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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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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

Fig. 4.1. Grainger has an arm around the singer’s shoulders and directs his face toward the horn of the phonograph.

Postcard photograph of Percy Grainger and Evald Tang Kristensen recording Danish Folk Singer Jens Christian Jensen

From Chapter 4

Fig. 4.1. Postcard photograph of Percy Grainger and Evald Tang Kristensen recording Danish folk singer Jens Christian Jensen, 1922. Photographer unknown. Grainger Museum Collection, University of Melbourne, 2017/41-1/34. Reproduced by kind permission of the Estate of George Percy Grainger.

Fig. 4.2. Musical transcription of “The White Hare

Grainger’s detailed transcription of “The White Hare’,” sung by Joseph Taylor

From Chapter 4

Fig. 4.2. Grainger’s detailed transcription of “The White Hare,” sung by Joseph Taylor. From “Songs Collected by Percy Grainger,” Journal of the Folk-Song Society 3, no. 12 (May 1908): 189–90.

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"The White Hare," sung by Joseph Taylor

From Chapter 4

Example 4.3. Excerpt from "The White Hare," sung by Joseph Taylor. Recorded by Grainger on July 9, 1908. Voice of the People, vol. 18 (Topic Records, 1998).

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“Genç Osman,” performed by the Ankara Radio Folk Music Group

From Chapter 4

Fig. 4.3. Boulton, standing, works a phonograph machine; the Sikvayugak brothers, seated, hold large frame drums.

The Sikvayugak brothers perform as Laura Boulton makes a recording

From Chapter 4

Fig. 4.3. The Sikvayugak brothers perform as Laura Boulton makes a recording. Courtesy of the Archives of Traditional Music at Indiana University.

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"The Sheik of Araby," performed by Sidney Bechet's One Man Band

From Chapter 4

Example 4.5. Excerpt from "The Sheik of Araby," performed by Sidney Bechet's One Man Band (Victor 27485-A, 1941). Youtube: https://www.youtube.com/watch?v=cbT3m9JcOIw

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Halim El-Dabh, excerpt from “Ta’bir al-Zar” (“The Expression of Zar”)

From Chapter 4

Example 4.6. Halim El-Dabh, “Ta’bir al-Zar” (“The Expression of Zar”). Excerpt under the title “Wire Recorder Piece” on Crossing into the Electric Magnetic (Halim El-Dabh Records, LLC, 2001). Reproduced by kind permission of Deborah El-Dabh.

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Pierre Schaeffer, excerpt from “Étude pathétique”

From Chapter 4

Example 4.7 Pierre Schaeffer, excerpt from “Étude pathétique” from Études de bruit, from the album Panorama of Musique Concrète (1948-55) (London: Ducretet-Thomson Records, 1955). Youtube: https://www.youtube.com/watch?v=CTf0yE15zzI, track 5.

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Steven Feld, “Making Sago”

From Chapter 4

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DJ Kentaro, performance recorded at the DMC World DJ Final

From Chapter 4

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The Black Madonna, set at Lente Kabinet Festival, 2017

From Chapter 4

Example 4.10. Excerpt from The Black Madonna’s set at Lente Kabinet Festival, 2017. Soundcloud: https://soundcloud.com/dkmntl/the-black-madonna-at-lente-kabinet-festival-2017

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Excerpt from Mystère des Voix Bulgares/Angelite, “Guro is Looking for a Bride”

From Chapter 4

Example 4.11. Excerpt from Mystère des Voix Bulgares/Angelite, “Guro is Looking for a Bride.” A Cathedral Concert (Verve World 314 510 794-4, 1988). See also Youtube: https://www.youtube.com/watch?v=XbYCOLhA5GE

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Gel Yano

From Chapter 4

Fig. 4.4. We see a row of women in colorful costumes with a gun pointing at them.

Album cover of “From Bulgaria with Love”

From Chapter 4

Fig. 4.4. Album cover of From Bulgaria with Love, by Mystère des Voix Bulgares. The folk costumes are a ubiquitous part of the choir’s presentation; the gun indicates their origin in a Communist country, which would have been regarded as unsafe and unfree by Western European and US audiences.

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Anatoly Kulaar, “Borbangnadyr with Stream Water”

From Chapter 4

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Angelite with Huun Huur Tu and the Moscow Art Trio, “Legend”

From Chapter 4

Example 4.14. Excerpt from Angelite with Huun Huur Tu and the Moscow Art Trio, “Legend.” Fly, Fly, My Sadness (Jaro Records, 1997). Youtube: https://www.youtube.com/watch?v=r0YKDFq_4Uc

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Angelite with Huun Huur Tu and the Moscow Art Trio, “Lonely Bird”

From Chapter 4

Example 4.15. Excerpt from Angelite with Huun Huur Tu and the Moscow Art Trio, “Lonely Bird.” Fly, Fly, My Sadness (Jaro Records, 1997). Youtube: https://www.youtube.com/watch?v=PcPm7nyZxOA

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