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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.
Example 1.8. Choral presentation of "cak" syllables. Excerpt from a kecak performance at Uluwatu, Bali .Youtube: https://www.youtube.com/watch?v=2WOOUbEirc8. Good faith effort has been made to contact the videographer.
Fig. 1.4. Diagram of interlocking syllables in kecak. The numbers across the top mark successive points in time. Separate groups within the chorus say “cak” at different timepoints to create an interlocking pattern. This pattern was taught to me by Jeremy Grimshaw in 2011.
Example 1.9. Entrance of Sita. Excerpt from a kecak performance at Uluwatu, Bali. Youtube: https://www.youtube.com/watch?v=2WOOUbEirc8. Good faith effort has been made to contact the videographer.
Example 1.10. Hanuman interacts with the audience. Excerpt from a kecak performance at Uluwatu, Bali. Youtube: https://www.youtube.com/watch?v=2WOOUbEirc8. Good faith effort has been made to contact the videographer.
Fig. 2.1. Music on the Move: Migration of Romani people into Europe. Map by Eric Fosler-Lussier, based on Lev Tcherenkov and Stéphane Laederich, The Rroma, vol. 1 (Basel, CH: Schwabe, 2004), 83. (See https://doi.org/10.3998/mpub.9853855.cmp.18)
Example 2.1. Lajos Sárkozi, Jr., and his ensemble playing at the Százéves restaurant, Budapest. Video by Willem Gulcher, used by permission. Good faith effort has been made to contact the performers.
Example 2.3. Mihály Kolompar, “You are not that sort of girl.” Music on the Gypsy Route vol. 2 (Frémaux and Associés, 2004). Used by permission. See also Spotify: https://open.spotify.com/track/4OWhtePEZdxbbIFmDAp9rT
Example 2.4, “Who has Been There,” song attributed to "the daughter of Limchi, in Végegyháza, the Buje." Gypsy Folk Songs from Hungary (Hungaroton 18028-29, 1989 [1976]). Courtesy of Naxos USA. See also Spotify: https://open.spotify.com/track/6iVsX3neCXuzfrIUMYeJkL
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