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In the early years of the Cold War, Western nations increasingly adopted strategies of public diplomacy involving popular music. While the diplomatic use of popular music was initially limited to such genres as jazz, the second half of the 20th century saw a growing presence of various popular genres in diplomatic contexts, including rock, punk, reggae, and hip-hop. This volume illuminates the interrelation of popular music and public diplomacy from a transnational and transdisciplinary angle. The contributions argue that, as popular music has been a crucial factor in international relations, its diplomatic use has substantially impacted the global musical landscape of the 20th and 21st centuries.
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In the early years of the Cold War, Western nations increasingly adopted strategies of public diplomacy involving popular music. While the diplomatic use of popular music was initially limited to such genres as jazz, the second half of the 20th century saw a growing presence of various popular genres in diplomatic contexts, including rock, punk, reggae, and hip-hop. This volume illuminates the interrelation of popular music and public diplomacy from a transnational and transdisciplinary angle. The contributions argue that, as popular music has been a crucial factor in international relations, its diplomatic use has substantially impacted the global musical landscape of the 20th and 21st centuries.
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Ethnomusicologists have journeyed from Bali to Morocco to the depths of Amazonia to chronicle humanity's relationship with music. Margaret Sarkissian and Ted Solâis guide us into the field's last great undiscovered country: ethnomusicology itself. Drawing on fieldwork based on person-to-person interaction, the authors provide a first-ever ethnography of the discipline. The unique collaborations produce an ambitious exploration of ethnomusicology's formation, evolution, practice, and unique identity. In particular, the subjects discuss their early lives and influences and trace their varied career trajectories. They also draw on their own experiences to offer reflections on all aspects of the field. Pursuing practitioners not only from diverse backgrounds and specialties but from different eras. Sarkissian and Solâis illuminate the many trails ethnomusicologists have blazed in the pursuit of knowledge. A bountiful resource on history and practice, Living ethnomusicology is an enlightening intellectual exploration of an exotic academic culture.
Ethnomusicology --- Comparative musicology --- Ethnology --- Musicology
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Iconography --- Art --- dissertations --- musicology --- iconography --- Renoir, Auguste
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Musicology --- Music --- Historiography --- Music publishing --- Scholarly publishing --- Musical analysis. --- Manuscripts --- Handbooks, manuals, etc --- Handbooks, manuals, etc. --- Historiography. --- Musicology - Handbooks, manuals, etc --- Music - Historiography - Handbooks, manuals, etc. --- Music - Historiography.
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This collection investigates the concept of modernity in music and its multiple interpretations in Europe and East Asia. Through contributions by both European and East Asian musicologists it discusses how a decentered understanding of musical modernity could be matched on multiple historiographical perspectives while being attentive to the specificities of local music and their narratives in East Asia and Europe. The essays connect local, global and transnational history with sociological theories of modernity and modernization, making the volume an important contribution to overcoming the Eurocentric dichotomy between western music and world music within the field of historical musicology. »[Der Sammelband gibt] nicht nur einen lebendigen Einblick in den aktuellen Zustand des internationalen musikhistorischen Diskurses. Vielmehr öffnet er den Blick für ›alternatives‹ der Musikgeschichte.« Jin-Ah Kim, MusikTheorie, 2 (2020)
Music --- Criticism --- History and criticism. --- Asia. --- Cultural History. --- Global History. --- Modernity. --- Music History. --- Musicology. --- Postcolonialism. --- Music; Modernity; Asia; Global History; Postcolonialism; Cultural History; Music History; Musicology
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Was sichtbare oder tastbare Dinge sind, weiß jede_r. Was aber sind hörbare Dinge? Die Klangquelle, die Luftschwingung oder die Klänge selber? Und welche Eigenschaften haben diese Dinge? In diesem Grundlagenwerk für Sound Studies und Musikwissenschaft, für das Kartographieren von Geräuschen sowie für Klangfetischisten, entwickelt Rainer Bayreuther in einer klaren ontologischen Systematik die Individualität sowie die Eigenschaften von Klängen. Die Arbeit wird anhand zahlreicher Fallbeispiele veranschaulicht. »Es ist schon viel philosophiert worden über Musik und Klänge, Geräusche und auch Lärm. Aber eine Annäherung an diese Begriffe [...] ist in dieser philosophischen Verdichtung indes noch nicht gewagt worden!« Mathias Seifert, Lärmbekämpfung, 15/3 (2020) »Rainer Bayreuther schließt mit seinem Buch [...] eine wichtige Forschungslücke in der Musikwissenschaft bzw. in den Sound Studies.« Marcel Remme, www.lehrerbibliothek.de, 24.12.2019 Besprochen in: Deutschlandfunk - Hörspiel und Feautre, 02.06.2020, Ulrich Bassenge
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How is musical practice connected with everyday life? Eva-Maria Houben shows that performing music as an activity - indeed, as playing - is a meaningful shift from an approach based on structural analysis. Musical practice, Eva-Maria Houben contends, can be understood as open and never finished. Such an emphasis on repetition offers freedom from perfection, productivity, and purpose, thus allowing meaning to unfold in specific situations, places, and relationships. Musical practice can become a form of life and a reality in its own right. The study includes musical examples from the 17th, 18th, 19th, and 20th centuries as well as contemporary music. Besprochen in: The Wire, 430 (2019), Tim Rutherford-Johnson
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Connecting migration studies and the theory of valuation, this collection offers an interdisciplinary approach to the study of transnational music practices. Conceiving music as a practice not confined to audibility, the contributions reveal how music emerges in concrete situations through people, objects, techniques, meanings, and emotions in different parts of the world and during different historic periods. Values are thereby created and shared, and creative processes are evaluated in terms of diversity, space and exchange. This book presents cases of contemporary, popular and traditional music, festivals and trade fairs, albums and band projects, shedding light on the tensions between the transfer, reconstruction and creation of music in different contexts.
Theory of music & musicology --- Evaluation. --- Globalization. --- Interculturalism. --- Migration. --- Music. --- Musicology. --- Sociology of Culture. --- Transnational. --- Music Practices; Migration; Evaluation; Transnational; Music; Globalization; Musicology; Interculturalism; Sociology of Culture --- Music --- Effect of multiculturalism on. --- Social aspects. --- Music and society --- Multiculturalism --- Music Practices --- Migration --- Evaluation --- Transnational --- Globalization --- Musicology --- Interculturalism --- Sociology of Culture
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In an increasingly technologized and connected world, it seems as if noise must be increasing. Noise, however, is a complicated term with a complicated history. Noise can be traced through structures of power, theories of knowledge, communication, and scientific practice, as well as through questions of art, sound, and music. Thus, rather than assume that it must be increasing, this work has focused on better understanding the various ways that noise is defined, what that noise can do, and how we can use noise as a strategically political tactic. Noise Thinks the Anthropocene is a textual experiment in noise poetics that uses the growing body of research into noise as source material. It is an experiment in that it results from indeterminate means, alternative grammar, and experimental thinking. The outcome was not predetermined. It uses noise to explain, elucidate, and evoke (akin to other poetic forms) within the textual milieu in a manner that seeks to be less determinate and more improvisational than conventional writing. Noise Thinks the Anthropocene argues that noise poetics is a necessary form for addressing political inequality, coexistence with the (nonhuman) other, the ecological crisis, and sustainability because it approaches these issues as a system of interconnected fragments and excesses and thus has the potential to reach or envision solutions in novel ways.
Theory of music & musicology --- anthropocene --- noise --- ecological studies --- sound studies --- poetics --- sustainability studies
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