scholarly journals The Art of Representing the Other

2020 ◽  
pp. 55-81
Author(s):  
Aleysia K. Whitmore
Keyword(s):  
Music Industry ◽  
World Music ◽  
The Other ◽  
Power Dynamics ◽  
The World

This chapter explores how industry personnel respond to audience and industry expectations by examining the negotiations behind the production of world music. The chapter looks behind and underneath world music products to analyze, not just the effects of representational decisions, but also how people make these decisions—how they negotiate the dynamics of representational and interpretive distortion. Industry personnel work with musicians and audiences to develop products that are authentic and sellable. They play with and push against markers of authenticity that intersect and parallel each other on axes of locality and globality, liveness and mediation, marginality and mainstream, purity and hybridity. Authenticity occupies different positions on these axes depending on musicians’, industry actors’, and audiences’ expectations. As they negotiate this web of expectations, industry personnel reinforce and contest the discourses of alterity, essentialist stereotypes, and unequal power dynamics that continue to be so problematic in the world music industry.

Experiment role in the world music (based on the «The Road» album of the Ukrainian «Dakha Brakha» band)

2018 ◽  
pp. 215-227
Author(s):  
Iia Fedorova
Keyword(s):  
Folk Music ◽  
World Music ◽  
The Other ◽  
Modern Music ◽  
Musical Practice ◽  
The Road ◽  
Music Practice ◽  
The World ◽  
Binary Oppositions ◽  
Musical Practices

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

Setting the Scene

2020 ◽  
pp. 41-54
Author(s):  
Aleysia K. Whitmore
Keyword(s):  
North America ◽  
Music Industry ◽  
World Music ◽  
Historical Overview ◽  
American Industry ◽  
Culture Industries ◽  
The World ◽  
Points Of View

Part I examines the world music industry from the points of view of European and American industry personnel (e.g., booking agents, record labels personnel, tour managers). Chapter 1 contextualizes the world music industry in the larger music and culture industries. Since its birth in 1987, world music has been a vague category. It has encompassed an enormous variety of music: traditional and folk musics, newly composed traditional musics, and vintage and contemporary popular musics. What, then, is “world music”? Where did it come from? After providing a historical overview of world music through its emergence as a genre category in the 1980s and its growth in the ’90s, the chapter examines how culture industries have, in collaboration with consumers, developed a market for, and expectations of, ethnic “others” in Europe and North America.

scholarly journals When the World Helps Teach Your Class: Using Wikipedia to Teach Controversial Issues

2018 ◽  
Vol 51 (02) ◽  
pp. 427-433
Author(s):  
Mark K. Cassell
Keyword(s):  
Peer Relations ◽  
Lesson Plan ◽  
The Other ◽  
Power Dynamics ◽  
Controversial Issues ◽  
Teacher Student ◽  
The World ◽  
Student Power

ABSTRACTAssigning students to draft and publish a Wikipedia contribution is no longer a novelty. The pedagogical benefits from assigning a Wikipedia article vary depending on discipline, lesson plan, and how it is incorporated into the class. This research considers how a Wikipedia assignment can effectively overcome common challenges in teaching controversial topics including peer relations, teacher–student power dynamics, and (mis)perceptions of “the other.”

World Music: A Very Short Introduction

2020 ◽  
Author(s):  
Philip V. Bohlman
Keyword(s):  
Music Industry ◽  
Folk Song ◽  
World Music ◽  
Short Introduction ◽  
National Pride ◽  
The Enlightenment ◽  
The World ◽  
History Of ◽  
Different Cultures

World Music: A Very Short Introduction looks at the history of world music and its many definitions. ‘World music’ is more than a marketing term for the music industry. During the Enlightenment, the idea of the ‘folk song’ encouraged European audiences to imagine music from around the world. Technology helped to create the ‘audio moment’—the transformation of sound into material which could be recorded and distributed worldwide. Throughout history, music has been used to express unity and national pride. World music both foregrounds and transgresses borders. Ideas in different cultures about world music, and indeed about music, are as diverse as ever.

scholarly journals Caring leadership as Nietzschean slave morality

Leadership ◽  
2020 ◽  
pp. 174271502097491
Author(s):  
Leah Tomkins
Keyword(s):  
Critical Reflection ◽  
Care Ethics ◽  
The Self ◽  
The Other ◽  
Power Dynamics ◽  
Breeding Ground ◽  
Leadership Models ◽  
Caring Leadership ◽  
The World

In this paper, I respond to calls for more critical reflection on the power dynamics of caring leadership. I consider how a combination of care and impotence might unfold as Nietzsche’s ‘slave morality’, crystallised in the phenomenon of ressentiment. At the heart of slave morality is an inversion of values in which everything represented by the Other is denigrated so that the slave can find meaning and solace in his own place in the world. The Nietzschean inversion transforms impotence, inferiority and submission into virtue, identity and accomplishment. In contrast to recent elaborations of ressentiment in followers, I argue that slave morality is something to which leaders, especially caring leaders, are also vulnerable. When caring leadership awakens or exposes the slave-within, we are unable to take charge of – or responsibility for – ourselves, because we have ceded control of the self to forces beyond the self. This is the risk of ‘care ethics’ as a systemic inversion of values which constructs an ideology out of letting others define who and what we are. It creates a breeding ground for ressentiment, feeding off unspoken and unspeakable grievances about the injustices of one’s lot, especially those involving a clash between the rhetoric of empowerment and the experience of impotence. The Nietzschean warning is: Be wary of leadership models which might look and even feel nice, but which turn self-sacrifice into virtue and silence into necessity.

Introduction—Collaborations

2020 ◽  
pp. 1-37
Author(s):  
Aleysia K. Whitmore
Keyword(s):  
West Africa ◽  
Music Industry ◽  
Black Atlantic ◽  
Theoretical Background ◽  
World Music ◽  
Global Markets ◽  
Historical Overview ◽  
Black Internationalism ◽  
The World

The Introduction provides historical and theoretical background for the book. The chapter offers an historical overview of Cuban music in West Africa, and explains how histories and discourses of globalization, cosmopolitanism, Africa, the black Atlantic, and black internationalism intersect. Musicians, industry personnel, and audiences draw on these histories as they collaborate with each other to create international commodities. The chapter argues that all of these actors see their labor and its products quite differently as they move between and combine local and global markets, African and Afro-diasporic sounds, traditional and hybrid musics, and histories of slavery, colonialism, and independence. Musicians, industry personnel, and audiences work with and push against one another as they continually (re)position themselves in the world music industry.

World music or Japanese - the gagaku of Tôgi Hideki

Popular Music ◽  
2003 ◽  
Vol 22 (1) ◽  
pp. 21-39 ◽  
Author(s):  
Terence Lancashire
Keyword(s):  
World Music ◽  
The Other ◽  
Musical Culture ◽  
Other Hand ◽  
Imperial Court ◽  
The World ◽  
History Of ◽  
Popular Interest ◽  
Court Music ◽  
Remote Part

The term ‘world music’ usually conjures up images of musics from ‘remote’ corners of the world. However, that remoteness is not always geographical and can, for example, be chronological. Tôgi Hideki, a former musician from the Imperial court in Japan, has sought to introduce court music - gagaku - to a wider audience through the reworking of traditional gagaku pieces and new compositions for gagaku instruments. Gagaku boasts a history of over 1,200 years and its esoteric nature inhibits popular interest. Tôgi Hideki’s popularised gagaku, on the other hand, has found a new audience for gagaku, and his music serves as a bridge introducing Japanese back to a remote part of Japanese musical culture.

scholarly journals Compare and Contrast Different Meanings of the Term World Music/World Music

2019 ◽  
Vol 4 (4) ◽  
pp. 1
Author(s):  
Xueqian Li
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
World Music ◽  
The Other ◽  
Music Genres ◽  
Other Hand ◽  
Increasing Demand ◽  
Compare And Contrast

With the booming popularity of the music industry today, there has been an equally increasing demand for new or refreshing music types. Over the years, this has a resulted in alternative/non-mainstream music genres gradually being accepted as popular music. To cater for the different tastes of music for consumers, in a world where advancement in technology has accelerated globalization to unprecedented levels, music Creators are producing music that have blurred the boundaries between music genres. On the other hand World Music is one that is seen by many as one which is routed in tradition. In that aspect, world music and popular music can be seen as two contrasting categories.

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