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World music : a very short introduction de…
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World music : a very short introduction (edició 2002)

de Philip V. Bohlman

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982214,175 (2.9)No n'hi ha cap
'World music' emerged as an invention of the West from encounters with other cultures. This book draws readers into a remarkable range of these historical encounters, in which music had the power to evoke the exotic and to give voice to the voiceless. In the course of the volume's eightchapters the reader witnesses music's involvement in the modern world, but also the individual moments and particular histories that are crucial to an understanding of music's diversity. World Music is wide-ranging in its geographical scope, yet individual chapters provide in-depth treatments ofselected music cultures and regional music histories. The book frequently zooms in on repertoires and musicians - such as Bob Marley, Bartok, and Nusrat Fateh Ali Khan - and attempts to account for world music's growing presence and popularity at the beginning of the twenty-first century.… (més)
Membre:lemurtrek
Títol:World music : a very short introduction
Autors:Philip V. Bohlman
Informació:Oxford : Oxford University Press, 2002.
Col·leccions:La teva biblioteca
Valoració:
Etiquetes:No n'hi ha cap

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World Music: A Very Short Introduction de Philip V. Bohlman

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Having read a number of excellent entries in the "A Very Short Introduction" series, this one paled in comparison. Whereas other authors have reduced the academic jargon to provide a true introduction, I was glad I'd read Said's [b:Orientalism|355190|Orientalism|Edward W. Said|https://d.gr-assets.com/books/1409777781s/355190.jpg|2310058], and other theories on colonialism. If that sentence made your head spin, skip this book. The bulk of the researched relied heavily on intrepretation through a Western European cultural lens, without giving a sense of how "world music" differed in instrumentation, purpose, and construction. The most valuable section focused on the role of Diasporas and the spread of musical influences. ( )
  LolaKarns | Jul 6, 2015 |
Having read a number of excellent entries in the "A Very Short Introduction" series, this one paled in comparison. Whereas other authors have reduced the academic jargon to provide a true introduction, I was glad I'd read Said's [b:Orientalism|355190|Orientalism|Edward W. Said|https://d.gr-assets.com/books/1409777781s/355190.jpg|2310058], and other theories on colonialism. If that sentence made your head spin, skip this book. The bulk of the researched relied heavily on intrepretation through a Western European cultural lens, without giving a sense of how "world music" differed in instrumentation, purpose, and construction. The most valuable section focused on the role of Diasporas and the spread of musical influences. ( )
  LolaKarns | Jul 6, 2015 |
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'World music' emerged as an invention of the West from encounters with other cultures. This book draws readers into a remarkable range of these historical encounters, in which music had the power to evoke the exotic and to give voice to the voiceless. In the course of the volume's eightchapters the reader witnesses music's involvement in the modern world, but also the individual moments and particular histories that are crucial to an understanding of music's diversity. World Music is wide-ranging in its geographical scope, yet individual chapters provide in-depth treatments ofselected music cultures and regional music histories. The book frequently zooms in on repertoires and musicians - such as Bob Marley, Bartok, and Nusrat Fateh Ali Khan - and attempts to account for world music's growing presence and popularity at the beginning of the twenty-first century.

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