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Popular Music and Globalization

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Niccolo G. Chiongbian
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98 views

Popular Music and Globalization

Uploaded by

Niccolo G. Chiongbian
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Popular Music and Globalization POPULAR MUSIC AND ‘GLOBALIZATION ‘What does it mean to be a msi aay? ‘oa dons the to Be recagnand sr oe oe ' plobal tage aught with col an pose colonial power relations? Popular nsie serves hate a: the gateway to explore the "epresenitions end meanings sswcited with muse making in the ine of global tin. A ref overview ofthe leat in the Social senses and humanities onthe tla tionship between msi, pcs dent and Society and how they ae inervined te ‘conte of plobaliation wil ata tating point, Defining gloeliation at one a «stage ‘spon which proceses of contact nt ition fake place and as 2 press ppd and smedited by capita, T wil fics in the following sections ofthe aceon the music Dotices and discourses through, which contac, eton and capital me articulated, ontribing othe e-nagining bua of eulr, place and seniy Yara El-Ghacban Degiing with contact, 1 cetac the bis ‘ory of te globalization of muss «long series of Hil, yet volt rosea ‘counes that oot pce Seyond the rth South ais andthe Ue fame of aderty ‘that sloblization as + phenomenon ten bea Howerer, wile contst may enable form of mutuality, i ao invinbly reste Fiction. borrv the em fom Aut Tuna' ‘uminaingetiography of slobaiation in which she fice cio a the “eka, ‘neal, unstable, and erative ats of laterconsection acoss ference” (Tig 2005: 4), Friction i exemplified ere by the ‘muss hatemerged auto the lack Alec lave ta Its, Paul Gio bat aged the olent ewnomic en cultural milton out Of which the sound track of madersty merged (Gilroy, 1993) Following on tis, Wil bghight he com etictory aye capa enables masa cn tact but aio exacetites ton though de medium ofnew tecbaoegies rsp evo ‘al. pola, cestiete and ela questing 300 {HE SAGE HANDBOOK OF GLOBALIZATION with sea o suet, represeatation of The Oe, cemodeaton and oomesip of Sl fos aves sith copy Tavs ince geo igi sampling Tis rey ihn context arses the egstce Dr word pie ae a goblzd fern of mas produced pypular sented fr the cos Fropolian aden of th went entry (White, 202) ‘Guiifviag mie as popular 2 vale Jndameat indicating the smpotant pace nase ovtspies in everday bw Rly jective sexes epereee a an es ful prt of acd socal seis, a med ed and maseproduce elt produt an {Ss nen for esgngement with power and ih Othenees (lamagton aod Biel, Sto) When examined though he prism of outa fetion ad capital, poplar muss therfoe fener undersood as an unbeell term encompassing a ide vary of geoes, prctices sed mesnags tat gos beyond i {eteral soca. with AnglovAmerian ined pop cutate POPULAR MUSIC AND MUSICIANS IN SOCIETY: FROM THE LOCAL TO THE GLOFAL When teers gloalzaton and musi ate {eflectoos rearing the ations of care, place ane entity “They also sodertine fntvopslgics and. cthaomuseolgical ‘UMlerstundig of misc making = pepo tint eset inthe goneaing of vastus ‘epresenttions and ideologies asacated toi sushnoions Indeed muse patiates one i he venfreng of boundaries of alte ant identity apd in subverting them. iso surprise, theo, that music should be jist ae pleted in subject formation and ‘destty pls, pail inplying out sone ofcommon aatonhood oF belonging ip conteat marked by upeven taseatonal cil cura polite! sod economic ans Sesion vaking ha ito account populr ‘ise maine coopeling cae for eviating te compes dynamic of globaition, not ‘oy boc it popular but because mss ‘hy mediated, deply vested in mesa ng and hs proven © bean extenaey able tor esouretl frm fei. Socolgiss have boenabend ofthe game in this: Engaging ftialiy with Adoeo's (91) sia werk onthe intimate reltion- Sip between matical stucture and coi Struct, they paved tbe way for what Ti. DeNlor ts termed, te production of cu fore’ approach hich “galled = Sift i focus rom ase cbjeets and thei conten: to theculwal practices nad through which teste mtrls were appropited ant (Sed wo peace teal fe" (DeNora, 2000 1 Pat Wile’ (1978) woek on the eusi Ske boys stened to, for smtane, and ‘Antoine Hennion's 2007) exploration ofthe Inedinting ales of music, highlight te tony ways muse a once echoe, ent, Cnmuniats and commen on values aa {octal formations. ‘Along the sae nes, Halland fetersca (1976) aod Simson Fath (1981), among ot tre, cmphasine the Tinks between populc tiie and pola change. The nis of South, n parte, pecssely because yout Js conesived as limibords (Ture, 1970) ~ that repreering a moment of ambiguity, transi, even ene ~ have Been cena tiga fensons tht permeate ac inviably lend to change im society These grou: breaking ses lead th way for th soci ‘lal analy of oer geses of ase he renee (Matta, 1982), rook'a'rll Fn, 1981), Beary metal (Wale, 1998), rapa hiphop (ical, 2001. al of which would ventally become globalited, prompting further staies on their tasformation hey ace performed i new contents and ae spprpriated By musicians and. auencss ‘Srying inceaingy tanaatons) og ps an traneatalrefrener (Deve and Sion, 1982; Maia and Stade, 2012) (ther sociologists opt 1 feus on he ones, step-by-step, work of making a sul music happen. Howard Becker (1982) emenstats in Ar Heid bow any fon of ‘alta prodction, icing musi. cuca ‘hatwhich is incvidaal in appearance, orl from the interaction of lng network of ators, hence providing a sane of comm ity ands hugh the callie mor, of producing music and ater forme af “Taking his analysis frber in. Producing op, Keith Negus (1982) unrvels the mck ‘nisms and stasis matnational tend companies employ to pice poplar 2 to evcop and priate success now atts He she lipt on hit onganon, tion, logics and intersaons betwee the varius branches of the indunty ies AIAEES, promoter, peducer, boca ec). olering oer ofthe way ve lagen notions suchas musical alt and lutenty are conta an thn lg nize ona global scale hough he bang fan macketing of new att All of tis nderinsthe oll and coo- ‘sonbe uecuets tht hnogh pope "una iue tak hao by ca studies solu, Dring on Marni re pore, Mans sites teas ofthe Franka Se (Besjmio, 1968; Hekteier and Arve, 1972), Gani bgenony (Guns 1971) semiote sous (Bete, 197) shu, aly’ asocied. with he. Unity ot ‘Bingham sae Dung, 193) put he spt, lait onthe plc econamy of exit and {be representation, estan to al poop ‘ion of dominant extural oper ASC Tec Hbsring and Denise Bly vocal stu" jr eontinaton has boo sho ing that consuers of popular cule‘ noe sve dupes bu cher ate partis the cretion of meaning” (Harengon. and Bley 20014 Wile culture production ant ealtral ‘fies analysis ha teed put ihe empl sis on the consumpeion of ult and the earl brokers eat mediate Karp Bis and ethnomusioologits ve ducted ‘ei atention othe role of musica these Selves an thei stats i society, Mera The dnthropotaay of Music (196%), for cvample discusses the ambiguous voci! Poston of sins, deerhing is wan ering between matynaty a power Ths in also the case of Indian musician, whose vocation, as. ethnomusiclosist Regula Qureshi is noted, allows dem fo typo iy neualize nets hat cut aces nd Society (Qureshi, 2000. In other contents, like the Atub word for examplo, ti legs heli inthe power of musi, thai abi iy te ic the soul and provoke sens crn tions that hs edd shape peeps of ‘usicins and thee ple tn society (Rass 2003: Shilah, 19%), fence the rps ok ‘this, morality and teat sad ers (ao) sa eteton forthe svit Iesitonn tin of msicians and fo the recogni a thet ans (Racy, 2008 Sa, 1988). Westem musicians ate no. excepion During the sevenicenth a iphcenth cents es hey sce sujet olin of toya Duong. With Bat cst the yin of ‘vulating amon sobiity athe pny “ofbaingIstnat to, furl wl tetly by thee holding power (ln, 1088, 1093 “Toe centuries later the svan-gude co sets ofthe cal twertith cerry ul in ‘ome ways epialize on margin ad tn ‘tino a potneal anes posing op Fesetaires of ae sock) Any 1962: Wilms and Paks, 1989), Today, he dynamics of cetaliy and mar ialiy power and slsion dentin busy shape the lives and livelitood of ‘sins, perepton fee work sn ne Social place it eecpies play cut on ach lager sale, compounded bythe asin counes made possible by glbaletion DoscolonialIdenty poitics and he com ‘uottzton of music Sere of thee sues ave been sed tough etnoeranies a hs ‘macketng and pefoomince of Nica muse ‘ud musician onthe wind sage Cle 2007; Menges, 200%; Tayler, 1987). Otbee statis have locked tthe cineca Ibid mse proto in mica! antes (Main, 2002, Stokes, L9, Wong, 2009), In all of ese ce sis, theres of obalization (Appadusl, 196; Auge, 1904 ‘hing, 2005), global capitalism Carve. on ‘THE SAGE HANOBOOK OF GLOBALIATON 2006; Jameson, 1981, cosmopolitanism a tolongig, (Appiah, 2005, Breckenridge, 2003, Hef an Hj, 2002) and eral theories calling ito question isomorphic Configurations of cle, nan place an ‘dont (Bhabha, 194; Goa and Freon, {p92} yeovie uf concepts that eiidte how tanseuiralencoueters ac. upon a Ne themelver enacted. trough sical proces, One may safely asa following hsb overview ofthe erature, ht mi ftukers be they cated the norters Temisphese oi he ster henisbere — Ine ineviaby entangled ip the cutie, ‘onomie, nd politcal dynaris of wba Stor They engage wot 8 musi ‘ough the pats of conte ang tin hat te eneuaon of capt provides. Inthe Fotwing pages, {sil unpack these te mapa tht together make the global fim of mie posse Contact: Re-reading the History of ‘Music and Globalization AAs achacologist Stephen Silliman notes, the teem “comac” Bat been very use in Stern sissy fr doaerting Snaigenoer peoples in he American Alive nd. Avsalia, among others (Silinn, 3005), Howeves erica aes othe ten, be etuc, ave led fo the downplaying of the soloist natze ofthese encousters tnd ofthe unequal dynamics of power tht ‘nformed these interactions. Iealso tends 10 ‘eiy cull ais, neplecting he ‘rentve, (Geolized sod novel sultaal products that {sulled out ofthese encounters (Silliman, 200s.6). [en prectelythoseuopian ‘uals of the concept of contet abd ually dpetopin nlecsons tat make ia Paricslariy wif analytical tol ‘Giobazatin, a we know i today, hat, ss the cmpresion fine and space trough te flow of poople sod pt, has been pst ‘aman hy for cea. The discovery ‘ofthe new word and the following European ‘apeitons of the xe ceatiy tnd tbe relened to a a marker Journeys 10 the ier Shore (2008), however, Roxanne ‘abe argues fr deceatizg a largely Noa ‘Aan interpretation of gbbalzation, rel fig inlewe tne and taseultaral relations Ghat cclated uougbout he Indian Osean terween Afi, the Arabic Peninsula and Seth Ass, Eabong Eubs, enomuscolo ‘a ean Dargie he sy ofthe tase foal musi tion tt emerged inthe tint ery a he Musi empire expanded fut of the Arabian Pecinsula, westward towasds North fin nod estwardal hough Cental Asa ab the norder tp ofthe sub otis into China (Duin, 2011), The ‘Rabie mogams, the Inde Pagar andthe Pesan nade which bave ben eannized atonal aioe ae lela in hat they ‘in be taved beck to a tof pefommance prt, theoreti racipes and sesietc res that sead thoughout Afia tbe MidilePast and Asia dining the Muslin ‘spire (Dai, 201), These contacts donot ft info the -Euocere map iabertec since the sitet ‘etary fom eartogrape's suchas Gerrdat Morstor. They ae terete often oeleted in conetparty Bistri of globelizaton, thc tend to fos om poanized ort out, eit-west aie iting cvilztons ‘with edamenalty diferent wedld-vewe ent ech other “Take for xample the writen history of Wests mune which terds to empbasize ts ‘emergence in European subsequent exp Son fo: North. America and beyond, thos neminiag the impac: of str encounters The itercltalrlatio tat coated © the making of he enero masial exon. CCoosequenty, hntorialrecrds indicating the por ito Barope omar! musi, ist bythe Crusades and tha by various poi- 2 cll aad itary medlators drag the Okan ery the srg presence of Aza fd Molin schol an ats inthe cour (Roger Il and Fredeick Ita Sil, the Impact of Arsb-Andalisan performance: pacice ob the development of Europea PORULan MUS AND GLosaLzaton saa soag, its infutace on the Incl syle of teoutodours in Provence, ot taces of Araby Asalsin poetry inthe Cangas de Sata Maria tod il on the sidelines of tre {gee Farmer, 1980, Ribera Tarag, 190 ‘Shiloa, 1995), In fac, cata exchanges continued for centces eyo the fateful date of 19, ‘ot ony in the Toran Peninsula during the ‘Middle Ages, but in port ites like Vesce Reciprocal wander of cukura! knowledge ‘nd inflcuve in tems of tectmigue, see and sesh value judgment inate unl rafs endured vera period o teat thee Eenturies (especialy totwcen the lourtocah and sevententh centuries) betwee the Venetians and. various susenatives ‘Ars and Muslin sultans and catphaes, They weve of su depth and intensity tht in the case of many” of the arefacts that ‘emia fom this period expert sige to detrmine if objees ae infact Venetian ‘ab and Muslim in eign (see Carbon, Kennedy ant Marwel, 2007; Howard, 2000; Mack, 2002) Meanwhile, in 1834, following a taty between the King cf France, Fangs Irae ‘the Onoman Sula Sulina he Mgnicons the kia sot Weser cree tinal ‘sign of frcndhip. The vit cette lnreiton of 0 new eyes in Tsk mus whose names relrtotPench on i the fencin fen fort (Silo, 2002) ‘As musicologist Amon Skiba seuc, “Anis fo expad the Empire t athe er 20m, Otoman roles acceded tpcil piv lege to European unbassadors of ats ond ue in general, showering Posy mare ian, painters, writes and bitrins.ath ‘vor Imy tratsatin] Shloth, 2002: 203), {he movement of ats was nc uniaterst Jn 1872, Soltsn Malm I seat a fist ‘Tskih mission composed of 158 stdens eo ‘tin them in various Wester conservatories (Stilo, 2002: 207, During that sume period, in the second ‘aif ofthe nineteen cent, Asian cous tres sub a Japan, China and Kove where ‘cogging in their ov way with Wester, Imusic, While she acknowledges that the inmoducton of Western muse inthe region, ‘evumed inthe content of Western nigel, Jam and the push foe modernization, by Asian governments dd intellects must

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