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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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  • Introduction1
  • Chapter 114
  • Chapter 213
  • Chapter 314
  • Chapter 419
  • Chapter 518
  • Chapter 628
  • Chapter 72
  • Chapter 811
  • Chapter 9 (conclusion)2

  • United States38
  • women26
  • African American16
  • popular16
  • new music15
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  • Fosler-Lussier, Eric5
  • Fosler-Lussier, Danielle3
  • Simon, Paul3
  • Yamada, Kōsaku3
  • Bach, Johann Sebastian2
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  • audio52
  • video46
  • image15
  • interactive map7
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Four-part chorus sings in long, smooth phrases; words are "Jerusalem, Jerusalem, be converted to the Lord your God."

Manuel de Sumaya, Lamentations of the Prophet Jeremiah

From Introduction

Example 0.1. Excerpt from Manuel de Sumaya, “Hieremiae prophetae lamentationes” (Lamentations of the Prophet Jeremiah), performed by Chanticleer, Mexican Baroque (Teldec, 1993). See also Youtube: https://www.youtube.com/watch?v=Oc2-I7_aBW4

Location Map Icon

Music on the Move: Trading Area of the Dutch East India Company

From Chapter 1

Figure 1.1. Music on the Move: Trading Area of the Dutch East India Company. Map by Eric Fosler-Lussier, based on Femme S. Gaastra, The Dutch East India Company: Expansion and Decline (Leiden: Walburg Pers, 2003), 42.

Video shows a room with many players sitting on the floor close together.

Ladrang Slamet

From Chapter 1

Example 1.1. Excerpt from "Ladrang Slamet" ("Welcoming Music," performed by Studio Karawitan Dahlan Iskan with Siir Natagama Java Orchestra. Translation based on Mantle Hood and Hardja Susilo, Music of the Venerable Dark Cloud (UCLA Department of Ethnomusicology, 1967), 35. Youtube: https://www.youtube.com/watch?v=Tug7E8CUPp0

Fig. 1.2. Diagram shows several layers of activity over time. The bottom one is a slowly repeating pattern, the one above it is twice as fast, the next one is twice again as fast, and so forth.

Cyclical pattern in Central Javanese ladrang form

From Chapter 1

Fig. 1.2. Cyclical pattern in Central Javanese ladrang form. Adapted with permission from Henry Spiller.

Gending Bonang Babar Layar, 1

From Chapter 1

Example 1.2. Distinctive unison passage from “Gending Bonang Babar Layar,” recorded at the Istana Mangkunegaran, Surakarta by Robert E. Brown. Java, Court Gamelan, vol. II (Nonesuch Explorer Series 79721-2, 2003 [1977]). See Spotify: https://open.spotify.com/track/7hn7aKBzDjCL6s6ELNOaFA

Gending Bonang Babar Layar, 2

From Chapter 1

Example 1.3. Layering effect from “Gending Bonang Babar Layar,” recorded at the Istana Mangkunegaran, Surakarta by Robert E. Brown. Java, Court Gamelan, vol. II (Nonesuch Explorer Series 79721-2, 2003 [1977]). See Spotify: https://open.spotify.com/track/7hn7aKBzDjCL6s6ELNOaFA

Pairs of formally dressed people dance a waltz. Each couple spins as they step in time to the 1-2-3 pattern in the music.

Opening Committee Waltz

From Chapter 1

Example 1.4. Excerpt from Opening Committee Waltz, Stanford Viennese Ball 2013. Youtube: https://www.youtube.com/watch?v=tRTVoN95miM&index=2&list=RDeuM9O6Qaog8

Audio File Icon
Open external resource at https://open.spotify.com

Was Pepeko (Waltz)

From Chapter 1

Audio File Icon
Open external resource at https://open.spotify.com

Gaplek

From Chapter 1

Fig. 1.3. Image is blue on a white china dish, showing three costumed Javanese dancers in a formal pose, with words circling the outside of the image.

Souvenir plate from the Universal Exposition depicting Javanese dancers

From Chapter 1

Fig. 1.3. Detail from a souvenir plate from the Universal Exposition depicting the Javanese dancers. The plate reads: “Javanese. The Javanese dancers have bizarre hairstyles with helmets, which caused Lili to say when she saw them: ‘Oh! Papa, look, primitive firefighters.’” Collection Radauer, www.humanzoos.net. Used by permission.

pianist onstage, viewed from the audience.

Claude Debussy, Pagodes

From Chapter 1

Example 1.7. Claude Debussy, "Pagodas," performed by Sally Pinkas, Dartmouth College, 2014. Used by permission.

Group of about 30 men wearing checkered sarongs perform in a circle on a circular stage, surrounded by tourists.

Choral presentation of "cak" syllables; excerpt from a kecak performance in Uluwatu, Bali.

From Chapter 1

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 shows that three different groups take turns saying “cak” in a repeating pattern; sometimes two groups say it at the same time.

Diagram of interlocking syllables in kecak

From Chapter 1

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.

Men, seated, chant as an elegantly dressed woman enters from a gate at the side.

Entrance of Sita. Excerpt from a kecak performance at Uluwatu, Bali.

From Chapter 1

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.

An actor in a monkey mask stands among the tourists as the chanting continues.

Hanuman interacts with the audience. Excerpt from a kecak performance at Uluwatu, Bali.

From Chapter 1

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.

Location Map Icon

Music on the Move: Migration of Romani people into Europe

From Chapter 2

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)

Band plays in a tight corner of a busy restaurant.

Lajos Sárkozi, Jr., and his ensemble playing at the Százéves restaurant, Budapest

From Chapter 2

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.

Audio File Icon

Mihály Várady, “Grief, Grief”

From Chapter 2

Example 2.2. Mihály Várady, “Grief, Grief,” Gypsy Folk Songs from Hungary (Hungaroton 18028-29, 1989 [1976]). Courtesy of Naxos USA. See also Spotify: https://open.spotify.com/track/2dcPFOw9RVyZt3fRtqKYoh

Audio File Icon

Mihály Kolompar, “You are not that sort of girl”

From Chapter 2

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

Audio File Icon

“Who has Been There,” song attributed to "the daughter of Limchi, in Végegyháza, the Buje"

From Chapter 2

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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