This collection provides readers with a diverse and contemporary overview of research in the field. Drawing upon scholarly writing from a range of disciplines and approaches, it provides case studies from a wide range of 'non Western' musical contexts. In so doing the volume attends to the central themes that have emerged in this area of popular music studies; cultural politics, identity and the role of technology. This collection does not seek to establish a new theoretical paradigm, but being primarily aimed at researchers and students, offers as comprehensive a view of the research that has been carried out over the last few decades as possible, given the global scope of the subject. Inevitably, the experience of globalisation itself runs through many of the contributions, not only because musicians find themselves part of an immense flow of international culture, technology and finance, but also because Western scholarship can also be considered an aspect of such a flow. The articles selected for the volume take different disciplinary approaches; many are close ethnographic descriptions of musical practices whilst others take a more historical view of a musical 'scene' or even a single musician. Some essays consider the effects of emerging technologies upon the production, dissemination and consumption of music, whilst the political context is central to other authors. The collection as a whole serves as a resource for those who wish to be better acquainted with the diversity of research that has been carried out into non-western pop, whilst also highlighting the broader themes that have, so far, shaped academic approaches to the subject.
Table of Contents
Contents: Introduction; Part I Pop, Power and Identity: Islam, the Turkish state and Arabesk, Martin Stokes; Starting from nowhere? Popular music in Cambodia after the Khmer Rouge, Stephen Mamula; Soccer, popular music and national consciousness in post-state-socialist Bulgaria, 1994-96, Donna A. Buchanan; Music and cultural politics: ideology and resistance in Singapore, Lily Kong; 'The morning of freedom rose up': Kurdish popular song and the exigencies of cultural survival, Stephen Blum and Amir Hassanpour; Saida Sultan/Danna International: transgender pop and the polysemiotics of sex, nation and ethnicity on the Israeli-Egyptian border, Ted Swedenburg; Re-thinking 'Whiteness'? Identity, change and 'White' popular music in post-apartheid South Africa, Christopher Ballantine; Borderland pop: Arab Jewish musicians and the politics of performance, Galit Saada-Ophir. Part II Global Perspectives: Are we global yet? Globalist discourse, cultural formations and the study of Zimbabwean popular music, Thomas Turino; Interpreting world music: a challenge in theory and practice, Jocelyne Guilbault; Between globalisation and localisation: a study of Hong Kong popular music, Wai-Chung Ho; Â¡Hip Hop, RevoluciÃ³n! Nationalizing rap in Cuba, Geoffrey Baker; Bandiri music, globalization and urban experience in Nigeria, Brian Larkin. Part III Music Industries: The cassette industry and popular music in North India, Peter Manuel; Recycling Indian film-songs: popular music as a source of melodies for North Indian folk musicians, Scott Marcus; Charisma's realm: fandom in Japan, Christine Yano; Cross-cultural perspectives in popular music: the case of Afghanistan, John Baily; Trends and taste in Japanese popular music: a case-study of the 1982 Yamaha World Popular Music Festival, Judith Ann Herd; Popular music in Indonesia since 1998, in particular fusion, indie and Islamic music on video compact discs and the internet, Bart Barendregt and Wim van Zantem; 'The world is made by talk'
’...an extremely useful resource, not only because it presents a series of significant and detailed articles on a subject that merits the attention of scholars teaching or researching popular music but also because of the care with which it was constructed. Many of the chapters speak to one another... and therefore lend themselves well to classroom discussion. Each section also takes care to combine broader theoretical considerations and small-scale and detailed case studies.The diversity of scholars, approaches and topics covered in this volume is impressive and stands as a testament both to Langlois’s deep engagement with the subject and to the growing body of research upon which he is able to draw.’ Journal of the Society for Musicology in Ireland