While I started my theoretical investigations asking questions about globalization, it became clear I needed to also think about digital technologies and the transmission and appropriation of world music. Strange Sounds: Music, Technology and Culture. Co-edited with Mark Katz and Tony Grajeda. New York: Berg. New York: Oxford University Press. Capitalism is the dominate economic system in the world, and one way of understanding the value of music is as its economic value in capitalism. My current work attempts to theorize the value of music more broadly than simply capitalist economic value, though I continue to study that as well.
Chicago: University of Chicago Press. Music and Capitalism: A History of the Present. Music in the World: Selected Essays. The Oxford Handbook of Economic Ethnomusicology. Co-edited with Ann Morcom. The Production of Value, and the Value of Production. This book collects some of my recent writings on value and exchange with respect to music. In Progress. We are accustomed to thinking of money as a medium of value, but how do we think about music performance as a medium of value? This paper argues that value is built up in preparations for performances, and potentially realized at the moment of performance.
Economic value can build up as a commodity moves through supply chains, but value can also be accrued as other goods move through other sorts of supply chains, such as bureaucracies, or the hands through which an artwork passes in its provenance. The processes by which a cultural good is commodified are reasonably well known, but there are other processes that work to make a commodified cultural good seem to be a gift. So how do we talk about this? Drawing on Clifford Geertz, this presentation argues that what is culturally and socially understood as value is formed through the actions of social actors.
This keynote updates my discussion of world music and globalization in my book Global Pop. This presentation argues that the massive boom in recording of non-Western music in the early 20 th century was driven by a change in the manufacture of recordings, which, beginning in , could be mass reproduced. Leading record companies needed inventory to sell, and sought it in Asia and elsewhere. What digital samplers do was technologically possible before they were invented. This presentation argues that the reason sampling became so common was because of a heightening of consumer culture beginning in the s, and that musicians increasingly saw other works as things that could be consumed with digital samplers.
Rather, my scholarship explores culture, society, and history through people who are involved in making and consuming music. While the work and ideas of many other scholars influence me see my Essential Social Theory Reading List for details this is a short list of key reference points for my intellectual development.
Sherry B. Ortner —in dialogue and through her works—for integrating the landscape of social theory with her ethnographic research. Show Less Music making was, and is, an important social medium for me. So, I just kept going: an M. Daily Bruin — Suzie Papantoni — January 8, Mike Rafferty was a master of the East Galway flute style, and my Irish flute teacher from to Some examples follow. Released in , Mike plays with his frequent collaborators, Willie Kelly fiddle and Donal Clancy guitar. Master craftsman and, in my opinion, the greatest living Irish flute maker.
For more biographical info, his address and an interesting interview about how he got started, he is featured on A Guide to the Irish Flute. A passionate music educator and my high school band director. Nelson was serious but kind, taught us real discipline, and turned our small town ensemble into something excellent.
Later Fred moved to University of Michigan, so I was able to study with him again while I worked on my doctoral degree. Thanks Pat! I started playing Clarinet in my 6th grade band with a Selmer. I want my students future colleagues fully equipped to join this conversation. And to keep the conversation productive, it needs to continue to broaden: through peer review, participation in conferences and symposia, and actively connecting students to resources, people, opportunities, and intellectual currents in related fields.
Studying the mediation of music, both by reproduction technology radio, phono, sound, film, cassettes, MP3s, etc. This survey reviews major social theory texts, explores how Enthomusicologists have applied those theories in their research, and works through important ethnomusicology research classics. Provides an important overview, in terms of the landscape of classic social theory and where ethnomusicology fits into that.
Dissertations - Ethnomusicology - Research Guides at UCLA Library
A survey of important valuing theories from anthropology—both capitalist and social—to help understand how music is valued commercially, socially, politically. Arms graduate students with the tools they need to further research questions of value regarding music in society. My Role Co-Advisor with A. This is a list I often share with graduate students looking for theory grounding and research inspiration. Latin American Music Review. South Asian Popular Culture.
La revue des musiques populaires. American Quarterly. American Studies. Critical Studies in Improvisation. Crossings — the electronic journal of Art and Technology.
European Journal of Cultural Studies. Technology and Culture. Acta Musicologica. American Music.
Echo: A Music-Centered Journal. Journal of the American Musicological Society. Journal of Popular Music Studies. Journal of the Society for American Music. Music Theory Online. Musicology Australia. Popular Music. Popular Music and Society.
American Anthropologist. American Sociological Review. Asian Journal of Social Science. Consumption, Markets and Culture. Cultural History. International Journal of Communications. Journal of American History.
Journal of Material Culture. Television and New Media. The Public Historian. Theory and Society.
Music in the World is a collection of essays concerned with questions about music in capitalist cultures, covering a historical span that begins in the late nineteenth and early twentieth centuries and continues to the present. These essays look at shifts in the production, dissemination, advertising, and consumption of music from the industrial capitalism of the nineteenth century to the globalized neoliberal capitalism of the past few decades. In addition to chapters on music, capitalism, and globalization, Music in the World includes previously unpublished essays on the continuing utility of the concept of culture in the study of music, a historicization of treatments of affect, and an essay on value and music.
Taken together, these essays chart the changes in different kinds of music in twentieth- and twenty-first-century music and culture from a variety of theoretical perspectives. University of Chicago Press, Bern: Peter Lang. Bielefeld, Germany: transcript. This book is an ethnographic study of everyday musicians in Los Angeles, what they do, how they do it, and how they negotiate the complex and rapidly changing world of film and television production.
Forthcoming Co-edited with Ann Marcom. This will greatly expand existing studies of music and economics which have been mostly focused on pop music, music industries, and music in market economies. This book explores just how pervasively capitalism has shaped music over the last few decades. Drawing on interviews with industry insiders, musicians, and indie label workers, the book traces both the constricting forces of bottom-line economics and the revolutionary emergence of the affordable home studio, the global internet, and the mp3 that have shaped music in different ways.
This book tracks the use of music in American advertising for nearly a century, from variety shows like The Clicquot Club Eskimos to the rise of the jingle, the postwar upsurge in consumerism, and the more complete fusion of popular music and consumption in the s and after. Rivista di Analisi e Teoria Musicale 22 : Culture, Theory and Critique 55 : Included as a chapter in Music in the World. London: Bloomsbury. In The Cambridge World History.
Cham, Switzerland: Springer. Malden, MA: Wiley-Blackwell. New York: Rutledge.