Book contents
- The Cambridge World HistoryVolume VII
- The Cambridge World History
- The Cambridge World HistoryProduction, Destruction, and Connection, 1750–Present
- Copyright page
- Contents
- Figures
- Maps
- Tables
- Contributors
- Preface
- Part ISocial developments
- Part IICulture and Connections
- 6Department stores and the commodification of culture: artful marketing in a globalizing world
- 7Religion after 1750
- 8Science since 1750
- 9Music on the move, as object, as commodity
- 10Sport since 1750
- 11World cinema
- Part IIIMoments
- Part IVLigaments of Globalization
- Index
- References
9 - Music on the move, as object, as commodity
from Part II - Culture and Connections
Published online by Cambridge University Press: 05 May 2015
Book contents
- The Cambridge World HistoryVolume VII
- The Cambridge World History
- The Cambridge World HistoryProduction, Destruction, and Connection, 1750–Present
- Copyright page
- Contents
- Figures
- Maps
- Tables
- Contributors
- Preface
- Part ISocial developments
- Part IICulture and Connections
- 6Department stores and the commodification of culture: artful marketing in a globalizing world
- 7Religion after 1750
- 8Science since 1750
- 9Music on the move, as object, as commodity
- 10Sport since 1750
- 11World cinema
- Part IIIMoments
- Part IVLigaments of Globalization
- Index
- References
Summary
This chapter explains a capsule history of the various modes of the objectification and later commodification of music that preceded today's schizophonia and the ideologies surrounding the production and consumption of music, particularly musics places far from western metropoles. It focuses on the term neoliberal capitalism, a form of capitalism that is being shaped by policies that have sought to enrich elite groups by aggressively utilizing the powers of the state, new technologies, and seeking global markets and labor. One of the contributing factors to conceptions of world music as something that could be appropriated with impunity was the rise of digital sampling. World music in the West continues to enjoy the position of prestige it has slowly wrested from classical music as the music associated with elites, even though, like classical music, its sales remain small. Populous countries such as India and China are home to prodigious and sophisticated music industries.
Information
- Type
- Chapter
- Information
- The Cambridge World History , pp. 205 - 224Publisher: Cambridge University PressPrint publication year: 2015
References
Primary Sources
Bartók, Béla. “The influence of peasant music on modern music,” in Suchoff, Benjamin (ed.), Béla Bartók Essays. London: Faber & Faber, 1976.Google Scholar
Bartók, Béla. “The relation of folk song to the development of the art music of our time,” in Suchoff, Benjamin (ed.), Béla Bartók Essays. London: Faber & Faber, 1976.Google Scholar
Lockspeiser, Edward. Debussy: His Life and Mind, vol. 2. Cambridge University Press, 1978.Google Scholar
Marks, Toby. n.d. “Banco de Gaia” interview. www.chaoscontrol.com/archive2/banco/bancosamples.html. This URL is no longer active.Google Scholar
Stockhausen, Karlheinz. “World Music.” Translated by Radloff, Bernard. Dalhousie Review 69 (1989), 318–326.Google Scholar
Secondary Sources
Deep Forest. 550 Music/Epic BK-57840, 1992.Google Scholar
Eno, Brian and Byrne, David. My Life in the Bush of Ghosts. Sire/Warner Bros. 9 45374–2, 1981.Google Scholar
Gabriel, Peter. Passion: Music for The Last Temptation of Christ. Geffen Records M5 G 24206, 1989.Google Scholar
Paul Simon: Born at the Right Time. Directed by Lacy, Susan and Steinberg, Susan, 1991.Google Scholar
Appert, Catherine. “Rappin’ griots: producing the local in Senegalese hip hop,” in Saucier, P. Khalil (ed.), Native Tongues: An African Hip-Hop Reader. Trenton, NJ: Africa World Press, 2011.Google Scholar
Arrighi, Giovanni. The Long Twentieth Century: Money, Power, and the Origins of Our Times. New York: Verso, 1994.Google Scholar
Bellman, Jonathan, ed. The Exotic in Western Music. Boston: Northeastern University Press, 1998.Google Scholar
Blank-Edelman, David N. 1994. “Stewart Copeland: the rhythmatist returns,” RMM, February, 38–9.Google Scholar
Born, Georgina and Hesmondhalgh, David, eds. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley, CA: University of California Press, 2000.Google Scholar
Breen, Marcus, ed. Our Place, Our Music: Australian Popular Music in Perspective, vol. 2. Canberra: Aboriginal Studies Press, 1989.Google Scholar
Bull, Michael. “No dead air! The iPod and the culture of mobile listening,” Leisure Studies 24 (2005), 343–355.CrossRefGoogle Scholar
Burr, Ty. “‘From Africa, three female rebels with a cause.” New York Times, July 10, 1994, §H, 26.Google Scholar
Coulangeon, Philippe. Sociologie des pratiques culturelles, 2nd edn. Paris: La Découverte, 2010.CrossRefGoogle Scholar
Duménil, Gérard and Lévy, Dominique. Capital Resurgent: Roots of the Neoliberal Revolution. Translated by Jeffers, Derek. Cambridge, MA: Harvard University Press, 2004.Google Scholar
van Eijck, Koen. “Social differentiation in musical taste patterns,” Social Forces 79 (March 2001), 1163–1184.CrossRefGoogle Scholar
Everett, Yayoi Uno and Lau, Frederick, eds. Locating East Asia in Western Art Music. Middletown, CT: Wesleyan University Press, 2004.Google Scholar
Fauser, Annegret. Musical Encounters at the 1889 Paris World’s Fair. University of Rochester Press, 2005.Google Scholar
Feld, Steven. “A sweet lullaby for World Music,” Public Culture 12 (2002): 145–171.CrossRefGoogle Scholar
Feld, Steven. “From schizophonia to schismogenesis: on the discourses and commodification practices of ‘World Music’ and ‘World Beat,’” in Keil, Charles and Feld, Steven, Music Grooves: Essays and Dialogues. University of Chicago Press, 1994.Google Scholar
Feld, Steven. “Notes on ‘World Beat,’” in Keil, Charles and Feld, Steven, Music Grooves: Essays and Dialogues. University of Chicago Press, 1994.Google Scholar
Feld, Steven. “Pygmy pop: a genealogy of schizophonic mimesis,” Yearbook for Traditional Music 28 (1996): 1–35.CrossRefGoogle Scholar
Feld, Steven and Kirkegaard, Annemette. “Entangled complicities in the prehistory of ‘World Music’: Poul Rovsing Olsen and Jean Jenkins encounter Brian Eno and David Byrne in the Bush of Ghosts,” Popular Musicology Online 4. www.popular-musicology-online.com/issues/04/feld.html.Google Scholar
Hamm, Charles. “Graceland revisited,” in Putting Popular Music in its Place. Cambridge University Press, 1995.CrossRefGoogle Scholar
Herbstein, Denis. “The hazards of cultural deprivation,” Africa Report, July-August 1987, 33–35.Google Scholar
Hemmasi, Farzaneh. “Iranian popular music in Los Angeles: mobilizing media, nation, and politics.” Ph.D. diss., Columbia University, 2010.Google Scholar
Hosokawa, Shuhei. “‘Salsa no Tiene Frontera’: Orquesta de la Luz and the globalization of popular music,” Cultural Studies 13 (July 1999), 509–534.CrossRefGoogle Scholar
Howat, Roy. “Debussy and the Orient,” in Gerstle, Andrew and Milner, Anthony (eds.), Recovering the Orient: Artists, Scholars, Appropriations. London: Harwood, 1995.Google Scholar
Jameson, Fredric. “Culture and finance capital,” Critical Inquiry 24 (1997), 246–265.CrossRefGoogle Scholar
Lipsitz, George. Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place. New York: Verso, 1994.Google Scholar
Locke, Ralph. Musical Exoticism: Images and Reflections. Cambridge University Press, 2009.Google Scholar
Meintjes, Louise. “Paul Simon’s Graceland, South Africa, and the mediation of musical meaning,” Ethnomusicology 34 (Winter 1990), 37–73.CrossRefGoogle Scholar
Pareles, Jon. “Pop from the Black Sea, Cloaked in Mystery,” New York Times, October 30, 1988, §H, 27.Google Scholar
Peterson, Richard A. “The rise and fall of highbrow snobbery as a status marker,” Poetics 25 (November 1997), 75–92.CrossRefGoogle Scholar
Peterson, Richard A. and Kern, Roger M.. “Changing highbrow taste: from snob to omnivore,” American Sociological Review 61 (October 1996), 900–907.CrossRefGoogle Scholar
Rousseau, Jean Jacques. Dictionnaire de Musique. Hildesheim: Georg Olms Verlagsbuchhandlung; New York: Johnson Reprint Corporation, 1969.Google Scholar
Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. 1977. Reprint, Rochester, Vermont: Destiny, 1994.Google Scholar
Schütz, Alfred. “Making music together: a study in social relationships,” Social Research 18 (1951), 76–97.Google Scholar
Stokes, Martin. “Music and the global order,” Annual Review of Anthropology (2004), 47–72.CrossRefGoogle Scholar
Suisman, David. Selling Sounds: The Commercial Revolution in American Music. Cambridge, MA: Harvard University Press, 2009.CrossRefGoogle Scholar
Taruskin, Richard. “Russian folk melodies in The Rite of Spring.” Journal of the American Musicological Society 33 (Fall 1980), 501–543.CrossRefGoogle Scholar
Taylor, Timothy D. “Advertising and the conquest of culture,” Social Semiotics 4 (December 2009), 405–425.CrossRefGoogle Scholar
Taylor, Timothy D. Beyond Exoticism: Western Music and the World. Durham, NC: Duke University Press, 2007.Google Scholar
Taylor, Timothy D. Commercializing Culture: Capitalism, Music, and Social Theory after Adorno. University of Chicago Press. In preparation.Google Scholar
Taylor, Timothy D. “Stravinsky and others,” AVANT: The Journal of the Philosophical-Interdisciplinary Vanguard 4 (2013). http://avant.edu.pl/wp-content/uploads/Timothy-D-Taylor-Stravinsky-and-Others1.pdf.Google Scholar
Taylor, Timothy D. The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. University of Chicago Press, 2012.CrossRefGoogle Scholar
Taylor, Timothy D. “World music today,” in White, Bob W. (ed.), Music and Globalization: Critical Encounters. Bloomington: Indiana University Press, 2012.Google Scholar
Taylor, Timothy D., Katz, Mark, and Grajeda, Tony, eds. Music, Sound, and Technology in America: A Documentary History of Early Phonograph, Cinema, and Radio. Durham: Duke University Press, 2012.Google Scholar
Tenzer, Michael. “Western music in the context of world music,” in Morgan, Robert P. (ed.), Modern Times: From World War I to the Present. Englewood Cliffs, NJ: Prentice Hall, 1994.Google Scholar
Ullestad, Neal. “‘American Indian rap and reggae: dancing ‘to the beat of a different drummer,’” Popular Music and Society 23 (Summer 1999), 62–81.Google Scholar
Valverde, Kieu Linh Caroline. “Making Vietnamese music transnational: sounds of home, resistance and change,” Amerasia Journal 29 (2003), 29–49.CrossRefGoogle Scholar
Roger, Wallis and Malm, Krister. Big Sounds from Small Peoples: The Music Industry in Small Countries. London: Constable, 1984.Google Scholar
Wörner, Karl H. Stockhausen: Life and Work. Edited and translated by Hopkins, Bill. Berkeley, CA: University of California Press, 1973.Google Scholar
Accessibility standard: Unknown
Why this information is here
This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.Accessibility Information
Accessibility compliance for the HTML of this chapter is currently unknown and may be updated in the future.