Προσθήκη στα αγαπημένα
Scholars have long known that world music was not merely the globalized product of modern media, but rather that it connected religions, cultures, languages and nations throughout world history. The chapters in this History take readers to foundational historical moments – in Europe, Oceania, China, India, the Muslim world, North and South America – in search of the connections provided by a truly world music. Historically, world music emerged from ritual and religion, labor and life-cycles, which occupy chapters on Native American musicians, religious practices in India and Indonesia, and nationalism in Argentina and Portugal. The contributors critically examine music in cultural encounter and conflict, and as the critical core of scientific theories from the Arabic Middle Ages through the Enlightenment to postmodernism. Overall, the book contains the histories of the music of diverse cultures, which increasingly become the folk, popular and classical music of our own era.
. Provides a music-historical reference for students and scholars interested in music throughout the world, going far beyond the usual histories of Western classical music
. Includes chapters with in-depth histories of music in major world regions - Africa, Asia, Europe, Latin America - as well as individual nations, balancing new theoretical innovation in the historiography in music with specific examples
. Illustrates historical and contemporary theoretical approaches for the study of music worldwide, and will therefore be extremely valuable as a reference work for students and scholars of music in institutions throughout the world
Introduction: world music's histories Philip V. Bohlman
Part I. Histories of World Music:
1. On world music as a concept in the history of music scholarship Bruno Nettl
2. Music cultures of mechanical reproduction Peter Manuel
3. Western music as world music Nicholas Cook
Part II. The History of Music before History:
4. Foundations of musical knowledge in the Muslim world Stephen Blum
5. Indian music history in the context of global encounters Bonnie C. Wade
6. Native American ways of (music) history Beverley Diamond
Part III. Music Histories of Global Encounter and Exchange:
7. Encounter music in Oceania: cross-cultural musical exchange in eighteenth- and early nineteenth-century voyage accounts Vanessa Agnew
8. Music, history, and the sacred in South Asia Jaime Jones
9. Music, minas, and the golden Atlantic Suzel A. Reily
Part IV. The Enlightenment and World Music's Historical Turn:
10. Johann Gottfried Herder and the global moment of world-music history Philip V. Bohlman
11. Tartini the Indian: perspectives on world music in the Enlightenment Sebastian Klotz
12. The music of non-western nations and the evolution of British ethnomusicology Bennett Zon
Part V. Music Histories of the Folk and the Nation:
13. Korean music before and after the West Keith Howard
14. Folk music in Eastern Europe Timothy J. Cooley
15. A story with(out) gauchos: folk music in the building of the Argentine nation Bernardo Illari
Part VI. Asian Music Histories:
16. Four recurring themes in histories of Chinese music Jonathan P. J. Stock
17. On the history of the musical arts in South East Asia Margaret Kartomi
18. Musicians and the politics of dignity in South India Kaley Mason
Part VII. Institutions and Politics of Representation:
19. Images of sound: Erich M. von Hornbostel and the Berlin phonogram archive Lars-Christian Koch
20. Music in the mirror of multiple nationalisms: sound archives and ideology in Israel and Palestine Ruth F. Davis
21. Repatriation as reanimation through reciprocity Aaron A. Fox
Part VIII. The Globalization of World Music in History:
22. Landscapes of diaspora Timothy Rommen
23. Sufism and the globalization of sacred music Regula Burckhardt Qureshi
24. Global exoticism and modernity W. Anthony Sheppard
Part IX. Musical Discourses of Modernity:
25. Encountering African music in history and modernity Gregory Barz
26. The politics of music categorization in Portugal Salwa El-Shawan Castelo-Branco
27. The world according to the Roma Michael Beckerman
Part X. Musical Ontologies of Globalization:
28. Disseminating world music Travis A. Jackson
29. Musical antinomies of race and empire Wayne Marshall and Ronald Radano
30. Globalized new capitalism and the commodification of taste Timothy D. Taylor
Part XI. Beyond World-Music History:
31. The time of music and the time of history Martin Clayton
32. The ethics of ethnomusicology in a cosmopolitan age Kay Kaufman Shelemay
33. Towards a new world? The vicissitudes of American popular music Richard Middleton
Afterword: a worldly musicology? Martin Stokes.
Περιγραφή
Scholars have long known that world music was not merely the globalized product of modern media, but rather that it connected religions, cultures, languages and nations throughout world history. The chapters in this History take readers to foundational historical moments – in Europe, Oceania, China, India, the Muslim world, North and South America – in search of the connections provided by a truly world music. Historically, world music emerged from ritual and religion, labor and life-cycles, which occupy chapters on Native American musicians, religious practices in India and Indonesia, and nationalism in Argentina and Portugal. The contributors critically examine music in cultural encounter and conflict, and as the critical core of scientific theories from the Arabic Middle Ages through the Enlightenment to postmodernism. Overall, the book contains the histories of the music of diverse cultures, which increasingly become the folk, popular and classical music of our own era.
. Provides a music-historical reference for students and scholars interested in music throughout the world, going far beyond the usual histories of Western classical music
. Includes chapters with in-depth histories of music in major world regions - Africa, Asia, Europe, Latin America - as well as individual nations, balancing new theoretical innovation in the historiography in music with specific examples
. Illustrates historical and contemporary theoretical approaches for the study of music worldwide, and will therefore be extremely valuable as a reference work for students and scholars of music in institutions throughout the world
