|
Showing 1 - 5 of
5 matches in All Departments
Postnational Musical Identities gathers interdisciplinary essays
that explore how music audiences and markets are imagined in a
globalized scenario, how music reflects and reflects upon new
understandings of citizenship beyond the nation-state, and how
music works as a site of resistance against globalization.
'Hybridity, ' 'postnationalism, ' 'transnationalism, '
'globalization, ' 'diaspora, ' and similar buzzwords have not only
informed scholarly discourse and analysis of music but also shaped
the way musical productions have been marketed worldwide in recent
times. While the construction of identities occupies a central
position in this context, there are discrepancies between the
conceptualization of music as an extremely fluid phenomenon and the
traditionally monovalent notion of identity to which it has
historically been incorporated. As such, music has always been
linked to the construction of regional and national identities. The
essays in this collection seek to explore the role of music,
networks of music distribution, music markets, music consumption,
music production, and music scholarship in the articulation of
postnational sites of identifica
Postnational Musical Identities gathers interdisciplinary essays
that explore how music audiences and markets are imagined in a
globalized scenario, how music reflects and reflects upon new
understandings of citizenship beyond the nation-state, and how
music works as a site of resistance against globalization.
"Hybridity," "postnationalism," "transnationalism,"
"globalization," "diaspora," and similar buzzwords have not only
informed scholarly discourse and analysis of music but also shaped
the way musical productions have been marketed worldwide in recent
times. While the construction of identities occupies a central
position in this context, there are discrepancies between the
conceptualization of music as an extremely fluid phenomenon and the
traditionally monovalent notion of identity to which it has
historically been incorporated. As such, music has always been
linked to the construction of regional and national identities. The
essays in this collection seek to explore the role of music,
networks of music distribution, music markets, music consumption,
music production, and music scholarship in the articulation of
postnational sites of identification.
Music is powerful and transformational, but can it spur actual
social change? A strong collection of essays, At the Crossroads of
Music and Social Justice studies the meaning of music within a
community to investigate the intersections of sound and race,
ethnicity, religion, gender, sexual orientation, and differing
abilities. Ethnographic work from a range of theoretical frameworks
uncovers and analyzes the successes and limitations of music's
efficacies in resolving conflicts, easing tensions, reconciling
groups, promoting unity, and healing communities. This volume is
rooted in the Crossroads Section for Difference and Representation
of the Society for Ethnomusicology, whose mandate is to address
issues of diversity, difference, and underrepresentation in the
society and its members' professional spheres. Activist scholars
who contribute to this volume illuminate possible pathways and
directions to support musical diversity and representation. At the
Crossroads of Music and Social Justice is an excellent resource for
readers interested in real-world examples of how folklore,
ethnomusicology, and activism can, together, create a more just and
inclusive world.
Jazz great Gerald Wilson (1918-2014), born in Shelby, Mississippi,
left a global legacy of paramount significance through his
progressive musical ideas and his orchestra's consistent influence
on international jazz. Aided greatly by interviews that bring
Wilson's voice to the story, Steven Loza presents a perspective on
what the musician and composer called his ""jazz pilgrimage.""
Wilson uniquely adapted Latin influences into his jazz palette,
incorporating many Cuban and Brazilian inflections as well as those
of Mexican and Spanish styling. Throughout the book, Loza refers to
Wilson's compositions and arrangements, including their historical
contexts and motivations. Loza provides savvy musical readings and
analysis of the repertoire. He concludes by reflecting upon
Wilson's ideas on the place of jazz culture in America, its place
in society and politics, its origins, and its future. With a
foreword written by Wilson's son, Anthony, and such sources as
essays, record notes, interviews, and Wilson's own reflections, the
biography represents the artist's ideas with all their
philosophical, historical, and cultural dimensions. Beyond merely
documenting Wilson's many awards and recognitions, this book ushers
readers into the heart and soul of a jazz creator. Wilson emerges a
unique and proud African American artist whose tunes became a
mosaic of the world.
Steven Loza explores how the iconic aspects of religion transcend
mere symbolism with a collection of essays that examine the arts
and their relationship to religious belief in three cultural areas
of the world: the Mexican mestizo belief in the Virgen de
Guadalupe, the West African Yoruba religion's base in a divination
system of orishas, and the Sufi sect of Islam's musical/textual
practices of devotional ecstasy to God. The essays included here
were originally presented at the 2004 international conference
"Towards a Theory for Religion as Art: Guadalupe, Orishas, and
Sufi," organized by the Arts of the Americas Institute at the
University of New Mexico. While they reflect the interdisciplinary
design and dialogue of the conference, the essays also reveal that
many of the arts are conceptualized cross-culturally, ranging from
visual art and poetry to music and dance, and offer comparative
studies of their relationships to society, politics, and culture in
general. Contributors to Religion as Art Gregory A. Cajete,
University of New Mexico, Albuquerque Timothy Canova, Chapman
University, Orange, California Martinus Cawley, Guadalupe Trappist
Abbey, Lafayette, Oregon Francisco Crespo, University of
California, Los Angeles Lorena D az N ez, Centro Nacional de
Investigaci n, Documentaci n e Informaci n Musical, Mexico City
Akin Euba, University of Pittsburgh Francisco Miranda God nez,
Colegio de Michoac n, Mexico Juan G mez-Qui ones, University of
California, Los Angeles Linda B. Hall, University of New Mexico,
Albuquerque Clarence Henry, University of Kansas Ray Hern ndez-Dur
n, University of New Mexico, Albuquerque Teresa Marrero, University
of North Texas Orlando Ricardo Menes, University of Notre Dame
Margaret Montoya, University of New Mexico, Albuquerque Charles
Moore, Long Beach State University, California Luis A. Payan,
University of Texas, El Paso Stafford Poole, C.M., Los Angeles A.
J. Racy, University of California, Los Angeles Joe Sando, Jemez
Pueblo, New Mexico Janice Schuetz, University of New Mexico,
Albuquerque Robert Stevenson, University of California, Los Angeles
Sylvia Tan, University of California, Los Angeles Maria Williams,
University of New Mexico, Albuquerque
|
You may like...
Midnights
Taylor Swift
CD
R425
Discovery Miles 4 250
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|