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

By Georgina Born; David Hesmondhalgh | Go to book overview

INDEX
Abba, Dimi Mint, 288
Abdelwahhab, Mohammed, 220
aboriginals, Australian, role in film Until the End of the World,268
acculturation theory, 25, 30
acı (pain), in arabesk, attempt to remove in the 1980s, 227
acid house music culture, 301n2
acoustic effects, importance in materialist minimalism, 174–75
Addicted to Love (film score), 250
ADF. See Asian Dub Foundation
Adorno, Theodor, 16, 17, 44, 66–67, 155; on mimesis, 214, 230n7, 265; on modernism, 143–44, 151
Adventures of Robin Hood, The (film score), 155, 156
Ady, Endre, 125
aesthetics, 21, 24, 41–42, 61, 315; idealism as an instrument of patriarchal domination in Deception,158–59; mimesis, 214, 230n7, 265, 278n36
Africa, 12, 29 (see also South Africa)
music, 170, 173–74, 176, 208n12, 305, 319; of Central African forest peoples, see pygmy music; ethnomusicological recordings of used by African American musicians , 25–26, 28, 256–60; Tiersot on, 89; use by Bebey, 269–70
peoples, “pygmies” seen as the primal other, 261–62, 268, 272–73
African American music(s), 22–24, 52n52, 53nn54, 55, 63, 83n66, 307 (see also individual genres and performers); Afrocentrism , 258, 259–61; and conflation of black and low, 66; Gershwin's portrayal of in Porgy and Bess,67–70 (see also Porgy and Bess); pan-Africanist discourse's influence on, 34; as source of inspiration for an American school of composition, 169, 236; strategies of “Signifyin(g), ” 73–78, 292; use of ethnomusicological recordings of traditional African music, 25–26, 28, 256–60
African Americans, 22, 24, 49n11, 55n93, 298; American Indians seen as representing in 1950s movie westerns, 240; black separatist politics, Fun-da-mental's allegiance to, 284, 302n11; depiction in post-World War II films, 240; legacy of “double consciousness, ” 71, 77; strategies of “Signifyin(g), ” 24, 73–78, 83n62, 84n78, 292, 303n26
African Music: A People's Art (Bebey), 269
“Afro-Latin Soul, ” recorded by the Ethiopian Quintet, 319
Agawu, Kofi, 78n2, 305
Age of Discovery, construction of external others, 189–90, 191, 208n12
agency, 3, 7, 36, 38–39, 45, 46
agit-prop style, adopted by Fun-da-mental, 298
Ahlan, Attiah (Alex Kassiak; Tim Whelan), 296

-327-

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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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