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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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Audio File Icon

Kalyi Jag, "La Řatjake Cheya" (The Night Girls)

From Chapter 2

Example 2.5, Excerpt from Kalyi Jag, "La Řatjake Cheya" (The Night Girls). The Gypsy Road: A Musical Migration from India to Spain (Alula Records, 1999). See also Youtube: https://www.youtube.com/watch?v=h8bOin_vpeA

Bearded singer with microphone addresses the audience.

Joci Pápai, “Origo”

From Chapter 2

Example 2.11. Joci Pápai, “Origo,” Eurovision Song Contest 2017. Courtesy of Eurovision. Youtube: https://www.youtube.com/watch?v=2stjsoO0NfM

Audio File Icon

Mississippi Matilda Powell, “Hard Working Woman”

From Chapter 3

Example 3.1. Mississippi Matilda Powell with guitarists Sonny Boy Nelson and Willie Harris, Jr., “Hard Working Woman,” recorded 1936 in New Orleans. Mississippi Blues Volume 3, 1939-1940 (Document Records DOCD-5671, 2002). Used by permission.

Audio File Icon

Big Joe Williams, Stack O'Dollars

From Chapter 3

Example 3.4. Excerpt from Big Joe Williams, “Stack O’Dollars,” played on a guitar, a one-string fiddle, and a washboard. Recorded in Chicago, 1935 (Document Records BDCD-6003, 1991). See also Youtube: https://www.youtube.com/watch?v=RkQe0HqnKyw

Raqs Fahala

From Chapter 4

Example 4.1. Mahmoud al-Rashidi, “Raqs Fahala,” probably made before 1911 (Baida Records 272A). Youtube: https://www.youtube.com/watch?v=clIZ1J8nanA

Audio File Icon

"Polka Wiewórka" (Squirrel Polka)

From Chapter 4

Example 4.2. Excerpt from "Polka Wiewórka" (Squirrel Polka), with Stanisław Kosiba, clarinet (Victor 80475, 1927). Youtube: https://www.youtube.com/watch?v=MDyI0WV6gEk

"No Party, No New China"

From Chapter 5

Example 5.11 , “No Party, No New China.” From “The Little Red Record,” performed by the Chinese Red Army Choir (FGL Productions, 2002). Youtube: https://www.youtube.com/watch?v=AeK-4_tMPkU

Faye Wong, “Love Without Regrets”

From Chapter 5

Example 5.12. Excerpt from Yuan Wei-Ren and Faye Wong, “Love Without Regrets,” from Love Without Regrets (Hong Kong: Cinepoly CP-5-0091,1993). Translation from Cantonese by Dan Jurafsky. See also Youtube: https://www.youtube.com/watch?v=k18hEJDDyBQ

Grainy video shows dark stage and lively audience. Audience becomes animated as guitarist appears and begins to play.

Cui Jian, "Nothing to my name"

From Chapter 5

Example 5.13. Excerpt from Cui Jian, “Nothing to my name,” live performance at Stanford University, 2008. Video posted by nikitavy on Youtube: https://www.youtube.com/watch?v=jaM_6Z5lcWM Good faith effort has been made to contact the videographer.

Wimoweh

From Chapter 6

Example 6.1. Excerpt from Solomon Linda and the Original Evening Birds, "Mbube" (Singer Bantu Records, G.E. 829, 1939). See Youtube: https://www.youtube.com/watch?v=3HWUN-l1sdQ

Homeless

From Chapter 6

Example 6.2. Excerpt from Paul Simon and Ladysmith Black Mambazo, “Homeless,” Graceland (Warner Brothers 9 25447-2, 1986).

Akabonga

From Chapter 6

Example 6.3. Excerpt from Soul Brothers (David Masondo, Moses Ngwenya, and Zenzele "Zakes" Mchunu) performing the song “Akabongi,” Isicelo (originally Munjale Records MUNG 4000, 1983; re-release on Soul Brothers Records CDSBL 1001, 2005). Youtube: https://www.youtube.com/watch?v=Ch2Z_-uOt10

Diamonds on the Soles of Her Shoes, 1

From Chapter 6

Example 6.4. Excerpt from Paul Simon and Ladysmith Black Mambazo, “Diamonds on the Soles of her Shoes,” Graceland (Warner Brothers 9 25447-2, 1986).

Diamonds on the Soles of Her Shoes, 2

From Chapter 6

Example 6.5. Second excerpt from Paul Simon and Ladysmith Black Mambazo, “Diamonds on the Soles of her Shoes,” Graceland (Warner Brothers 9 25447-2, 1986).

Fig. 6.1. Paul Simon sitting at a mixing board in a recording studio, manipulating the controls and listening intently.

Paul Simon at the mixing board

From Chapter 6

Fig. 6.1. Paul Simon at the mixing board. Still from Classic Albums: Paul Simon Graceland (DVD, Eagle Rock Entertainment/Isis Productions, 1997).

Film shows musicians, commentators, and urban scenes in Belém do Pará, Brazil.

Good Copy Bad Copy

From Chapter 7

Example 7.1. Excerpt from Andreas Johsen, Ralf Christensen, and Henrik Moltke, Good Copy Bad Copy (Rosforth Films, 2007). Youtube: https://www.youtube.com/watch?v=ByY6j0qzOyM. Licensed under Creative Commons.

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