Western Music and Its Others: Difference, Representation, and Appropriation in Music

By Georgina Born; David Hesmondhalgh | Go to book overview

CONTRIBUTORS

Philip V. Bohlman is Professor of Music and Jewish Studies at the University of Chicago. He has held guest professorships at the Universities of Vienna, Freiburg im Breisgau, Bologna, and California, Berkeley, and was awarded the Dent Medal of the Royal Music Association in 1997. His research ranges broadly in the field of ethnomusicology and includes Jewish music, the Middle East, ethnic and folk musics in North America, and the interrelation of music and religion. Among his books are The Study of Folk Music in the Modern World (1988), “The Land Where Two Streams Flow” (1989), The World Centre for Jewish Music in Palestine 1936–1940 (1992), Central European Folk Music (1996), and “Jüdische Volksmusik”: Eine europ-ische Geistesgeschichte (forthcoming). Bohlman is currently at work on several historical projects devoted to Jewish music and European modernity, and on a book on music in the New Europe.

Georgina Born trained as an anthropologist and is Lecturer in the Sociology of Culture, Faculty of Social and Political Sciences, University of Cambridge, and a Fellow of Emmanuel College, Cambridge. She was previously Senior Research Fellow of King's College, Cambridge. As a musician, she has worked professionally in avant-garde jazz and rock and in experimental and improvised music. She is the author of Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (1995) and writes on cultural production, the politics of culture, and sociology and aesthetics in relation to music, television, and new technologies. Essays have appeared in Cultural Anthropology, Social Anthropology, New Formations, Screen, Journal of Material Culture, American Anthropologist , and several edited books. She is now writing on the transformation of public service broadcasting through an ethnographic study of the BBC.

Julie Brown is Lecturer in the Department of Music at Royal Holloway College , University of London; and she taught previously at King's College, London,

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Western Music and Its Others: Difference, Representation, and Appropriation in Music
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • Acknowledgments ix
  • Introduction - On Difference, Representation, and Appropriation in Music 1
  • Notes 47
  • Musical Belongings - Western Music and Its Low-Other 59
  • Notes 78
  • Race, Orientalism, and Distinction in the Wake of the “yellow Peril” 86
  • Notes 110
  • Bartók, the Gypsies, and Hybridity in Music 119
  • Notes 137
  • Modernism, Deception, and Musical Others: Los Angeles Circa 1940 143
  • Notes 160
  • Experimental Oriental - New Music and Other Others 163
  • Notes 183
  • Composing the Cantorate - Westernizing Europe's Other Within 187
  • Notes 207
  • East, West, and Arabesk 213
  • Notes 229
  • Scoring the Indian - Music in the Liberal Western 234
  • Notes 251
  • The Poetics and Politics of Pygmy Pop 254
  • Discography 275
  • Notes 276
  • International Times - Fusions, Exoticism, and Antiracism in Electronic Dance Music 280
  • Notes 301
  • The Discourse of World Music 305
  • Notes 320
  • Contributors 323
  • Index 327
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