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This volume studies the relationships between government and the
popular music industries, comparing three Anglophone nations:
Scotland, New Zealand and Australia. At a time when issues of
globalization and locality are seldom out of the news, musicians,
fans, governments, and industries are forced to reconsider older
certainties about popular music activity and their roles in
production and consumption circuits. The decline of multinational
recording companies, and the accompanying rise of promotion firms
such as Live Nation, exemplifies global shifts in infrastructure,
profits and power. Popular music provides a focus for many of these
topics-and popular music policy a lens through which to view them.
The book has four central themes: the (changing) role of states and
industries in popular music activity; assessment of the central
challenges facing smaller nations competing within larger, global
music-media markets; comparative analysis of music policies and
debates between nations (and also between organizations and popular
music sectors); analysis of where and why the state intervenes in
popular music activity; and how (and whether) music fits within the
'turn to culture' in policy-making over the last twenty years.
Where appropriate, brief nation-specific case studies are
highlighted as a means of illuminating broader global debates.
This volume studies the relationships between government and the
popular music industries, comparing three Anglophone nations:
Scotland, New Zealand and Australia. At a time when issues of
globalization and locality are seldom out of the news, musicians,
fans, governments, and industries are forced to reconsider older
certainties about popular music activity and their roles in
production and consumption circuits. The decline of multinational
recording companies, and the accompanying rise of promotion firms
such as Live Nation, exemplifies global shifts in infrastructure,
profits and power. Popular music provides a focus for many of these
topics-and popular music policy a lens through which to view them.
The book has four central themes: the (changing) role of states and
industries in popular music activity; assessment of the central
challenges facing smaller nations competing within larger, global
music-media markets; comparative analysis of music policies and
debates between nations (and also between organizations and popular
music sectors); analysis of where and why the state intervenes in
popular music activity; and how (and whether) music fits within the
'turn to culture' in policy-making over the last twenty years.
Where appropriate, brief nation-specific case studies are
highlighted as a means of illuminating broader global debates.
Community Music in Oceania: Many Voices, One Horizon makes a
distinctive contribution to the field of community music through
the experiences of its editors and contributors in music education,
ethnomusicology, music therapy, and music performance. Covering a
wide range of perspectives from Australia, Timor-Leste, New
Zealand, Japan, Fiji, China, Taiwan, Malaysia, Singapore, and
Korea, the essays raise common themes in terms of the pedagogies
and practices used, pointing collectively toward one horizon of
approach. Yet, contrasts emerge in the specifics of how community
musicians fit within the musical ecosystems of their cultural
contexts. Book chapters discuss the maintenance and
recontextualization of music traditions, the lingering impact of
colonization, the growing demands for professionalization of
community music, the implications of government policies, tensions
between various ethnic groups within countries, and the role of
institutions such as universities across the region. One of the
aims of this volume is to produce an intricate and illuminating
picture that highlights the diversity of practices, pedagogies, and
research currently shaping community music in the Asia Pacific.
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Paperback
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R398
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Discovery Miles 3 300
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