Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-xfwgj Total loading time: 0 Render date: 2024-06-15T23:51:49.594Z Has data issue: false hasContentIssue false

Part II - Culture and Connections

Published online by Cambridge University Press:  05 May 2015

J. R. McNeill
Affiliation:
Georgetown University, Washington DC
Kenneth Pomeranz
Affiliation:
University of Chicago
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2015

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Bartók, Béla. “The influence of peasant music on modern music,” in Suchoff, Benjamin (ed.), Béla Bartók Essays. London: Faber & Faber, 1976.Google Scholar
Bartók, Béla. “The relation of folk song to the development of the art music of our time,” in Suchoff, Benjamin (ed.), Béla Bartók Essays. London: Faber & Faber, 1976.Google Scholar
Copeland, Stewart. Liner notes to The Rhythmatist. A&M CD 5084, 1985.Google Scholar
Denselow, Robin. “We created world music.” Guardian, June 29, 2004, 10.Google Scholar
Lockspeiser, Edward. Debussy: His Life and Mind, vol. 2. Cambridge University Press, 1978.Google Scholar
Marks, Toby. n.d. “Banco de Gaia” interview. www.chaoscontrol.com/archive2/banco/bancosamples.html. This URL is no longer active.Google Scholar
Stockhausen, Karlheinz. “World Music.” Translated by Radloff, Bernard. Dalhousie Review 69 (1989), 318326.Google Scholar

Secondary Sources

Deep Forest. 550 Music/Epic BK-57840, 1992.Google Scholar
Eno, Brian and Byrne, David. My Life in the Bush of Ghosts. Sire/Warner Bros. 9 45374–2, 1981.Google Scholar
Copeland, Stewart. The Rhythmatist. A&M CD 5084, 1985.Google Scholar
Gabriel, Peter. Passion: Music for The Last Temptation of Christ. Geffen Records M5 G 24206, 1989.Google Scholar
Simon, Paul. Graceland. Warner Bros. W2–25447, 1986.Google Scholar
Paul Simon: Born at the Right Time. Directed by Lacy, Susan and Steinberg, Susan, 1991.Google Scholar
Appert, Catherine. “Rappin’ griots: producing the local in Senegalese hip hop,” in Saucier, P. Khalil (ed.), Native Tongues: An African Hip-Hop Reader. Trenton, NJ: Africa World Press, 2011.Google Scholar
Arrighi, Giovanni. The Long Twentieth Century: Money, Power, and the Origins of Our Times. New York: Verso, 1994.Google Scholar
Bellman, Jonathan, ed. The Exotic in Western Music. Boston: Northeastern University Press, 1998.Google Scholar
Blank-Edelman, David N. 1994. “Stewart Copeland: the rhythmatist returns,” RMM, February, 38–9.Google Scholar
Born, Georgina and Hesmondhalgh, David, eds. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley, CA: University of California Press, 2000.Google Scholar
Breen, Marcus, ed. Our Place, Our Music: Australian Popular Music in Perspective, vol. 2. Canberra: Aboriginal Studies Press, 1989.Google Scholar
Bull, Michael. “No dead air! The iPod and the culture of mobile listening,” Leisure Studies 24 (2005), 343355.CrossRefGoogle Scholar
Burr, Ty. “‘From Africa, three female rebels with a cause.” New York Times, July 10, 1994, §H, 26.Google Scholar
Coulangeon, Philippe. Sociologie des pratiques culturelles, 2nd edn. Paris: La Découverte, 2010.CrossRefGoogle Scholar
Duménil, Gérard and Lévy, Dominique. Capital Resurgent: Roots of the Neoliberal Revolution. Translated by Jeffers, Derek. Cambridge, MA: Harvard University Press, 2004.Google Scholar
van Eijck, Koen.Social differentiation in musical taste patterns,” Social Forces 79 (March 2001), 11631184.CrossRefGoogle Scholar
Everett, Yayoi Uno and Lau, Frederick, eds. Locating East Asia in Western Art Music. Middletown, CT: Wesleyan University Press, 2004.Google Scholar
Fauser, Annegret. Musical Encounters at the 1889 Paris World’s Fair. University of Rochester Press, 2005.Google Scholar
Feld, Steven.A sweet lullaby for World Music,” Public Culture 12 (2002): 145171.CrossRefGoogle Scholar
Feld, Steven.From schizophonia to schismogenesis: on the discourses and commodification practices of ‘World Music’ and ‘World Beat,’” in Keil, Charles and Feld, Steven, Music Grooves: Essays and Dialogues. University of Chicago Press, 1994.Google Scholar
Feld, Steven.Notes on ‘World Beat,’” in Keil, Charles and Feld, Steven, Music Grooves: Essays and Dialogues. University of Chicago Press, 1994.Google Scholar
Feld, Steven.Pygmy pop: a genealogy of schizophonic mimesis,” Yearbook for Traditional Music 28 (1996): 135.CrossRefGoogle Scholar
Feld, Steven and Kirkegaard, Annemette. “Entangled complicities in the prehistory of ‘World Music’: Poul Rovsing Olsen and Jean Jenkins encounter Brian Eno and David Byrne in the Bush of Ghosts,” Popular Musicology Online 4. www.popular-musicology-online.com/issues/04/feld.html.Google Scholar
Hamm, Charles. “Graceland revisited,” in Putting Popular Music in its Place. Cambridge University Press, 1995.CrossRefGoogle Scholar
Herbstein, Denis. “The hazards of cultural deprivation,” Africa Report, July-August 1987, 3335.Google Scholar
Hemmasi, Farzaneh. “Iranian popular music in Los Angeles: mobilizing media, nation, and politics.” Ph.D. diss., Columbia University, 2010.Google Scholar
Hosokawa, Shuhei. “‘Salsa no Tiene Frontera’: Orquesta de la Luz and the globalization of popular music,” Cultural Studies 13 (July 1999), 509534.CrossRefGoogle Scholar
Hosokawa, Shuhei. “The Walkman effect,” Popular Music 4 (1984), 165180.CrossRefGoogle Scholar
Howat, Roy. “Debussy and the Orient,” in Gerstle, Andrew and Milner, Anthony (eds.), Recovering the Orient: Artists, Scholars, Appropriations. London: Harwood, 1995.Google Scholar
Jameson, Fredric. “Culture and finance capital,” Critical Inquiry 24 (1997), 246265.CrossRefGoogle Scholar
Lipsitz, George. Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place. New York: Verso, 1994.Google Scholar
Locke, Ralph. Musical Exoticism: Images and Reflections. Cambridge University Press, 2009.Google Scholar
Meintjes, Louise. “Paul Simon’s Graceland, South Africa, and the mediation of musical meaning,” Ethnomusicology 34 (Winter 1990), 3773.CrossRefGoogle Scholar
Pareles, Jon. “Pop from the Black Sea, Cloaked in Mystery,” New York Times, October 30, 1988, §H, 27.Google Scholar
Peterson, Richard A.The rise and fall of highbrow snobbery as a status marker,” Poetics 25 (November 1997), 7592.CrossRefGoogle Scholar
Peterson, Richard A. and Kern, Roger M.. “Changing highbrow taste: from snob to omnivore,” American Sociological Review 61 (October 1996), 900907.CrossRefGoogle Scholar
Rousseau, Jean Jacques. Dictionnaire de Musique. Hildesheim: Georg Olms Verlagsbuchhandlung; New York: Johnson Reprint Corporation, 1969.Google Scholar
Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. 1977. Reprint, Rochester, Vermont: Destiny, 1994.Google Scholar
Schütz, Alfred. “Making music together: a study in social relationships,” Social Research 18 (1951), 7697.Google Scholar
Stokes, Martin. “Music and the global order,” Annual Review of Anthropology (2004), 4772.CrossRefGoogle Scholar
Suisman, David. Selling Sounds: The Commercial Revolution in American Music. Cambridge, MA: Harvard University Press, 2009.CrossRefGoogle Scholar
Taruskin, Richard. “Russian folk melodies in The Rite of Spring.” Journal of the American Musicological Society 33 (Fall 1980), 501543.CrossRefGoogle Scholar
Taylor, Timothy D.Advertising and the conquest of culture,” Social Semiotics 4 (December 2009), 405425.CrossRefGoogle Scholar
Taylor, Timothy D. Beyond Exoticism: Western Music and the World. Durham, NC: Duke University Press, 2007.Google Scholar
Taylor, Timothy D. Commercializing Culture: Capitalism, Music, and Social Theory after Adorno. University of Chicago Press. In preparation.Google Scholar
Taylor, Timothy D. Global Pop: World Music, World Markets. New York: Routledge, 1997.Google Scholar
Taylor, Timothy D.Stravinsky and others,” AVANT: The Journal of the Philosophical-Interdisciplinary Vanguard 4 (2013). http://avant.edu.pl/wp-content/uploads/Timothy-D-Taylor-Stravinsky-and-Others1.pdf.Google Scholar
Taylor, Timothy D. The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. University of Chicago Press, 2012.CrossRefGoogle Scholar
Taylor, Timothy D.World music today,” in White, Bob W. (ed.), Music and Globalization: Critical Encounters. Bloomington: Indiana University Press, 2012.Google Scholar
Taylor, Timothy D., Katz, Mark, and Grajeda, Tony, eds. Music, Sound, and Technology in America: A Documentary History of Early Phonograph, Cinema, and Radio. Durham: Duke University Press, 2012.Google Scholar
Tenzer, Michael. “Western music in the context of world music,” in Morgan, Robert P. (ed.), Modern Times: From World War I to the Present. Englewood Cliffs, NJ: Prentice Hall, 1994.Google Scholar
Ullestad, Neal. “‘American Indian rap and reggae: dancing ‘to the beat of a different drummer,’Popular Music and Society 23 (Summer 1999), 6281.Google Scholar
Valverde, Kieu Linh Caroline. “Making Vietnamese music transnational: sounds of home, resistance and change,” Amerasia Journal 29 (2003), 2949.CrossRefGoogle Scholar
Roger, Wallis and Malm, Krister. Big Sounds from Small Peoples: The Music Industry in Small Countries. London: Constable, 1984.Google Scholar
Wentz, Brooke. “No kid stuff,” Beat, 1993, 4245.Google Scholar
Wörner, Karl H. Stockhausen: Life and Work. Edited and translated by Hopkins, Bill. Berkeley, CA: University of California Press, 1973.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×