Bibliography & films - Music 365 (2010)

From CCE wiki archived
Revision as of 16:07, 28 March 2010 by Spinetti (talk | contribs)
(diff) ?Older revision | view current revision (diff) | Newer revision? (diff)
Jump to: navigation, search

Readings

Adamu, Abdalla Uba. “The influence of Hindi film music on Hausa videofilm soundtrack music.” In Mark Slobin (ed.) Global soundtracks: worlds of film music. Middletown, Conn.: Wesleyan University Press, 2008.

Baker, Geoffrey. “Hip Hop Revolucion! Nationalizing Rap in Cuba.” Ethnomusicology, 49/3, 2005, pp. 368-402.

Biddle, Ian & Vanessa Knights (eds.). Music, National Identity and the Politics of Location. Aldershot. England / Burlington, VT: Ashgate, 2007.

Booth, Greg. “That Bollywood sound.” In Mark Slobin (ed.) Global soundtracks: worlds of film music. Middletown, Conn.: Wesleyan University Press, 2008.

Burkhalter, Thomas. “Thanks for letting me hear the war again.” Norient, July 31, 2006. Online at http://www.norient.com/html/show_article.php?ID=90

Chen, Pi-yen. “Buddhist chant, devotional song, and commercial popular music: from ritual to rock mantra”, Ethnomusicology, 49/2, 2005, pp. 266-286.

Cusick, Suzanne G. “Music as Torture / Music as Weapon.” Transcultural Music Review, 10, 2006. Online at http://www.sibetrans.com/trans/trans10/cusick_eng.htm

Den Tandt, Catherine. “Globalization and Identity: The Discourse of Popular Music in the Caribbean.” In Richard Young (ed.) Music, Popular Culture, Identities. Amsterdam / New York: Rodopi, 2002, pp. 85-99.

Feld, Steven. “Pygmy POP: A genealogy of schizophonic mimesis.” Yearbook for Traditional Music, 28, 1996, pp. 1-35.

Fernandes, Sujatha. “Fear of a Black Nation: Local Rappers, Transnational Crossings, and State Power in Contemporary Cuba.” Anthropological Quarterly 76/4, 2003, pp. 575-608.

Getter, Joseph & B. Balasubrahmaniyan. “Tamil film music: sound and significance.” In Mark Slobin (ed.) Global soundtracks: worlds of film music. Middletown, Conn.: Wesleyan University Press, 2008.

Gibson, Chris and Peter Dunbar-Hall. “Nitmiluk: Place, Politics, and Empowerment in Australian Aborigenal Popular Music.” Ethnomusicology, 44/1, 2000, pp. 39-64

Greene, Paul D., “Sound Engineering in a Tamil Village: Playing audio cassettes as devotional performance”, Ethnomusicology, 43/3, 1999, pp. 459-489.

Gross, Joan, David McMurray and Ted Swedenburg. “Arab Noise and Ramadan Nights: Rai, Rap and Franco-Maghrebi Identities.” Diaspora, 3/1, 1994, pp. 3-39.

Hamm, Mark S. “Hammer of the Gods Revisited: Neo-Nazi Skinheads, Domestic Terrorism, and the Rise of the New Protest Music,” in Jeff Ferrell and Clinton R. Sanders (eds.) Cultural Criminology. Boston: Northeastern University Press, 1995, pp. 190-212.

Harris, Rachel. “Reggae on the Silk Road: the Globalization of Uygur Pop.” The China Quarterly, 183, 2005, pp. 627-643.

Hellier-Tinoco, Ruth. “Power Needs Names: Hegemony, Folklorization, and the Viejitos Dance of Michoacán, Mexico.” In Randall, Annie J. (ed.) Music, Power, and Politics. New York: Routeledge, 2005, pp. 45-64.

Howard, Keith (ed.). Korean Pop Music: Riding the Wave. Folkstone: Global Oriental.

Hudson, Robert. “Popular Music, Tradition and Serbian Nationalism.” In Biddle, Ian & Vanessa Knights (eds.) Music, National Identity and the Politics of Location. Aldershot. England / Burlington, VT: Ashgate, 2007, pp. 161-178.

King, Stephen A. “International Reggae, Democratic Socialism, and the Secularization of the Rastafarian Movement.” Popular Music and Society, 22/3, 1998, pp. 39-60.

Langlois, Tony. “Local and Global in North African Popular Music.” Popular Music, 15/3, 1996, pp. 259-273.

Lee, Tong Soon. “Technology and the Production of Islamic Space: the Call to Prayer in Singapore.” Ethnomusicology, 43/1, 1999, pp. 86-100.

Longinovic, Tomislav. “Music Wars: Blood and Song at the End of Yugoslavia.” In Ronald Radano and Philip V. Bohlman (eds.) Music and the Racial Imagination. Chicago: University of Chicago Press, 2000, pp. 622-643.

Lysloff, René and Leslie C. Gay Jr. “Introduction: Ethnomusicology in the Twenty-first Century.” In René Lysloff and Lesile C. Gay Jr. (eds.) Music and Technoculture. Middletown, Conn.: Wesleyan University Press, 2003, pp. 1-22.

Manuel, Peter. “Marxism, Nationalism and Popular Music in revolutionary Cuba.” Popular Music, 6/2, 1987, pp. 161-178.

___________.Popular musics of the non-Western world: an introductory survey. New York: Oxford University Press, 1988.

___________.Cassette Culture: Popular Music and Technology in North India, Chicago / London, University of Chicago Press, 1993.

Meintjes, Louise. “Paul Simon’s Graceland, South Africa, and the Mediation of Musical Meaning.” Ethnomusicology 34/1, 1990, pp. 37-73.

Mitchell, Tony. Popular Music and Local Identity: Rock, Pop, and Rap in Europe and Oceania, London / New York, Leicester University Press, 1996.

Murphy, David. “Where Does World Music Come From? Globalization, Afropop and the Question of Cultural Identity.” In Biddle, Ian & Vanessa Knights (eds.) Music, National Identity and the Politics of Location. Aldershot. England / Burlington, VT: Ashgate, 2007, pp. 39-61.

Naficy, Hamid. “Identity Politics and Iranian Exile Music Videos.” In Richard Young (ed.) Music, Popular Culture, Identities. Amsterdam / New York: Rodopi, 2002, pp. 249-267.

Nooshin, Laudan. “Subversion and Countersubversion: Power, Control, and Meaning in the New Iranian Pop Music.” In Randall, A.J. (ed.) Music, Power, and Politics. NY/London: Routledge, 2005, pp. 231-272.

___________ (ed.). Music and the Play of Power in the Middle East, North Africa and Central Asia. Farnham, Surrey / Burlington, VT: Ashgate, 2009

Pease, Rowan. “Internet, fandom, and K-Wave in China.” In Howard, Keith (ed.). Korean Pop Music: Riding the Wave. Folkstone: Global Oriental, 2006, pp. 161-175.

Perna, Vincenzo. “Marketing nostalgia: the rise of Buena Vista Social Club” in Vincenzo Perna, Timba: the sound of the Cuban crisis, Aldershot & Burlington, VT: Ashgate, 2005.

Pieslak, Jonathan R. “Sound Targets: Music and the War in Iraq.” Journal of Musicological Research 26, 2007, pp. 123-49.

Pring-Mill, Robert. “The Roles of Revolutionary Song – a Nicaraguan Assessment.” Popular Music, 6/2, 1987, pp. 179-189.

Rasmussen, Anne. “Theory and practice at the "Arabic org": Digital Technology in Contemporary Arab Music Performance.” Popular Music, 15/3, 1996, pp. 345-365.

Rice, Timothy. 1996. “The dialectic of economics and aesthetics in Bulgarian music.” In Slobin, Mark (ed). Retuning Culture: musical changes in Central and Eastern Europe. Durham/London: Duke University Press, 1996.

Sarkissian, Margaret, “'Religion Never Had It So Good': Contemporary Nasyid and the Growth of Islamic Popular Music in Malaysia”, Yearbook for Traditional Music, 37, 2005, pp. 124-152.

Schwarz, David. “Oi: Music, Politics and Violence,” in David Schwarz Listening Subjects: Music, Psychoanalysis, Culture. Durham: Duke University Press, 1997, pp. 110-132.

Shannon, Jonathan H. “Sultans of Spin. Syrian Sacred Music on the World Stage.” In Post, Jennifer C. (ed.) Ethnomusicology. A Contemporary Reader. New York: Routledge, 2006, pp. 17-32

Simonett, Helena. “Los gallos valientes: Examining Violence in Mexican Popular Music.” Transcultural Music Review, no. 10, 2006. Online at http://www.sibetrans.com/trans/trans10/simonett.htm

Slobin, Mark (ed.). Global soundtracks: worlds of film music. Middletown, Conn.: Wesleyan University Press, 2008.

Solomon, Thomas. “‘Living underground is tough’: authenticity and locality in the hip-hop community in Istanbul, Turkey.” Popular Music, 24/1, 2005, pp. 1-20.

Spinetti, Federico. “Open Borders: Tradition and Tajik Popular Music: Questions of Aesthetics, Identity and Political Economy.” Ethnomusicology Forum, 14/2, 2005, pp. 185-211.

Sturman, Janet L. “Technology and identity in Colombian popular music: tecno-macondismo in Carlos Vives’s approach to Vallenato.” In René Lysloff and Lesile C. Gay Jr. (eds.) Music and Technoculture. Middletown, Conn.: Wesleyan University Press, 2003.

Swedenburg, Ted. “Saida Sultan/Danna International: Transgender Pop and the Polysemiotics of Sex, Nation and Ethnicity on the Israeli-Egyptian Border.” Music Quarterly, 58, 1997, pp. 81-108.

__________. “Islamic hip-hop vs. Islamophobia: Aki Nawaz, Natacha Atlas, Akhenaton,” in Mitchell, Tony (ed.) Global Noise: rap and Hip-Hop outside the USA. Middletown: Wesleyan University Press, 2002.

Sylvan, Robin, Trance Formation: The Spiritual and Religious Dimensions of Global Rave Culture. New York & London: Routledge, 2005.

Taylor, Timothy D. Global Pop: World Music, World Markets, New York / London, Routledge, 1997.

Théberge, Paul. “‘Ethnic Sounds’: the economy and discourse of world music sampling.” In René Lysloff and Lesile C. Gay Jr. (eds.) Music and Technoculture. Middletown, Conn.: Wesleyan University Press, 2003.

Turino, Thomas. Nationalists, Cosmopolitans, and Popular Music in Zimbabwe. Chicago / London: The University of Chicago Press, 2000.

___________. “Are we global yet? Globalist discourse, cultural formations and the study of Zimbabwean popular music.” British Journal of Ethnomusicology, 12/2, 2003, pp. 51-79.

Vila, Pablo. “Rock Nacional and Dictatorship in Argentina.” Popular Music, 6/2, 1987, pp. 129-148.

Viljoen, Stella. “En Route to the Rainbow Nation: South African Voices of Resistance.” In Richard Young (ed.) Music, Popular Culture, Identities. Amsterdam / New York: Rodopi, 2002, pp. 319-337.

Waterman, Christopher. “‘Our tradition is a very modern tradition’: popular music and the construction of pan-Yoruba identity.” Ethnomusicology, 34/3, 1990, pp. 367-379.

Wright, Robert, “I'd Sell You Suicide: Pop Music and Moral Panic in the Age of Marilyn Manson”, Popular Music, 19/3, 2000, pp. 365-385.

Zemp, Hugo. "The/An Ethnomusicologist and the Record Business", Yearbook for Traditional Music, 28, 1996, pp. 36-56

Films

Umm Kulthum: A Voice Like Egypt. By Michael Goldman. Waltham, MA: Filmmakers Collaborative, 1996.

Crossing the Bridge: The sound of Istanbul. By Fatih Akin. Strand Releasing, 2006.

Buena Vista Social Club. By Wim Wenders. Road Movies Filmproduktion, 1999.

Amandla: A Revolution in Four Part Harmony. By Lee Hirsch. ATO Pictures, 2003.

When the Road Bends: Tales of a Gypsy Caravan. By Jasmine Dellal. Little Dust Production, 2006.

Heavy Metal in Baghdad. By Eddy Moretti Suroosh Alvi. ViceFilms 2007.