WKDWLVILQDQFHGE\)RUG6LHPHQVDQG6RQ\DQG

:KHQ,SOD\LQ(XURSHSHRSOHVWLOOVD\WKLQJVOLNH $VDQ2ULHQWDOKRZFDQ\RXXQGHUVWDQG0R]DUWRU%UDKPV

UPDQ\$VLDQVWKHSUDFWLFHRI:HVWHUQPXVLFSURYLGHVDVWDEOHFXOWXUDOOLQNEHWZHHQWKHLUQDWLYHDQGKRVWFRXQWULHVDVQHZLPPLJ

1HLWKHUWKH&KLQHVHQRUWKH:HVWHUQHUV LQFOXGLQJ0HKWD VHHPWRFDUHDERXWWKHYHU\LQDXWKHQWLFLW\WKDWOLHVDWWKHKHDUWRI7XUDQGRW%DVH

XUDOH[FKDQJHV

It seems to me that the val-ue of conducting is at least partially involved.

the identity of the teacher is likely todetermine which music school or department a student will select.

and theaudience dresses (well, slightly) better for a string quartet than for awind quintet concert, to say nothing of a brass ensemble.

general public

but, in my experi-ence, not one in which administrators are included.

the younger ones have perhaps actually been pupils of the older ones.

Rather, these interpreta-tions are based on Hollywood clichés that con-flate all seamen, be they whalers or jack tars orpirates, into one drunken, foul-mouth, uncouthcharacter

show orchestras and men’s choruses have re-corded sea music with pop arrangements in asort of easy-listening chorale style.

However, theslow tempo with which the chanteys here areperformed is fairly representative of the tempothat these men would have sung them at sea.

Every job hada corresponding set of chanteys

even asit leaves us more unsure than ever about the in/authenticity of theAsian/American

are rarely played byanyone else except the group that created it, as the identification of thework becomes part and parcel of that group’s personality.

this particular confluence of gender and race presentedthrough taiko is built up out of older tropes that “work” because they areso terribly familiar

it acted outJapan’s defeat in World War II in specifically gendered and ethnicizedway

the White American man andthe Japanese woman

especially those formed at Japanese American Bud-dhist temples, are explicitly formed to support members’ relationship totheir ethnic and spiritual heritage. Non-Buddhist groups represent anastonishing range of stances.

ome have had greatlongevity.

.

the Nisei were more invested in bigband jazz and baseball because their mission was to be American.

1ey are most concerned about the affect ofthe group’s appearance on the audience, even more than the quality of sound,

1ese groups did not revive earlier folk styles, but ratherwere inspired by them to create new interpretations

neo-traditional

as the artists themselves did not observemuch connection between each other,

“proletarian labor and the performing arts”

more characteristicof jazz drumming

genre is always ongoing and therefore always open to reinterpretation, develop-ment and mutation”

clarify and constrain

wenonetheless continue to rely on such systems to organize our world

traditional art of Japan when in fact it is actually a fairly modern creation.

music criticism similarly has moved online

‘The popularity of raimusic among French and ‘world beat’ audiences may mean little for children of immi-grants facing massive unemployment and racist attacks’

The new place of authenticity was not Africa, Asia or‘other’ countries but diaspora communities in the West.

Listening to MiddleEastern music became a political act

Learning music from othercountries, cultures helps broaden experience – and tolerance ... a first step towards eradi-cating prejudice and racism’ (#274).

Notably, diasporabecame the new authentic location

The authentic listening position asked readers to intellectu-ally approach (i.e. rational) a music that would help their emotional (i.e. non-rational)development.

world music as superficial pop music and ethnicmusic with roots and authenticity

Terms commonly used to describe themusic were ‘hypnotic’ (#2), ‘soulful’ (#23) and ‘otherworldly’ (#63), or more medicalterminology such as ‘intoxicating’ (#11), ‘feverish’ (#241) or ‘infectious’

Exoticism is simply one source of distinction and novelty,and the short shelf life of worldbeat artists illustrates this point.

LadysmithBlack Mambaz

The mid-1960s saw the rise of a sepa-rate youth culture with teen-time dances and TV programmes. By 1968, cosmo-politan youth culture - the Beatles, hippiedom, soul music and the black powermovement - provided central models for urban Zimbabwean youth, both blackand white. Interracial rock bands and festivals sprung up in the early 1970s asblack and white adults were preparing their children to go to war with eachother. Soul groups were formed, Afro hairstyles and hippie clothing becamecommon among youth within the formation

they adopted or combined popular songs from North America,England, South Africa and elsewhere, and often translated them into variousAfrican language

The claim that an African-diasporic conscious-ness was the impetus for selecting foreign artistic models seems a partial read-ing at best

nineteenth-century US popular culture, known at the time as a "coon song"- a white, professionally penned, or at least arranged, imitation of supposedSouthern black music.

"Shortend Bread"

authentically Zimbabwean cosmopolitans

the sources for ideas, practices and styles are drawn froma number of sites as well as from the new and old homelands

global culture is discursively constructed in relation to capi-talist products and technologies within the context of expanding markets

"reform" of indigenous (so-called "traditional') practices

globalism emerged in the political, corporate, journalisticand academic spheres both as a victory song

Madison

detrimental, fossil-izing them into "official" banners of national identity

humorously mention cur-rent events and facts about musicians or people present.

3

Tuning was not understood as a seriesof specific pitches, like the contemporary notion of ,'turring,,, and theinstruments in the ensemble were tuned to each other as opposed toan external reference

a wayto identify with and to celebrate the cultural heritage of their parents,

is largely an invention of the Mexican filmand radio industries

remittances fror4 Mexican emigrants ranged between10% and 35% of the country's gross domestic product.

The country celebrates such a popula_tion in textbooks but neglects it in everyday life

Lila experienced both thebe.nefits of living in many cultures and the shortcomings of not beingfully accepted in any of them

cumbia and hip-hop touches

Musicians most used instru-ments on which the pitch could be varied, especially string instruments butalso, later, electronic keyboard instruments, the tuning of which could bemore easily adjusted than that of the piano.

the new, stronger nationalstation with its live performances by major stars became widely popular

Egyptian Radio was administered by Englishmen.

was to bring along one's own sup-porters who would loudly voice approval of the singer and contend withproblematic patrons themselves.

It was an occasionally annoying, but rec-ognizable and effective, means of establishing status.

She along with her accompanists were charac-teristically meticulous musicians and accomplished performers who tookwhatever time they deemed necessary to prepare to perform.

who saw Westernization as the path to cultural accomplishment

violoncello

singing along. The emotional impact of the monologuetext and its theatrical aim emphasized the solo singer's role as the centerof attention

Herlove texts resembled torch songs, speaking of love lost, love denied, and awoman left alone. The theme of love lost remained constant in Umm Kul-thurn's songs even as the tone, language, and genre of the songs changed.

how a woman could representcultural achievement there.

perhaps this tendency represents an effort to avoid interpretations of cul-ture based on the works of "great men,"

Umm Kulthiim's repertory illustrates the difficulty of applying the Westerncategories of "art," "popular," or "folk" to non-Western repertories

This was not the language with whichmany Egyptian listeners-even sophisticated musicians-evaluated UmmKulthum. It failed to account for her impact.

In the 1960s, she sang in onlyeight, all basic

involves reaction and evaluation among those listeningtogether

Umm Kulthiim station.

the performing it-self, listening to performance, and speaking about music and performances.

Their talk helps to constitute identities of musical styles.

Why did this category emerge in musical expression and the surroundingdiscourse?

sheexperienced and responded to her audience and to the artistic, social, andpolitical forces surrounding her

widely viewed as a~tl, authentically Egyptian and Arab.

Lis-teners remember this entire experience along with the sound

WKH 2OG :RUOG PHWKRG RI OHDUQLQJ IURP IDPLO\IULHQGV DQG QHLJKERUV LQ RQH V FRPPXQLW\ LV JHQHUDOO\ QR ORQJHU SRVVLEOH LQWKLV QHZ VLWXDWLRQ

'DQQ\ %R\

ZLWK D ODUJH GRVH RI WKH SRSXODU $PHULFDQ PXVLF RI WKH GD\WKURZQ LQ

VLPSO\ LQHOLJLEOH WR EHFRPH WKH KHUR RI WKHQRYHO

Riverdance

broadening its popular definition to include virtually any song accompanied by acoustic guitar.

twenty players

tunes have often been regarded as the personal property of the musicians who played them.

concertina,

aying for each other and immensely enjoying one another’s company. Th

Boston

many country pubs served as gro- cery stores and post offices as well as taverns

unde r differen t condition s fro m thos e unde r whic h the y ar e playedand listene d t o today

it s nature is assumed to b e given an d no topen t o question .

how it is tha t reggae got big in Japan .

What does it mean when this performance (of this work) takes place at thistime, in this place, with these participants’?

bu t marvelousfor what ?

it is spoken of asif it were nothing more than a presentation

We even see it in the wa y the word music is commonly used ; we knowwhat kind o f music is dealt with i n the musi c departments o f universitie sand college s an d i n school s an d conservatorie s o f music

What i s the function o f music i n human life?