Western Music and Its Others: Difference, Representation, and Appropriation in Music

By David Hesmondhalgh

This leading edge choice of articles bargains an incredible entire assessment of recent advancements in cultural thought as utilized to Western track. Addressing a vast variety of essentially twentieth-century song, the authors study similar phenomena: musical borrowings or appropriations, and the way track has been used to build, evoke, or signify distinction of a musical or a sociocultural kind.

The essays scrutinize a various physique of song and talk about a number of major examples, between them musical modernism's idealizing or ambivalent kin with well known, ethnic, and non-Western track; exoticism and orientalism within the experimental track culture; the illustration of others in Hollywood movie tune; music's position within the formation and contestation of collective identities, as regards to Jewish and Turkish renowned song; and problems with illustration and distinction in jazz, international tune, hip hop, and digital dance music.

Written by means of top students from disciplines together with ancient musicology, sociology, ethnomusicology, anthropology, renowned track experiences, and picture reviews, the essays offer unheard of insights into how cultural identities and alterations are developed in music.

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BARTÓK, THE GYPSIES, AND HYBRIDITY 133 Bartók remained dedicated to a countrywide Hungarian personality even after he had come to an realizing of the advanced techniques of cultural hybridization that ensue over millennia. either nationalism and cultural intermixture are celebrated in his oft-quoted and -discussed letter referring humanistically, yet in stark contradiction to his past considering, to a “brotherhood of peoples. ” The letter, which describes his personal compositions as a mirrored image of this political thought, dates from 1931 and used to be addressed to Octavian Beu, who used to be writing an essay approximately Bartók’s works of a Romanian personality: My artistic paintings, simply because it arises from three assets (Hungarian, Romanian, Slovakian), will be considered as the embodiment of the very proposal of integration lots emphasised in Hungary this day. . . . my very own thought, besides the fact that— of which i've been absolutely unsleeping due to the fact that i discovered myself as a composer—is the brotherhood of peoples, brotherhood even with all wars and conflicts. I try—to the easiest of my ability—to serve this concept in my track; as a result I don’t reject any impression, be it Slovakian, Romanian, Arabic or from the other resource. The resource needs to merely be fresh, clean and fit! fifty nine Bartók’s reviews recognize Hungary’s indisputable ethnic hybridity, a personality which remained major even after the cave in of the Austro-Hungarian Empire following international battle I, and the following Treaty of Trianon’s drastic redrawing of Hungary’s borders. basically 32 percentage of the territory and forty-one percentage of the folks remained of the previous country of Hungary; Romania and Slovakia had even turn into separate nations, the latter a part of Czechoslovakia. 60 Bartók himself embodied anything of his country’s hybridity, having a Southern Slav paternal grandmother and a German mom, and having been born in what's now a part of Romania. during this letter, in fact, he casts his internet even wider, allowing parts into his song from any “clean” resource. Frigyesi argues that nationalism and subscription to a “brotherhood of countries” are incompatible and signify detailed ideological positions. sixty one although, Malcolm Gillies reminds us that during the continuation of the above passage, Bartók maintains to venture a it seems that nationalistic excellent on best of the universally humanist one. He envisaged an integration of what both have been (in the case of Arab track) or via this degree had develop into (in the case of Slovakian and Romanian song) international ethnic parts inside a Hungariandominated kind. sixty two He used to be no longer advocating a freewheeling pluralism, or internationalism, for his personal song. relatively, Bartók argued that simply because “character and milieu needs to by some means harmonize with one another” his “style — even though its a number of sources—has a Hungarian personality. ”63 In different phrases, his version of Hungarian tradition, even at this least chauvinistic level of his pondering at the topic, echoed Herder’s isolationist-diffusionist version of German tradition. In 1942 Bartók held that during the case of people tune, “more 134 JULIE BROWN or much less old kinds are quite often good preserved” regardless of the enriching procedures of intermixture and melodic migration.

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