for
new regimes of legitimate use and intellectual property, as a scene
for the performance of cosmopolitanism by shopping, and as a site
of anxiety about transformations in the marketplace. It relies upon
ethnographic observation and interviews from a variety of sources
within the Indian music industry, including perspectives of
executives at music labels, family-run and corporate music stores,
and hawkers in street markets selling counterfeit recordings. This
ethnography of the practices, spaces, and anxieties of selling
music in urban India will be an important resource for scholars in
a wide range of fields, including ethnomusicology, anthropology,
popular music studies, and South Asian studies.
Music in Contemporary Indian Film: Memory, Voice, Identity provides
a rich and detailed look into the unique dimensions of music in
Indian film. Music is at the center of Indian cinema, and India's
film music industry has a far-reaching impact on popular, folk, and
classical music across the subcontinent and the South Asian
diaspora. In twelve essays written by an international array of
scholars, this book explores the social, cultural, and musical
aspects of the industry, including both the traditional center of
"Bollywood" and regional film-making. Concentrating on films and
songs created in contemporary, post-liberalization India, this book
will appeal to classes in film studies, media studies, and world
music, as well as all fans of Indian films.
Music in Contemporary Indian Film: Memory, Voice, Identity provides
a rich and detailed look into the unique dimensions of music in
Indian film. Music is at the center of Indian cinema, and India's
film music industry has a far-reaching impact on popular, folk, and
classical music across the subcontinent and the South Asian
diaspora. In twelve essays written by an international array of
scholars, this book explores the social, cultural, and musical
aspects of the industry, including both the traditional center of
"Bollywood" and regional film-making. Concentrating on films and
songs created in contemporary, post-liberalization India, this book
will appeal to classes in film studies, media studies, and world
music, as well as all fans of Indian films.
This book examines music stores as sites of cultural production in
contemporary India. Analyzing social practices of selling music in
a variety of retail contexts, it focuses upon the economic and
social values that are produced and circulated by music retailers
in the marketplace. Based upon research conducted over a volatile
ten-year period of the Indian music industry, Beaster-Jones
discusses the cultural histories of the recording industry, the
social changes that have accompanied India's economic
liberalization reforms, and the economic realities of selling music
in India as digital circulation of music recordings gradually
displaced physical distribution. The volume considers the
mobilization of musical, economic, and social values as a component
of branding discourses in neoliberal India, as a justification for
new regimes of legitimate use and intellectual property, as a scene
for the performance of cosmopolitanism by shopping, and as a site
of anxiety about transformations in the marketplace. It relies upon
ethnographic observation and interviews from a variety of sources
within the Indian music industry, including perspectives of
executives at music labels, family-run and corporate music stores,
and hawkers in street markets selling counterfeit recordings. This
ethnography of the practices, spaces, and anxieties of selling
music in urban India will be an important resource for scholars in
a wide range of fields, including ethnomusicology, anthropology,
popular music studies, and South Asian studies.
The vast majority of films produced by Mumbai's commercial Hindi
language film industry - known world-wide as Bollywood - feature
songs as a central component of the cinematic narrative. While many
critics have addressed the visual characteristics of these song
sequences, very few have engaged with their aurality and with the
meanings that they generate within the film narrative and within
Indian society at large. Because the film songs operate as powerful
sonic ambassadors to individual and cultural memories in India and
abroad, however, they are significant and carefully-constructed
works of art. Bollywood Sounds focuses on the songs of Indian films
in their historical, social, and commercial contexts. Author Jayson
Beaster-Jones walks the reader through the highly collaborative
songs, detailing the contributions of film directors, music
directors and composers, lyricists, musicians, and singers. A vital
component of film INSERT: Featured in British Forum for
Ethnomusicology insert 2014 on broadcast media, Bollywood songs are
distributed on soundtracks by music companies, and have long been
the most popular music genre in India - even among listeners who
rarely see the movies. Through close musical and multimedia
analysis of more than twenty landmark compositions, Bollywood
Sounds illustrates how the producers of Indian film songs mediate a
variety of influences, musical styles, instruments, and performance
practices to create this distinctive genre. Beaster-Jones argues
that, even from the moment of its inception, the film song genre
has always been in the unique position of demonstrating
cosmopolitan orientations while maintaining discrete sound and
production practices over its long history. As a survey of the
music of seventy years of Hindi films, Bollywood Sounds is the
first monograph to provide a long-term historical insights into
Hindi film songs, and their musical and cinematic conventions, in
ways that will appeal both to scholars and newcomers to Indian
cinema.
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