This article was created to accompany a text that appeared in the edited volume entitled “Music and Globalization:  Critical Encounters” (Indiana University Press, 2012). For more information, visit:  http://www.iupress.indiana.edu/a/MUSGLP http://www.youtube.com/watch?v=QifiyNm6jG4 The first forms of musical expression by slaves, of which all these contemporary forms to a greater or lesser degree bear the stamp, were harbingers [...]

This article was created to accompany a text that appeared in the edited volume entitled “Music and Globalization:  Critical Encounters” (Indiana University Press, 2012). For more information, visit:  http://www.iupress.indiana.edu/a/MUSGLP http://www.rainforestfoundationuk.org In 1989, Raoni, the chief of the Txukahamãe Indians in Brazil, and Sting, the British rock superstar, travelled to Europe, where they were formally hosted [...]

This article was created to accompany a text that appeared in the edited volume entitled “Music and Globalization:  Critical Encounters” (Indiana University Press, 2012). For more information, visit:  http://www.iupress.indiana.edu/a/MUSGLP The market for Cuban music shrunk dramatically during the early years of the Cuban Revolution. U.S. labels and music editors, which controlled the sector up until [...]

This article was created to accompany a text that appeared in the edited volume entitled “Music and Globalization:  Critical Encounters” (Indiana University Press, 2012). For more information, visit:  http://www.iupress.indiana.edu/a/MUSGLP I want to bring together three figures—those of the slave ship, the blood-borne virus, and digital information—and think about the ways in which they contaminate one [...]

This article was created to accompany a text that appeared in the edited volume entitled “Music and Globalization:  Critical Encounters” (Indiana University Press, 2012). For more information, visit:  http://www.iupress.indiana.edu/a/MUSGLP A good deal has happened in the realm of “world music” since my book Global Pop: World Music, World Markets appeared (Taylor 1997). While I have [...]

« Tradi-moderne » ou « techno-trad » ? Congotronics et le plaisir de la distorsion Conférence donnée lors du colloque “Patrimoines musicaux : circulation et contacts”, oct. 28-31 2009, Faculté de Musique, Université de Montréal Distorted wave forms Guitar with fuzz Source: wikipedia Sound of Distortion Source: wikipedia Kabuangoyi Kasai All-Stars (Congotronics 2) Johannes Fabian [...]

Keeping Places and the Politics of Repatriation Articles by : Peter Toner Under the present conditions of neoliberal regimes of power, in which cultural property is managed (and sometimes commodified) and cultural rights are asserted, indigenous peoples have been concerned with protecting what is distinctive about their cultures and seeking greater autonomy to control it. [...]

Cosmopolitanism Revisited By Martin Roberts I don’t want to be Japanese. I want to be a citizen of the world. It sounds very hippie but I like that.—Ryuichi Sakamoto, quoted in David Toop, Ocean of Sound: 192. Although the cosmopolitan is often regarded as an emblematic figure of modernity, cosmopolitanism has existed for millennia: the [...]

Le travail de la terre: symbole d’un héritage métisse (afro-américain, acadien, américain) By Phil Hayward Heritage is broad term that essentially means the totality of that which is inherited from preceding individuals, generations and/or societies. There are substantial overlaps of the term with the broader one of tradition, although the latter is often understood to [...]

Franceso and Ali in Venice   “Savane”-Ali Farka Touré Nonesuch 2006 © | Savane   Remembering Ali Farka Touré By Steven Feld Ali Farka Touré, the Malian musician who gained international acclaim for his “desert blues” guitar stylings on CDs like The Source, The River, Niafunké, Savane, and the Grammy award-winners Talking Timbuktu and In [...]

By Bob W. White Martin Denny’s “Exotica” (1957) was not the first album of its kind to integrate non-western “exotica” sounds into recordings, but it is one of the most important, because in many ways it put “exotica” music on the map of mainstream popular music in post-war America. The most well-known song from this [...]

Raymond Williams believed that languages are dynamic and powerful modes of representation and articulation that bring into sharp relief the reality of our everyday existence. Through the various uses of language, in literature, drama and other cultural forms, thinking, feeling, sensing and acting individuals are constantly engaged in the creation and re-creation of meanings. Williams’s [...]