Global Repertoires

With just four record companies controlling nearly 80 per cent of the world market in popular music, issues of globalization are evidently significant to our understanding of how and why popular music is made and distributed. As transnational industries seek to open up increasingly larger markets, the question of how local and regional music cultures can be sustained is a pressing one. To what extent does the global music market offer opportunities for the worldwide dissemination of local music within and beyond the major industry? The essays in this volume examine the structure and strategies of the transnational music industry, with its deployment of mass communication technologies including sound carriers, satellite broadcasting and the Internet. The book also explores local and individual experience of global music and this music's dissemination through migration and communities of interest, as well as the ideological and political use of different kinds of music. In contrast to recent arguments which posit an American imperialist dominance of popular music, the contributors to this volume find that the global repertoire of the major labels no longer represents the culture of a certain country but is fed by different sources. The essays here discuss how we can characterize this vast de-centered industry, and offer perspectives on the so-called 'international repertoire' that calls for a melodic structure, ballad forms, unaccented vocalisation and an image that has global recognition.

"With just four record companies controlling nearly 80 per cent of the world market in popular music, issues of globalization are evidently significant to our understanding of how and why popular music is made and distributed. As transnational industries seek to open up increasingly larger markets, the question of how local and regional music cultures can be sustained is a pressing one. To what extent does the global music market offer opportunities for the worldwide dissemination of local music within and beyond the major industry? The essays in this volume examine the structure and strategies of the transnational music industry, with its deployment of mass communication technologies including sound carriers, satellite broadcasting and the Internet. The book also explores local and individual experience of global music and this music's dissemination through migration and communities of interest, as well as the ideological and political use of different kinds of music. In contrast to recent arguments which posit an American imperialist dominance of popular music, the contributors to this volume find that the global repertoire of the major labels no longer represents the culture of a certain country but is fed by different sources. The essays here discuss how we can characterize this vast de-centered industry, and offer perspectives on the so-called 'international repertoire' that calls for a melodic structure, ballad forms, unaccented vocalisation and an image that has global recognition."--Provided by publisher.

How do we explain the globalized musical world in which we find ourselves in the early 21st century and how did we arrive here? This extraordinary book outlines an understanding of the human musical story as an intercultural—and ultimately a transcultural—one, with travel and trade as the primary conditions and catalysts for the ongoing development of musical styles. Starting with the cultural and civilizational precedents that gave rise to the first global trading and travel network in both directions across the Afro-Eurasian Old World Web in the form of the Silk Road, the book proceeds to the rise of al-Andalus and its influence on Europe through the Iberian peninsula before considering the fusion of European, African and indigenous musics that emerged in the Americas between c1500-1920 as part of Atlantic culture and the New World Web, as well as the concurrent acceleration of globalism in music through European empires and exoticism. The book concludes by examining the musical implications of our current Age of Instantaneous Exchange that technology permits, and by revisiting the question of interculturality and transculurality in music.

Globalization and the resulting internationalization of universities is driving change in teaching, learning, and what it means to be educated. This book provides exemplars of how the Communication discipline and curriculum are responding to the demands of globalization and contributing to the internationalization of higher education. Communication as a discipline provides a strong theoretical and methodological framework for exploring the benefits, challenges and meanings of globalization. The goal of this book, therefore, is to facilitate internationalization of the communication discipline in an era of globalization. Section one discusses the theoretical perspectives of globalism, internationalization, and the current state of the Communication discipline and curriculum. Section two offers a comprehensive understanding of the role, ways, and impact of internationalizing teaching, learning, and research in diverse areas of study in Communication, including travel programs and initiatives to bring internationalization to the classroom. The pieces in this section will include research-based articles, case studies, analytical reviews that exam key questions about the field, and themed pieces for dialogue/debate on current and future teaching and learning issues related to internationalizing the Communication discipline/curriculum. Section three provides an extensive sampling of materials and resources for immediate use in internationalization in communication studies; sample syllabi, activities, examples, and readings will be included. In sum, our book is designed to enable communication curriculum and communication courses in other disciplines to be internationalized and to offer different approaches to enable faculty, students, and administrators to incorporate and experience an internationalized curriculum regardless of time and financial limitations. This book is notable as a professional development resource for individuals both inside and outside the communication discipline who wish to incorporate a global perspective into their research and classrooms.

European cities are on the rise, and are taking advantage of the opportunities of the European integration and globalization processes. But they also face economic changes, social inequalities, poverty and a new set of constraints. Taking examples through the European Union, European Cities explores the impact of the transformation of the nation states on cities and the change of local societies and local governments. It argues that new modes of urban governance are emerging, and that cities are becoming collective actors within European governance. European Cities shows why and how the bulk of European cities still appear to be original forms of compromise, aggregation, representation of diverse interests, and culture. Different modes of governance are gradually being structured in most middle size European cities despite processes of social exclusion segregation accompanied by the increased mobility of some citizens. Are Europeans going to invent a new form of institutionalized and territorialized capitalism, of which medium-sized European cities will be one of the pillars and one of the actors ? Failing that, the effects of changing scales could be expressed as profound transformations of the European urban model. European Societies Series Series Editor: Colin Crouch Very few of the existing sociological texts which compare different European societies on specific topics are accessible to a broad range of scholars and students. The European Societies series will help fill this gap in the literature, and attempt to answer questions such as: Is there really such a thing as a 'European model' of society? Do the economic and political integration processes of the European Union also imply convergence in more general aspects of social life, like family or religious behaviour? What do the societies of Western Europe have in common with those further to the east? This series will cover the main social institutions, although not every author will cover the full range of European countries. As well as surveying existing knowledge in a way that will be useful to students, each book will also seek to contribute to our growing knowledge of what remains in many respects a sociologically unknown continent.

The research presented in this volume is very recent, and the general approach is that of rethinking popular musicology: its purpose, its aims, and its methods. Contributors to the volume were asked to write something original and, at the same time, to provide an instructive example of a particular way of working and thinking. The essays have been written with a view to helping graduate students with research methodology and the application of relevant theoretical models. The team of contributors is an exceptionally strong one: it contains many of the pre-eminent academic figures involved in popular musicological research, and there is a spread of European, American, Asian, and Australasian scholars. The volume covers seven main themes: Film, Video and Multimedia; Technology and Studio Production; Gender and Sexuality; Identity and Ethnicity; Performance and Gesture; Reception and Scenes and The Music Industry and Globalization. The Ashgate Research Companion is designed to offer scholars and graduate students a comprehensive and authoritative state-of-the-art review of current research in a particular area. The companion's editor brings together a team of respected and experienced experts to write chapters on the key issues in their speciality, providing a comprehensive reference to the field.

A rare insight into how industry practices like regional restrictions have shaped global media culture in the digital era “This content is not available in your country.” At some point, most media consumers around the world have run into a message like this. Whether trying to watch a DVD purchased during a vacation abroad, play an imported Japanese video game, or listen to a Spotify library while traveling, we are constantly reminded of geography’s imprint on digital culture. We are locked out. Despite utopian hopes of a borderless digital society, DVDs, video games, and streaming platforms include digital rights management mechanisms that block media access within certain territories. These technologies of “regional lockout” are meant first and foremost to keep the entertainment industries’ global markets distinct. But they also frustrate consumers and place territories on a hierarchy of global media access. Drawing on extensive research of media-industry strategies, consumer and retailer practices, and media regulation, Locked Out explores regional lockout’s consequences for media around the globe. Power and capital are at play when it comes to who can consume what content and who can be a cultural influence. Looking across digital technologies, industries, and national contexts, Locked Out argues that the practice of regional lockout has shaped and reinforced global hierarchies of geography and culture.

As the field of Cultural History grows in prominence in the academic world, an understanding of the history of culture has become vital to scholars across disciplines. The Oxford Handbook of the New Cultural History of Music cultivates a return to the fundamental premises of cultural history in the cutting-edge work of musicologists concerned with cultural history and historians who deal with music. In this volume, noted academics from both of these disciplines illustrate the continuing endeavor of cultural history to grasp the realms of human experience, understanding, and communication as they are manifest or expressed symbolically through various layers of culture and in many forms of art. The Oxford Handbook of the New Cultural History of Music fosters and reflects a sustained dialogue about their shared goals and techniques, rejuvenating their work with new insights into the field itself.