Araştırma Makalesi
BibTex RIS Kaynak Göster

Exoticism, Hybridity and the Postethnic Perspective

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

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."

Kaynakça

  • Bhabha, Homi. (1994). The Location of Culture, London: Routledge. Buchanan, Donna A. (200). Performing Democracy: Bulgarian Music and Musicians in Transition.
  • Chicago-London: The University of Chicago Press. Chambers, Iain. (1994). Migrancy, Culture, Identity, Routledge, London. Clifford, James. (1986).”Introduction: Partial Truths.” - In: Writing Culture: The Poetics and Politics of Ethnography (eds. Clifford and Marcus), 1-26. Clifford, James. (2000). 'Taking Identity Politics Seriously: "The Contradictory Stony Ground..."'. In Without Guarantees: In Honour of Stuart Hall (eds. Paul Gilroy, Lawrence Grossberg, and Angela McRobbie). London: Verso pp. 94-112.
  • Gajtandjiev, Gencho. (1990). Populjarnata muzika – pro? contra? [Popular music—pro? contra?]. Sofia: Narodna Prosveta.
  • Gilroy, Paul.( 1993). The Black Atlantic: Modernity and Double Consciousness, London: Routledge.
  • Frith, Simon. (2000). “The Discourse of World Music.” In Western Music and Its Others: Difference, Representation and Appropriation in Music (eds. Born, Georgina and David Hesmondhalgh). Los Angeles: University of California Press, 305- 322.
  • Hall, Stuart. (1996). “When was the Postcolonial: Thinking About the Limit”. In The Post-colonial Question (eds. Chambers, Iain and Linda Curtis). London: Routledge, 242-260.
  • Hollinger, David A. (2000). Postethnic America: Beyond Multiculturalism. New York: Basic Books.
  • Kalra, Virinder, Raminder Kaur and John Hutnyk. (2005). Hybridity and Dias- pora. Sage.
  • Levy, Claire. (2005). Dialogichnata muzika: blusat, populjarnata kultura, mi- tovete na modernostta [Dialogical Music: Blues, Popular Culture, and the Myths of Modernity]. Sofia, Institute of Art Studies – BAN.
  • Levy, Claire. (2004). “Who is the ‘Other’ in the Balkans? Local Ethnic Music as a Different Source of Identities in Bulgaria.” – In Music, Space and Place: Pop- ular Music and Cultural Identity (eds. Bennett, Andy and Stan Hawkins, Claire Levy / Exoticism, Hybridity and the Postethnic Perspective 175 Sheila Whiteley). Ashgate: 2004, 42-59.
  • Middleton, Richard. (2000). Musical Belongings. – In Western Music and Its Others: Difference, Representation, and Appropriation in Music (eds. Georgina Born and David Hesmondhalgh), University of California Press, 59-85. Papastergiadis, Nikos. (2000). The Turbulence of Migration, Cambridge: Polity Press.
  • Papastergiadis, Nikos. (2005). “Hybridity and Ambivalence: The Places and Flows in Contemporary Art and Culture.” – Theory, Culture & Society, Vol. 22, No. 4, 39-64.
  • Rice, Timothy. (1994). May It Fill Your Soul: Experiencing Bulgarian Music. Chi- cago–London: University of Chicago Press.
  • Rice,Timothy. (2002). “Bulgaria or Chalgaria: The Attenuation of Bulgarian Nationalism in a Mass mediated Popular Music.” In Yearbook for Traditional Music, Vol. 34, 25-65.
  • Silverman, Carol. (2007). Trafficking in the Exotic with "Gypsy" Music: Balkan Roma, Cosmopolitanism, and "World Music" Festivals. – In: Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse (ed. Buchanan, Donna). Scarecrow Press.
  • Silverman, Carol. (2005). Liner notes for the album Together Again, featuring Yuri Yunakov, Ivo Papazov, Salif Ali and Neško Nešev. Tagg, Philip. (1989). Open Letter about 'Black Music', 'Afro-American Music' and 'European Music'. Popular Music 8/3, 285-298.

Exoticism, Hybridity and the Postethnic Perspective

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

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."

Kaynakça

  • Bhabha, Homi. (1994). The Location of Culture, London: Routledge. Buchanan, Donna A. (200). Performing Democracy: Bulgarian Music and Musicians in Transition.
  • Chicago-London: The University of Chicago Press. Chambers, Iain. (1994). Migrancy, Culture, Identity, Routledge, London. Clifford, James. (1986).”Introduction: Partial Truths.” - In: Writing Culture: The Poetics and Politics of Ethnography (eds. Clifford and Marcus), 1-26. Clifford, James. (2000). 'Taking Identity Politics Seriously: "The Contradictory Stony Ground..."'. In Without Guarantees: In Honour of Stuart Hall (eds. Paul Gilroy, Lawrence Grossberg, and Angela McRobbie). London: Verso pp. 94-112.
  • Gajtandjiev, Gencho. (1990). Populjarnata muzika – pro? contra? [Popular music—pro? contra?]. Sofia: Narodna Prosveta.
  • Gilroy, Paul.( 1993). The Black Atlantic: Modernity and Double Consciousness, London: Routledge.
  • Frith, Simon. (2000). “The Discourse of World Music.” In Western Music and Its Others: Difference, Representation and Appropriation in Music (eds. Born, Georgina and David Hesmondhalgh). Los Angeles: University of California Press, 305- 322.
  • Hall, Stuart. (1996). “When was the Postcolonial: Thinking About the Limit”. In The Post-colonial Question (eds. Chambers, Iain and Linda Curtis). London: Routledge, 242-260.
  • Hollinger, David A. (2000). Postethnic America: Beyond Multiculturalism. New York: Basic Books.
  • Kalra, Virinder, Raminder Kaur and John Hutnyk. (2005). Hybridity and Dias- pora. Sage.
  • Levy, Claire. (2005). Dialogichnata muzika: blusat, populjarnata kultura, mi- tovete na modernostta [Dialogical Music: Blues, Popular Culture, and the Myths of Modernity]. Sofia, Institute of Art Studies – BAN.
  • Levy, Claire. (2004). “Who is the ‘Other’ in the Balkans? Local Ethnic Music as a Different Source of Identities in Bulgaria.” – In Music, Space and Place: Pop- ular Music and Cultural Identity (eds. Bennett, Andy and Stan Hawkins, Claire Levy / Exoticism, Hybridity and the Postethnic Perspective 175 Sheila Whiteley). Ashgate: 2004, 42-59.
  • Middleton, Richard. (2000). Musical Belongings. – In Western Music and Its Others: Difference, Representation, and Appropriation in Music (eds. Georgina Born and David Hesmondhalgh), University of California Press, 59-85. Papastergiadis, Nikos. (2000). The Turbulence of Migration, Cambridge: Polity Press.
  • Papastergiadis, Nikos. (2005). “Hybridity and Ambivalence: The Places and Flows in Contemporary Art and Culture.” – Theory, Culture & Society, Vol. 22, No. 4, 39-64.
  • Rice, Timothy. (1994). May It Fill Your Soul: Experiencing Bulgarian Music. Chi- cago–London: University of Chicago Press.
  • Rice,Timothy. (2002). “Bulgaria or Chalgaria: The Attenuation of Bulgarian Nationalism in a Mass mediated Popular Music.” In Yearbook for Traditional Music, Vol. 34, 25-65.
  • Silverman, Carol. (2007). Trafficking in the Exotic with "Gypsy" Music: Balkan Roma, Cosmopolitanism, and "World Music" Festivals. – In: Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse (ed. Buchanan, Donna). Scarecrow Press.
  • Silverman, Carol. (2005). Liner notes for the album Together Again, featuring Yuri Yunakov, Ivo Papazov, Salif Ali and Neško Nešev. Tagg, Philip. (1989). Open Letter about 'Black Music', 'Afro-American Music' and 'European Music'. Popular Music 8/3, 285-298.
Toplam 16 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Araştırma Makaleleri
Yazarlar

Claire Levy Bu kişi benim

Yayımlanma Tarihi 30 Eylül 2018
Gönderilme Tarihi 1 Haziran 2018
Yayımlandığı Sayı Yıl 2018 Sayı: 2

Kaynak Göster

APA Levy, C. (2018). Exoticism, Hybridity and the Postethnic Perspective. Etnomüzikoloji Dergisi, 1(2), 163-175.