Buch, Englisch, Band 26, 224 Seiten, Format (B × H): 148 mm x 210 mm, Gewicht: 362 g
How Music Shapes the Social
Buch, Englisch, Band 26, 224 Seiten, Format (B × H): 148 mm x 210 mm, Gewicht: 362 g
Reihe: Inter-American Studies / Estudios Interamericanos
ISBN: 978-3-86821-811-4
Verlag: WVT Wissenschaftlicher Verlag Trier
CONTENTS
1 MUSIC AND THE SOCIAL (INTRODUCTION) ................................ 1
1.1 Music in the Americas ........................................................ 4
1.2 The social and social movements ....................................... 5
1.3 Traveling sounds ................................................................. 8
2 MUSIC AND IDENTITY POLITICS ............................................... 15
2.1 Entangling and entangled music-produced identities ......... 15
2.2 Black power and black diasporic identity circuits .............. 18
2.3 Citation practices and fluid identities
between North and South .................................................... 20
2.4 Zooming in: diaspora, ethnic, postethnic,
and postblack dimensions of sonic identities ...................... 22
2.5 Las Krudas (Cuba), Chocquibtown (Columbia),
Janelle Monáe (USA): creating new sonic networks and
expanding twenty-first century sonic identity politics ........ 28
3 SONIC POLITICS FROM ABOVE, BELOW, AND
WITHIN MARKET CIRCUITS .................................................... 39
3.1 Prelude ................................................................................. 39
3.2 Sonic cosmopolitics from above ......................................... 41
3.3 Sonic cosmopolitics from below ......................................... 47
3.4 Sonic cosmopolitics from within market circuits ............... 57
3.5 Conclusion ........................................................................... 62
4 TOURISM, NOSTALGIA, AND THE FABRICATION
OF ‘AUTHENTICITY’: ‘SONIC URBAN’ IDENTITIES ..................... 71
4.1 Tourism and local and global music circuits ...................... 71
4.2 Reinventing the city, reinventing music ............................. 72
4.3 Ethnicity in the context of global commodity culture ........ 75
4.4 Exploring the intersection of cultural
and economic politics .......................................................... 76
4.5 Contemporary Chicago blues scene: politics of
authenticity and Chicago as ‘Home of the Blues’ city ....... 77
4.6 Chicago’s creation as “authentic blues city”
and the transnational tourist ................................................ 80
4.7 Politics of authenticity: politicization and
commodification of blues music/differences between
African American and mainstream perceptions .................. 82
4.8 New agency in the process of commodification:
black cultural politics in Chicago ........................................ 86
4.9 Reggae tourism in Jamaica ................................................. 87
4.10 Brazil’s rock at home and samba tourism ........................... 91
5 MUSIC GOES MUSEUM: CULTURAL HERITAGE POLITICS AND
MUSEUMS OF POPULAR MUSIC IN BRAZIL, JAMAICA,
AND THE U.S. DEEP SOUTH ................................................... 99
5.1 The Museo do Samba in Rio de Janeiro ............................. 103
5.2 The Bob Marley Museum in Kingston, Jamaica ................ 106
5.3 The Peter Tosh Museum in Kingston, Jamaica .................. 108
5.4 The blues museums in the Mississippi Delta ...................... 110
5.5 The Delta Blues Museum in Clarksdale, Mississippi ......... 115
5.6 The B.B. King Museum in Indianola, Mississippi ............. 121
5.7 Heritage in local and global commodity culture ................. 125
5.8 Coda .................................................................................... 129
6 MUSIC IN LITERATURE AND THE ARTS:
BLACK HISTORIOGRAPHIES ..................................................... 135
6.1 Black modernism and music-inspired historiography ........ 137
6.2 Black modernism: Music in Aaron Douglas’s
and Langston Hughes’s rendering
of temporality and history ................................................... 139
6.3 Revisiting music and history in black literary
postmodernism: Ishmael Reed and Ntozake Shange .......... 147
6.4 Contemporary dub poetry and diasporic historiographies:
Afua Cooper and Lillian Allen ............................................ 156
6.5 Lillian Allen’s body politics:
dub poetry as a social force ................................................. 163
6.6 Music and history in contemporary mural and street art
in Toronto, Canada, and Kingston, Jamaica ....................... 169
7 SONIC AMERICA(S): POLITICS OF RECOGNITION
AND RECENT TRENDS IN MUSIC DOCUMENTARY TO
RETHINK THE RELATION BETWEEN MUSIC AND THE SOCIAL ..... 183
7.1
Buena Vista Social Club
(1999) .......................................... 188
7.2
Standing in the Shadows of Motown
(2002) ....................... 191
7.3
20 Feet from Stardom
(2014) .............................................. 194
7.4
Searching for Sugar Man
(2012) ........................................ 197
7.5
Flor de Muertos
(2011) ....................................................... 202
7.6 Conclusion ........................................................................... 204
Raussert
‘What’s Going On’ jetzt bestellen!
Autoren/Hrsg.
Bitte ändern Sie das Passwort
