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Western Music and Its Others: Difference, Representation, and Appropriation in Music / Edition 1

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Overview

"[Western Music and Its Others] will be taken as an important book signalling a new turn within the field. It takes the best features of traditional, rigorous scholarship and brings these to bear upon contemporary, more speculative questions. The level of theoretical sophistication is high. The studies within it are polemical and timely and of lasting scholarly value."-Will Straw, co-editor of Theory Rules: Art as Theory/ Theory and Art

"The great value of this collection lies in the wealth of questions that it raises--questions that together crystallize the recent concerns of musicology with force and clarity. But it also lies in the authors' resistance to the easy 'postmodernist' answers that threaten to turn new musicology prematurely grey. The editors' comprehensive, intellectually adventurous introduction exemplifies the sort of eager yet properly skeptical receptivity to scholarly innovation that fosters lasting disciplinary reform. It alone is worth the price of the book." -Richard Taruskin, author of Stravinsky and the Russian Traditions: A Biography of the Works Through " Mavra"

"When cultural-studies methods first appeared in musicology 15 years ago, they triggered a storm of polemics that sometimes overshadowed the important issues being raised. As the canon wars recede, however, scholars are finding it possible to focus on the concerns that led them to cultural criticism in the first place: the study of music and its political meanings. Western Music and Its Others brings together leading musicologists, ethnomusicologists, and specialists in film and popular music to explore the ways European and North American musicians have drawn on or identifiedthemselves in tension with the musical practices of Others. In a series of essays ranging from examination of the Orientalist tropes of early 20th-century Modernists to the tangled claims for ownership in today's World Music, the authors in this collection greatly advance both our knowledge of specific case studies and our intellectual awareness of the complexity and urgency of these problems. A timely intervention that should help push music studies to the next level." -Susan McClary, author of Conventional Wisdom: The Content of Musical Form (2000)

"This collection provides a sophisticated model for using theory to interrogate music and music to interrogate theory. The essays both take up and challenge the dominance of notions of representation in cultural theory as they explore the relevance of the concepts of hybridity and otherness for contemporary art music. Sophisticated theory, erudite scholarship and a very real appreciation for the specificities of music make this a powerful and important addition to our understanding of both culture and music." -Lawrence Grossberg, author of Dancing in Spite of Myself

Author Biography: Georgina Born lectures on the sociology of culture at the University of Cambridge and is a Fellow of Emmanuel College in Cambridge. She is the author of Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (California, 1995). David Hesmondhalgh is Research Fellow in Sociology at the Open University.

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Product Details

  • ISBN-13: 9780520220843
  • Publisher: University of California Press
  • Publication date: 10/15/2000
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 409
  • Product dimensions: 6.00 (w) x 9.00 (h) x 1.00 (d)

Meet the Author

Georgina Born lectures on the sociology of culture at the University of Cambridge and is a Fellow of Emmanuel College in Cambridge. She is the author of Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (California, 1995). David Hesmondhalgh is Research Fellow in Sociology at the Open University.

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Table of Contents

Acknowledgments ix
Introduction: On Difference, Representation, and Appropriation in Music 1
I. Postcolonial Analysis and Music Studies 3
II. Musical Modernism, Postmodernism, and Others 12
III. Othering, Hybridity, and Fusion in Transnational Popular Musics 21
IV. Music and the Representation/Articulation of Sociocultural Identities 31
V. Techniques of the Musical Imaginary 37
1. Musical Belongings: Western Music and Its Low-Other 59
2. Race, Orientalism, and Distinction in the Wake of the "Yellow Peril" 86
3. Bartok, the Gypsies, and Hybridity in Music 119
4. Modernism, Deception, and Musical Others: Los Angeles circa 1940 143
5. Experimental Oriental: New Music and Other Others 163
6. Composing the Cantorate: Westernizing Europe's Other Within 187
7. East, West, and Arabesk 213
8. Scoring the Indian: Music in the Liberal Western 234
9. The Poetics and Politics of Pygmy Pop 254
10. International Times: Fusions, Exoticism, and Antiracism in Electronic Dance Music 280
11. The Discourse of World Music 305
Contributors 323
Index 327
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Introduction

On Difference, Representation, and Appropriation in Music

I. Postcolonial Analysis and Music Studies (David Hesmondhalgh and Georgina

Born)

II. Musical Modernism, Postmodernism, and Others (Georgina Born)

III. Othering, Hybridity, and Fusion in Transnational Popular Musics (David

Hesmondhalgh and Georgina Born)

IV. Music and the Representation/Articulation of Sociocultural Identities

(Georgina Born)

V. Techniques of the Musical Imaginary (Georgina Born)

CHAPTERS

1. Musical Belongings: Western Music and Its Low-Other (Richard Middleton)

2. Race, Orientalism, and Distinction in the Wake of the "Yellow Peril"

(Jann Pasler)

3. Bartók, the Gypsies, and Hybridity in Music (Julie Brown)

4. Modernism, Deception, and Musical Others: Los Angeles circa 1940 (Peter

Franklin)

5. Experimental Oriental: New Music and Other Others (John Corbett)

6. Composing the Cantorate: Westernizing Europe's Other Within (Philip V.

Bohlman)

7. East, West, and Arabesk (Martin Stokes)

8. Scoring the Indian: Music in the Liberal Western (Claudia Gorbman)

9. The Poetics and Politics of Pygmy Pop (Steven Feld)

10. International Times: Fusions, Exoticism, and Antiracism in Electronic

Dance Music (David Hesmondhalgh)

11. The Discourse of World Music (Simon Frith

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