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A Sweet Lullaby for World Music

A Sweet Lullaby for World Music Public Culture tories of travel, migration, contact, colonization, diaspora, and dispersal. It is therefore the recorded form, as it circulates commercially, that defines the authenticity of music globalization. The hero and villain of this situation, the music industry, has triumphed through continuous vertical and horizontal merger and consolidation. By aligning technologies of recording and reproduction with the dissemination capacities of other entertainment and publication media, the industry has accomplished the key capitalist goal of unending marketplace expansion. 4. Musical globalization is experienced and narrated as equally celebratory and contentious because everyone can hear equally omnipresent signs of augmented and diminished musical diversity. Tensions around the meanings of sonic heterogeneity and homogeneity precisely parallel other tensions that characterize global processes of separation and mixing, with an emphasis on stylistic genericization, hybridization, and revitalization. So, like everything else called globalization these days, this version is clearly about increasingly complicated pluralities, uneven experiences, and consolidated powers. But is there anything distinctive about how this is happening in the world of music? One way to answer is by denaturalizing the now ubiquitous phrase world music, today’s dominant signifier of a triumphant industrialization of global sonic representation. Until little more than a decade http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Public Culture Duke University Press

A Sweet Lullaby for World Music

Public Culture , Volume 12 (1) – Jan 1, 2000

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Publisher
Duke University Press
Copyright
Copyright 2000 by Duke University Press
ISSN
0899-2363
eISSN
1527-8018
DOI
10.1215/08992363-12-1-145
Publisher site
See Article on Publisher Site

Abstract

Public Culture tories of travel, migration, contact, colonization, diaspora, and dispersal. It is therefore the recorded form, as it circulates commercially, that defines the authenticity of music globalization. The hero and villain of this situation, the music industry, has triumphed through continuous vertical and horizontal merger and consolidation. By aligning technologies of recording and reproduction with the dissemination capacities of other entertainment and publication media, the industry has accomplished the key capitalist goal of unending marketplace expansion. 4. Musical globalization is experienced and narrated as equally celebratory and contentious because everyone can hear equally omnipresent signs of augmented and diminished musical diversity. Tensions around the meanings of sonic heterogeneity and homogeneity precisely parallel other tensions that characterize global processes of separation and mixing, with an emphasis on stylistic genericization, hybridization, and revitalization. So, like everything else called globalization these days, this version is clearly about increasingly complicated pluralities, uneven experiences, and consolidated powers. But is there anything distinctive about how this is happening in the world of music? One way to answer is by denaturalizing the now ubiquitous phrase world music, today’s dominant signifier of a triumphant industrialization of global sonic representation. Until little more than a decade

Journal

Public CultureDuke University Press

Published: Jan 1, 2000

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