By Bob W. White
"World track" emerged as a advertisement and musical type within the Eighties, yet in a few feel track has continually been worldwide. during the metaphor of encounters, song and Globalization explores the dynamics that let or prevent cross-cultural conversation via tune. within the tales informed via the individuals, we meet recognized avid gamers corresponding to David Byrne, Peter Gabriel, Sting, Ry Cooder, Fela Kuti, and Gilberto Gil, but additionally lesser-known characters resembling the Senegalese Afro-Cuban singer Laba Sosseh and Raramuri mess around avid gamers from northwest Mexico. This assortment demonstrates that cautious historic and ethnographic research of world track can convey us how globalization operates and what, if whatever, we as shoppers need to do with it.
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Additional resources for Music and Globalization: Critical Encounters
Moreover, these troupes afforded black composers an opportunity to showcase their talents. 4 Thus we can only cursorily follow the development of African American performing arts, beginning with the Georgia Colored Minstrels, created as early as 1865 at Indianapolis, to dancers Bert Williams (1874–1922) and George Walker (1873–1911), inventors of the musical revue (Riis 1989; Winter 1996), to the composers and band leaders Ford Dabney (1883–1958) and James Reese Europe (1881–1919), who played a notable role in the development of jazz.
Hanover, CT: Wesleyan University Press. Lhamon, W. , Jr. 1998. Raising Cain: Blackface Performance from Jim Crow to Hip Hop. Cambridge, MA: Harvard University Press. Martin, Denis-Constant. 1991. “Filiation or Innovation? ” Black Music Research Journal 11 (1): 19–38. 1. 1992. ” In Rockin’ the Boat: Mass Music and Mass Movements, ed. Reebee Garofalo, 195–207. Boston: South End. 1. 1995. Les ménestrels du Cap. Meudon: CNRS Audiovisuel (documentaire vidéo VHS, 28′, couleur). 1. 1998. Le gospel afro-américain, des spirituals au rap religieux.
Revues and musical comedies were to take the place of the minstrel shows, but it was a blackened face, belonging to a white man, Al Jolson, that would sing “Dirty Hands, Dirty Face” in the first “talkie” in the history of cinema, Alan Crossland’s The Jazz Singer (1927). In the fields of secular music, song, dance, and performance in general, the minstrels exemplify all the contradictions and cruelties that marked the invention of a profoundly creole form of entertainment in North America. The originality of this kind of show was the root of its success, both in the United States and throughout the world, as it was exported to Europe, Asia, the West Indies, and to West and South Africa.
Music and Globalization: Critical Encounters by Bob W. White