موسیقی، هویت ملی و سیاست مکان: بین جهانی و محلی (سری موسیقی محبوب و فولکلور اشگیت)

How are national identities constructed and articulated through music? Popular music has long been associated with political dissent, and the nation state has consistently demonstrated a determination to seek out and procure for itself a stake in the management of 'its' popular musics. Similarly, popular musics have been used 'from the ground up' as sites for both populist and popular critiques of nationalist sentiment, from the position of both a globalizing and a 'local' vernacular culture. The contributions in this book arrive at a critical moment in the development of the study of national cultures and musicology. The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybridity and musical articulations of other kinds of identities at odds with national identity. The processes of global homogenization are thereby shown to have brought about a transitional crisis for national cultural identities: the evolution of these identities, particularly with reference to the concept of 'authenticity' in music, is situated within broader debates on power, political economy and constructions of the self. Theorizations of practice are employed after the manner of Bourdieu, Gramsci, Goffman, Gadamer, Habermas, Bhabha, Lacan and Žižek. Each contribution acts as a case study to characterize the strategies through which differing modes of musical discourse engage, critique or obscure discourses on national identity. The studies include discussions of: musical representations of Irishness; the relationship between Afropop and World Music; Norwegian club music; the revival of traditional music in Serbia; resistance to cultural homogeneity in Brazil; contemporary Uyghur song in Northwest China; rap and race in French society; technobanda from the barrios of Los Angeles, and Spanish/Moroccan raï. In this way, the book seeks to characterize the ideological configurations that help to activate and sustain hegemonic, ambivalent and dissident articulations of national identity and musical practices. How are national identities constructed and articulated through music? Popular music has long been associated with political dissent, and the nation state has consistently demonstrated a determination to seek out and procure for itself a stake in the management of'its'popular musics. Similarly, popular musics have been used'from the ground up'as sites for both populist and popular critiques of nationalist sentiment, from the position of both a globalizing and a'local'vernacular culture. The contributions in this book arrive at a critical moment in the development of the study of national cultures and musicology. The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybridity and musical articulations of other kinds of identities at odds with national identity. The processes of global homogenization are thereby shown to have brought about a transitional crisis for national cultural identities: the evolution of these identities, particularly with reference to the concept of'authenticity'in music, is situated within broader debates on power, political economy and constructions of the self. Theorizations of practice are employed after the manner of Bourdieu, Gramsci, Goffman, Gadamer, Habermas, Bhabha, Lacan and Zizek. Each contribution acts as a case study to characterize the strategies through which differing modes of musical discourse engage, critique or obscure discourses on national identity. The studies include discussions of: musical representations of Irishness; the relationship between Afropop and World Music; Norwegian club music; the revival of traditional music in Serbia; resistance to cultural homogeneity in Brazil; contemporary Uyghur song in Northwest China; rap and race in French society; technobanda from the barrios of Los Angeles, and Spanish/Moroccan raà ̄. In this way, the book seeks to characterize the ideological configurations that help to activate and sustain hegemonic, amb How are national identities constructed and articulated through music? Popular music has long been associated with political dissent, and the nation state has consistently demonstrated a determination to seek out and procure for itself a stake in the management of 'its' popular musics. Similarly, popular musics have been used 'from the ground up' as sites for both populist and popular critiques of nationalist sentiment, from the position of both a globalizing and a 'local' vernacular culture. The contributions in this book arrive at a critical moment in the development of the study of national cultures and musicology. The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybridity and musical articulations of other kinds of identities at odds with national identity. The processes of global homogenization are thereby shown to have brought about a transitional crisis for national cultural the evolution of these identities, particularly with reference to the concept of 'authenticity' in music, is situated within broader debates on power, political economy and constructions of the self. Theorizations of practice are employed after the manner of Bourdieu, Gramsci, Goffman, Gadamer, Habermas, Bhabha, Lacan and Zizek. Each contribution acts as a case study to characterize the strategies through which differing modes of musical discourse engage, critique or obscure discourses on national identity. The studies include discussions musical representations of Irishness; the relationship between Afropop and World Music; Norwegian club music; the revival of traditional music in Serbia; resistance to cultural homogeneity in Brazil; contemporary Uyghur song in Northwest China; rap and race in French society; technobanda from the barrios of Los Angeles, and Spanish/Moroccan ra. In this way, the book seeks to characterize the ideological configurations that help to activate and sustain hegemonic, amb Contents......Page 6 List of Figures......Page 8 List of Contributors......Page 10 General Editor’s Preface......Page 14 Acknowledgements......Page 16 Introduction: National Popular Musics: Betwixt and Beyond the Local and Global......Page 18 PART I: POSITIONS......Page 34 1 National Identity and Music in Transition: Issues of Authenticity in a Global Setting......Page 36 2 Where Does World Music Come From? Globalization, Afropop and the Question of Cultural Identity......Page 56 PART II: LOCATIONS......Page 80 3 Voicing Risk: Migration, Transgression and Relocation in Spanish/Moroccan Raï......Page 82 4 Banda, a New Sound from the Barrios of Los Angeles: Transmigration and Transcultural Production......Page 98 5 Rapping at the Margins: Musical Constructions of Identities in Contemporary France......Page 110 6 The Quest for National Unity in Uyghur Popular Song: Barren Chickens, Stray Dogs, Fake Immortals and Thieves......Page 132 7 The Singer and the Mask: Voices of Brazil in Antônio Nóbrega’s Madeira Que Cupim Não Rói......Page 160 8 Popular Music, Tradition and Serbian Nationalism......Page 178 9 Those Norwegians: Deconstructing the Nation-State in Europe through Fixity and Indifference in Norwegian Club Music......Page 196 Afterword......Page 208 B......Page 222 C......Page 224 F......Page 226 H......Page 227 L......Page 228 M......Page 229 N......Page 230 R......Page 231 S......Page 233 Z......Page 236 Bibliography......Page 238 B......Page 256 C......Page 257 D......Page 258 F......Page 259 H......Page 260 K......Page 261 M......Page 262 N......Page 263 P......Page 264 R......Page 265 S......Page 266 V......Page 267 Z......Page 268 This Volume Brings Together A Number Of Authors Working On World Popular Musics, Many Of Whom Attended The Conference 'popular Music And National Identities', Held At The University Of Newcastle In 2000. National Identity And Music In Transition : Issues Of Authenticity In A Global Setting / John O'flynn -- Where Does World Music Come From? : Globalization, Afropop And The Question Of Cultural Identity / David Murphy -- Voicing Risk : Migration, Transgression And Relocation In Spanish/moroccan Raï / Parvati Nair -- Banda, A New Sound From The Barrios Of Los Angeles : Transmigration And Transcultural Production / Helena Simonett -- Rapping At The Margins : Musical Constructions Of Identities In Contemporary France / Brian George -- The Quest For National Unity In Uyghur Popular Song : Barren Chickens, Stray Dogs, Fake Immortals And Thieves / Joanne Smith -- The Singer And The Mask : Voices Of Brazil In Antônio Nóbrega's Madeira Que Cupim Não Rói / Robin Warner And Regina Nascimento -- Popular Music, Tradition And Serbian Nationalism / Robert Hudson -- Those Norwegians : Deconstructing The Nation-state In Europe Through Fixity And Indifference In Norwegian Club Music / Stan Hawkins. Edited By Ian Biddle And Vanessa Knights. Includes Bibliographical References (p. [221]-237) And Index. How are national identities constructed and articulated through music? The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybrydity and musical articulations. The process of globalization has brought about a transitional crisis for national cultural identities. Theories of Bourdieu, Gramsci, Goffman, Gadamer, Habermans, Bhabha, Lacan and Zizek are used. Case studies include discussions of: musical representations of Irishness; the relationship between Afropop and world music; Norwegian club music; the revival of traditional music in Serbia; cultural homogeneity in Brazil; Uyghur songs in Northwest China; rap and race in French society; technobanda in Los Angeles and Spanish/Moroccan raï