Exoticism, Hybridity and the Postethnic Perspective

Yıl 2018, Sayı: 2, 163 - 175, 30.09.2018

Claire Levy

Öz

While studying the blues tradition in its home country, I found myself tempted to trace out some hypothetical parallels between what might be con- sidered as the “black music” in various socio-cultural contexts. Music, of course, as Philip Tagg cleverly argued, has no colour, and the very term “black music” appears to be highly problematic (see Tagg, 1989). Even though, the term is still very much in use among journalists, scholars and listeners. Generally, the term relates to cultural traditions of African Ameri- can people and to the roots of some major twentieth century developments in music, including jazz. But it is also generally interpreted as a sad metaphor for music made by people, who are considered to be “inferior” due to the arrogant understanding concerning the "white superiority."

Anahtar Kelimeler

müzik, politika

Kaynakça

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