The Cambridge History of World Music (The Cambridge History of Music)

Scholars have long known that world music was not merely the globalized product of modern media, but rather that it connected religions, cultures, languages and nations throughout world history. The chapters in this History take readers to foundational historical moments - in Europe, Oceania, China, India, the Muslim world, North and South America - in search of the connections provided by a truly world music. Historically, world music emerged from ritual and religion, labor and life-cycles, which occupy chapters on Native American musicians, religious practices in India and Indonesia, and nationalism in Argentina and Portugal. The contributors critically examine music in cultural encounter and conflict, and as the critical core of scientific theories from the Arabic Middle Ages through the Enlightenment to postmodernism. Overall, the book contains the histories of the music of diverse cultures, which increasingly become the folk, popular and classical music of our own era. Frontmatter Dedication Contents Illustrations Tables Contributors Acknowledgments Introduction: world music’s histories Part I - Histories of world music 1 - On world music as a concept in the history of music scholarship 2 - Music cultures of mechanical reproduction 3 - Western music as world music Part II - The history of music before history 4 - Foundations of musical knowledge in the Muslim world 5 - Indian music history in the context of global encounters 6 - Native American ways of (music) history Part III - Music histories of global encounter and exchange 7 - Encounter music in Oceania: cross-cultural musical exchange in eighteenth- and early nineteenth-century voyage accounts 8 - Music, history, and the sacred in South Asia 9 - Music, Minas, and the Golden Atlantic Part IV - The Enlightenment and world music’s historical turn 10 - Johann Gottfried Herder and the global moment of world-music history 11 - Tartini the Indian: perspectives on world music in the Enlightenment 12 - The music of non-Western nations and the evolution of British ethnomusicology Part V - Music histories of the folk and the nation 13 - Korean music before and after the West 14 - Folk music in Eastern Europe 15 - A story with(out) Gauchos: folk music in the building of the Argentine nation Part VI - Asian music histories 16 - Four recurring themes in histories of Chinese music 17 - On the history of the musical arts in Southeast Asia 18 - Musicians and the politics of dignity in South India Part VII - Institutions and politics of representation 19 - Images of sound: Erich M. von Hornbostel and the Berlin Phonogram Archive 20 - Music in the mirror of multiple nationalisms: sound archives and ideology in Israel and Palestine 21 - Repatriation as reanimation through reciprocity Part VIII - The globalization of world music in history 22 - Landscapes of diaspora 23 - Sufism and the globalization of sacred music 24 - Global exoticism and modernity Part IX - Musical discourses of modernity 25 - Encountering African music in history and modernity 26 - The politics of music categorization in Portugal 27 - The world according to the Roma Part X - Musical ontologies of globalization 28 - Disseminating world music 29 - Musical antinomies of race and empire 30 - Globalized new capitalism and the commodification of taste Part XI - Beyond world-music history 31 - The time of music and the time of history 32 - The ethics of ethnomusicology in a cosmopolitan age 33 - Toward a new world? The vicissitudes of American popular music Afterword: a worldly musicology? Index Scholars have long known that world music was not merely the globalized product of modern media, but rather that it connected religions, cultures, languages and nations throughout world history. The chapters in this History take readers to foundational historical moments--in Europe, Oceania, China, India, the Muslim world, North and South America--in search of the connections provided by a truly world music. Historically, world music emerged from ritual and religion, labor and life-cycles, which occupy chapters on Native American musicians, religious practices in India and Indonesia, and nationalism in Argentina and Portugal. The contributors critically examine music in cultural encounter and conflict, and as the critical core of scientific theories from the Arabic Middle Ages through the Enlightenment to postmodernism. Overall, the book contains the histories of the music of diverse cultures, which increasingly become the folk, popular and classical music of our own era [Publisher description] In the twenty-first century, world music increasingly connects the diverse and multicultural experiences of musicians and listeners, students and scholars, using media across the world. This History explores the very origins of world music itself, presenting the politics and ideologies of music in the world's major historical moments.