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Global Pop examines the rise of "world musics" and "world beat", and some of the musicians associated with these new genres such as Peter Gabriel, Ladysmith Black Mambazo, and Johnny Clegg. Drawing on a wide range of sources - academic, popular, cyber, interviews, and the music itself - Global Pop charts an accessible path through many of the issues and contradictions surrounding the contemporary movement of people and musics worldwide. Global Pop examines the range of discourses employed in and around world music, demonstrating how the central concept of authenticity is wielded by musicians, fans, and other listeners, and looks at some of these musics in detail, examining ways they are caught up in forms of domination and resistance. The book also explores how some cross-cultural collaborations may fashion new musics and identities through innovative combinations of sounds and styles.
| List of Tables, Figures, and Music Examples | ||
| Acknowledgments | ||
| Introduction | ||
| 1 | Popular Musics and Globalization | 1 |
| Hasn't World Music Been Around for Thousands of Years? | ||
| Welcome to the Market | ||
| World Musicians | ||
| World Music Listeners | ||
| The Discourses of World Music | ||
| 2 | "Nothin' but the Same Old Story": Old Hegemonies, New Musics | 39 |
| Peter Gabriel: Us | ||
| The Work of Art in an Era of Minimal Reproduction | ||
| Kronos Quartet: Pieces of Africa | ||
| 3 | Strategies of Resistance | 69 |
| Ladysmith Black Mambazo: Two Worlds One Heart | ||
| Djur Djura: Women of the (Third) World, Unite! | ||
| 4 | A Music of One's Own | 99 |
| Pauline Oliveros | ||
| D'Cuckoo: Umoja | ||
| 5 | Strategic Inauthenticity | 125 |
| Youssou N'Dour: "A Modern Griot" | ||
| Angelique Kidjo: "Let's Create A Better Continent" | ||
| Whose Authenticity? | ||
| 6 | Anglo-Asian Self-Fashioning | 147 |
| Sheila Chandra: "From Me You've Stolen East and West" | ||
| Apache Indian's No Reservations: "A Very British Sound" | ||
| Bhangra in the U.S. | ||
| 7 | Toward a More Perfect Union: Cross-Cultural Collaborations | 173 |
| Johnny Clegg, Sipho Mchunu, and Juluka | ||
| The SongCatchers: "History 101" | ||
| Zap Mama: The Sound of Channel Surfing | ||
| 8 | Conclusions: We Are the World, and the Worlds Is Us | 197 |
| Binaries? Yes/No | ||
| Whose Hybridity? | ||
| The "Global Postmodern" | ||
| Appendices | ||
| App. 1 | Billboard World Music Charts, Arranged Chronologically | |
| App. 2 | History of the Folk, Ethnic, and World Music Grammy Awards | |
| App. 3 | "Donall Og" | |
| References | ||
| Discography | ||
| Musical Scores | ||
| Filmography | ||
| Interviews | ||
| Unpublished Materials | ||
| CD-ROMs | ||
| Internet Sites | ||
| Internet Newsgroups | ||
| Publications/Interviews/Materials Available only on the Internet | ||
| Books and Articles | ||
| Permissions | ||
| Index |
Overview
Global Pop examines the rise of "world musics" and "world beat", and some of the musicians associated with these new genres such as Peter Gabriel, Ladysmith Black Mambazo, and Johnny Clegg. Drawing on a wide range of sources - academic, popular, cyber, interviews, and the music itself - Global Pop charts an accessible path through many of the issues and contradictions surrounding the contemporary movement of people and musics worldwide. Global Pop examines the range of discourses employed in and around world music, demonstrating how the central concept of authenticity is wielded by musicians, fans, and other listeners, and looks at some of these musics in detail, examining ways they are ...