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Music on the Move

Danielle Fosler-Lussier 2020 Creative Commons Attribution-NonCommercial 4.0 International license Open access version made available with the support of The Ohio State University Libraries, as part of the TOME initiative
Open Access Open Access
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.

 
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ISBN(s)
  • 978-0-472-05450-3 (paper)
  • 978-0-472-90128-9 (open access)
  • 978-0-472-07450-1 (hardcover)
Subject
  • Music
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  • Table of Contents

  • Resources

  • Stats

  • 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

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String quartet performs on a stage.

Joseph Haydn, String Quartet, op. 54 no. 2, second movement

From Chapter 2

Example 2.7. Joseph Haydn, String Quartet, op. 54 no. 2, second movement, performed by the Dudok Quartet. Used by permission. Youtube: https://www.youtube.com/watch?v=ZjTpAD85vgE

Quintet performs on a small stage.

Johannes Brahms, Clarinet Quintet, second movement

From Chapter 2

Example 2.8. Excerpt from Johannes Brahms, Clarinet Quintet, second movement, performed by Quatuor Modigliani. Youtube: https://www.youtube.com/watch?v=i0WWH-WgRmE.

Franz Liszt, Hungarian Rhapsody no. 2

From Chapter 2

Example 2.9. Franz Liszt, Hungarian Rhapsody no. 2, performed by György Cziffra. The Masters Collection: György Cziffra (Hungaroton HCD32814-16, 2019). Courtesy of Naxos USA.

Fig. 2.2. Caricature of Franz Liszt wearing a giant sword and playing a piano that is falling apart, its keys flying everywhere.

Anonymous caricature of Franz Liszt

From Chapter 2

Fig. 2.2. “Liszt-Fantaisie.” Anonymous caricature of Franz Liszt, La vie Parisienne, 3 April 1886. The original caption reads: “Liszt and his saber: He has renounced it today, after recognizing that he would do more damage with just the piano and his two hands. A strange specimen of the octopus species. Eight hands at four octaves each, thirty-two octaves!!!” Reprinted in Richard Leppert, “The Musician of the Imagination,” in The Musician as Entrepreneur, 1700–1914: Managers, Charlatans, and Idealists, ed. William Weber (Bloomington: Indiana University Press, 2004), 42.

Two players sit at a grand piano and play together animatedly.

Johannes Brahms, Hungarian Dance no. 5

From Chapter 2

Example 2.10. Excerpt from Johannes Brahms, Hungarian Dance no. 5, Passepartout Piano Duo. Youtube: https://www.youtube.com/watch?v=QyJPkoL6Wg8). Permission requested.


 Open external resource at https://open.spotify.com

Sometimes I Feel Like a Motherless Child

From Chapter 3


 Open external resource at https://open.spotify.com

Harry Burleigh, arr. “Wade in the Water”

From Chapter 3

Florence Price, "Fantasie nègre" (Black fantasy)

From Chapter 3

Example 3.11. Florence Price, "Fantasie nègre" (Black fantasy), performed by Samatha Ege. Used by permission.

Margaret Bonds, "Troubled Water"

From Chapter 3

Example 3.12. Margaret Bonds, "Troubled Water," performed by Samantha Ege. Four Women: Music for Piano by Price, Kaprálová, Bilsland, and Bonds (Wave Theory Records, 2018). Used by permission.

Kōsaku Yamada, “Inno Meiji” Symphony, 1

From Chapter 5

Example 5.1. Excerpt near the beginning of Kōsaku Yamada, “Inno Meiji” Symphony. Tokyo Metropolitan Symphony Orchestra, conducted by Takuo Yuasa (Naxos 8.557971, 2007). Youtube: https://www.youtube.com/watch?v=eNrgeL-cSg8

Kōsaku Yamada, “Inno Meiji” Symphony, 2

From Chapter 5

Example 5.2. Excerpt near the middle of Kōsaku Yamada, “Inno Meiji” Symphony. Tokyo Metropolitan Symphony Orchestra, conducted by Takuo Yuasa (Naxos 8.557971, 2007). Youtube: https://www.youtube.com/watch?v=eNrgeL-cSg8

Kōsaku Yamada, “Inno Meiji” Symphony, 3

From Chapter 5

Example 5.3. Excerpt near the end of Kōsaku Yamada, “Inno Meiji” Symphony. Tokyo Metropolitan Symphony Orchestra, conducted by Takuo Yuasa (Naxos 8.557971, 2007). Youtube: https://www.youtube.com/watch?v=eNrgeL-cSg8

Adnan Saygun,"Dertli Dolap"

From Chapter 5

Example 5.5. Adnan Saygun,"Dertli Dolap," no. 5 chorale from Yunus Emre. Orchestra of the Ankara State Opera and Ballet Ankara State Opera Chorus, conducted by Hikmet Şimşek (Ankara State Opera A-91.0001, 1991). Translation adapted from Abdur Rahman, https://thecorner.wordpress.com/2018/12/28/dertli-dolap-reflections-on-endless-trouble-is-my-name/, with help from Ali Sait Sadıkoğlu. See also Spotify: https://open.spotify.com/track/6Hc8lkOEx6x3S7M33Rhw4B

We see a large orchestra and choir onstage.

Wer Hat Dich So Geschlagen

From Chapter 5

Example 5.6 Johann Sebastian Bach, chorale "Wer hat dich so geschlagen," from the St. John Passion, performed by the WDR Radio Orchestra and Chorus (Westdeutsche Rundfunk, 2018). Youtube: https://www.youtube.com/watch?v=wCx6cReO5ck

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