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Music on the Move

Danielle Fosler-Lussier
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Music is a mobile art. When people move to faraway places, whether by choice or by force, they bring their music along. Music creates a meaningful point of contact for individuals and for groups; it can encourage curiosity and foster understanding; and it can preserve a sense of identity and comfort in an unfamiliar or hostile environment. As music crosses cultural, linguistic, and political boundaries, it continually changes. While human mobility and mediation have always shaped music-making, our current era of digital connectedness introduces new creative opportunities and inspiration even as it extends concerns about issues such as copyright infringement and cultural appropriation.
 
With its innovative multimodal approach, Music on the Move invites readers to listen and engage with many different types of music as they read. The text introduces a variety of concepts related to music's travels—with or without its makers—including colonialism, migration, diaspora, mediation, propaganda, copyright, and hybridity. The case studies represent a variety of musical genres and styles, Western and non-Western, concert music, traditional music, and popular music. Highly accessible, jargon-free, and media-rich, Music on the Move is suitable for students as well as general-interest readers.
 
  • Cover
  • Title Page
  • Copyright Page
  • Contents
  • Preface
  • Media Chronology
  • Introduction
  • Part 1: Migration
    • Chapter 1. Colonialism in Indonesia
    • Chapter 2. The Romani Diaspora in Europe
    • Chapter 3. The African Diaspora in the United States
  • Part 2: Mediation
    • Chapter 4. Sound Recording and the Mediation of Music
    • Chapter 5. Music and Media in the Service of the State
  • Part 3: Mashup
    • Chapter 6. Composing the Mediated Self
    • Chapter 7. Copyright, Surveillance, and the Ownership of Music
    • Chapter 8. Localizations
    • Conclusion
  • Notes
  • Selected Bibliography
  • Index
Open access version made available with the support of The Ohio State University Libraries, as part of the TOME initiative
Citable Link
Published: 2020
Publisher: University of Michigan Press
License: Creative Commons Attribution-NonCommercial 4.0 International license
ISBN(s)
  • 978-0-472-90128-9 (open access)
  • 978-0-472-07450-1 (hardcover)
  • 978-0-472-05450-3 (paper)
Subject
  • Music

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Across the Lake of the Ancient World, 1

From Chapter 6

Example 6.7. Excerpt from Terry Riley, “Across the Lake of the Ancient World,” Shri Camel (CBS Records, 1988 [1980]). Youtube: https://www.youtube.com/watch?v=BnAwzu8t_1k

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Across the Lake of the Ancient World, 2

From Chapter 6

Example 6.8. Second excerpt from Terry Riley, “Across the Lake of the Ancient World,” Shri Camel (CBS Records, 1988 [1980]). Youtube: https://www.youtube.com/watch?v=BnAwzu8t_1k

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Music for Violin and Various Instruments

From Chapter 6

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Sometimes

From Chapter 6

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Braid

From Chapter 6

Example 6.11. Barbara Benary, “Braid,” performed by Gamelan Son of Lion, The Complete Gamelan in the New World (Folkways FTS 31312, 1982 [1979]). Used by permission of Smithsonian Folkways Recordings. See also Youtube: https://www.youtube.com/watch?v=WPvJRy1Yanw&list=PLwiBRoSc5aNryUBJoA5R1PovFJnFwbYLe&index=13

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Come Out

From Chapter 6

Example 6.12. Excerpt from Steve Reich, “Come out,” Reich Remixed (Nonesuch PRCD 8762P, 1999 [1967]). See also Youtube: https://www.youtube.com/watch?v=aVXc9Veo_B8

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Janani

From Chapter 6

Example 6.15. Asha Srinivasan, Janani, saxophone version, performed by Michael Mizrahi, piano; and Sara Kind, Jesse Dochnahl, Will Obst, and Sumner Truax, saxophones. Recording provided courtesy of the composer.

Hands with long black fingernails scrape the strings inside an open piano.

The Banshee

From Chapter 6

Example 6.17. Henry Cowell, “The Banshee,” Sonya Kumiko Lee (piano), film by Johnny Kwon. Used by permission.

Small jazz combo plays under bright lights. We see close-ups of saxophonist and trumpet player.

Composition 40M

From Chapter 6

Example 6.21. Excerpt from Anthony Braxton Quartet, “Composition 40M,” performed by Anthony Braxton, Kenny Wheeler, Dave Holland, and Barry Altschul, Montreux 1975. Videorecording posted on Youtube at https://www.youtube.com/watch?v=_0F3Uqmgt-k.

Large orchestra and chorus, with soloist Helga Davis, perform in a concert hall.

Yet Unheard

From Chapter 6

Example 6.23. Courtney Bryan and Sharan Strange, “Yet Unheard,” performed by Helga Davis with the La Jolla Symphony and Chorus conducted by Steven Schick, 2018. Video courtesy of UCSD-TV.

Fig. 6.3. Five black singers standing amid a small orchestra of instrumental musicians

Color still from Yet Unheard

From Chapter 6

Fig. 6.3. Singers in a performance of the chamber version of Courtney Bryan’s Yet Unheard, Ojai Music Festival, 2017. Pictured from left: Joelle Lamarre, Gwendolyn Brown, Helga Davis, Julian Terrell Otis, and Davóne Tines. YouTube: www.youtube.com/watch?v=XiklJQEC5kI

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Koto, Piano II

From Chapter 8

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Ten Thousand Ugly Ink Blots

From Chapter 8

Example 8.2. Excerpt from Hyo-shin Na, “Ten Thousand Ugly Ink Blots,” All the Noises (New World Records, 2008).

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