Music and the Global Order

Stokes, Martin

doi:10.4324/9781315090986-18

Cited by 12 publications

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“…Music can be used as a symbolic identifier of a social group, both by the group's members but also by the surroundings (its non-members). Music not only functions to express and maintain pre-existing identities, it also provides resources for contesting and negotiating identities and constructing new ones (Jung 2014;Kyker 2013;Stokes 2004). Due to globalisation processes, with their flows of ideas, people and products, hybridisations are continuously arising between cultural identities, practices and belongings (Ong 1999;Robinson 2013).…”

Section: Music and Identitymentioning

confidence: 99%

The role of music in ethnic identity formation in diaspora: a research review

Lidskog¹

2016

Int Social Sci J

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In many countries, multicultural citizenship has run into difficulties. The relation between immigrant groups and the larger society has come to the fore, and different strategies have been proposed for how to better integrate immigrants in their new surroundings. This paper focuses on how ethnic identities and cultures are maintained and transformed in diasporic situations, namely though music. Through a systematic review of academic articles published in the last 20 years, this paper investigates the role of music in cultural identity formation among ethnic groups. The review finds that the literature stresses four particular areas: context (the diasporic situation); space for recognition and resistance; time and memory to allow identity maintenance and transformation; and politics (social subordination or resistance). The paper concludes by stressing the importance of further studies on identity formation in diaspora, not least about diasporic consciousness as a resource and restriction in the social positioning and orientation of groups. A world characterised by migration, transnational networks and global flows, as well as by a reorientation of migration and integration policies, implies new conditions for identity‐formation, and music will continue to be an important way for immigrants and refugees to negotiate and develop their identities in their new setting.

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Section: Music and Identitymentioning

confidence: 99%

The role of music in ethnic identity formation in diaspora: a research review

Lidskog¹

2016

Int Social Sci J

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“…The dynamic relationship between the global and the local is an issue that has been discussed extensively by scholars of popular music, ethnomusicology and cultural geography (Connell and Gibson 2003; Taylor 1997; Stokes 2004; Regev 1992, 1997, 2007; Negus 1993, 1996; Mitchell 1996). More often than not, the tension between the local and the global has been seen through the prism of globalisation, mainly reflecting the power of the Anglo-American centre to permeate, affect and influence local cultures, often implying a one-way flow of information from the centre to the rest of the world.…”

Section: Concepts and Contextsmentioning

confidence: 99%

Live music network in Larnaca, Cyprus: from musicians to audience and back (to the venue) again

Kouvarou¹

2018

Pop. Mus.

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This article discusses the development of a live music network in Larnaca, Cyprus. It is the result of a 9 month field research project centred on a specific music venue and it is based on interviews with members of four local prominent rock bands and the venue manager. These interviews were further informed by several discussions with numerous audience members, the result of the author's participatory involvement in this network. The emphasis of the discussion lies in the experiences of the performers and their views concerning the growth of this live music network, which in itself is an indicator of the dynamic relationship between underground musical tastes and the presence of mainstream currents in the city. The purpose of this research is to highlight that the development and preservation of such live music networks depend on various factors and to argue that the study of transformations of a locality's musical life can lead to sociological readings regarding its music-related past and present.

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“…Muzika o kojoj je reč, 40 uz to, i sama na sebe preuzima funkciju obezvremenjivanja "mesta". Zvučni repertoar raspevane fontane moguće je, naime, uz izvesne ograde, svrstati u registar "mekše strane pop muzike" koja, pošto se dovede u vezu s ideologijom, kao što je ovde moguće učiniti, raspolaže većim brojem funkcija (Stokes 2004;Tochka 2013;Cloonan 1999;Adorno [1944Adorno [ ] 2002. Konkretno, funkcija kulturnog obezvremenjivanja je u slučaju fontane na Slaviji vrlo široka, pored toga što je bazična, i pokriva sve numere koje aktuelan muzički program fontane ima da ponudi -čak i one koje, strogo uzev, nisu "pop".…”

Section: Zvučni Prostor Fontane Na Slavijiunclassified

“…Drugim rečima, raspevani vodoskok ne odražava čistu refleksiju klasnog ukusa državnog vrha, već izraz njegovog klasnog interesa, kojim se "mesto" (Trg Slavija) transformiše iz "rugla" s političkim i istorijskim identitetom u oprezno spakovan "očaravajući" komoditet bez jasno definisanog identiteta, izuzev onog koji mu pruža dodir "čarobnog štapića", prethodno dobro "namočenog" kulturnim mazivom globalnog tržišta. Nudeći čiste muzičke tonalitete, topao, ispeglan zvuk bezbroj puta emitovanih numera, poznatih na svim meridijanima, ukratko jedan "uljudan" štimung ni dobrog ni lošeg, ali "pristojnog" (popularnog) ukusa, fontana, kako svojim "stasom", tako i "glasom", nastoji da se pokaže konceptualno lako nadovezivom na ideje razvoja, civilizacije i univerzalnosti (v. Stokes 2004). 42 https://www.ekspres.net/drustvo/majkl-dzekson-i-pavaroti-u-krug-fontana-naslaviji-godinu-dana-peva-jedno-te-isto-ne-zna-se-ko-je-nadlezan-za-plejlistu 43 Prema sociološkim istraživanjima, najpopularnija muzika u Srbiji je narodna i starogradska (Cvjetičanin i Milankov 2011, 29).…”

Section: Zvučni Prostor Fontane Na Slavijiunclassified

One Song a Day Takes Mischief Away: Anthropological Analysis of the Music Fountain on Slavija Square

Pišev

2018

eap

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Ko peva, zlo ne misli: antropološka analiza prostornih i simboličkih aspekata muzičke fontane na Slaviji* 1 Apstrakt: Rad nastoji da utvrdi šta tačno znači kada gradska i, posredno, republička vlast nazove neki objekat "novim simbolom Beograda." Ovaj naučni problem razmatra se na primeru muzičke fontane na Slaviji. Kakav je to simbol i na osnovu čega mu se pripisuje dotični status? Šta bi muzička fontana, kao "novi" simbol prestonice, trebalo da predstavlja? Na ova i druga pitanja nastojaću da odgovorim antropološkom analizom mizansecna fontane i njenog simboličnog sadržaja. Pod mizanscenom podrazumevam sve ono što leži oko fontane, a što se može implicitno ili eksplicitno dovesti sa njim u prostornu vezu. Simbolička ravan fontane obuhvata, između ostalog, i njen muzički sadržaj koji će takođe biti predmet razmatranja u tekstu. Ključne reči: Muzička fontana, simbol, Slavija, popularna muzika, ideologija, kultura Uvod Muzička fontana na Trgu Slavija postavljena je u centralnom delu kružnog toka, umesto spomenika Dimitriju Tucoviću, osnivaču Socijaldemokratske partije poginulom u Kolubarskoj bici, čije su kosti, u periodu od jednog veka, nakon što su premeštene sa Slavije u Aleju velikana, sahranjene po šesti put. Spomenik društvenom teoretičaru i aktivisti, po kome je Trg Slavija sve do 2004. godine nosio ime, zamenjen je vodoskokom s prečnikom od 32 metra i visinom mlaza od 16 metara, čijih 800 kvadratnih metara vodene površine, * Tekst je rezultat rada na projektu br. 177017 koji u celosti finansira Ministarstvo prosvete, nauke i tehnološkog razvoja RS. 1 Rad je predstavlјen na nacionalnom naučnom skupu "Antropologija muzike", održanom na Filozofskom fakultetu u Beogradu u organizaciji Odelјenja i Instituta za etnologiju i antropologiju 23. 03. 2018. godine. 5 https://www.danubeogradu.rs/2017/06/muzicka-fontana-na-slaviji-novi-simbolbeograda/ Етноантрополошки проблеми, н. с. год. 13 св. 2 (2018) ANTROPOLOŠKA ANALIZA MUZIČKE FONTANE NA SLAVIJI 417 teorijski oslonci pomoću kojih sam dodatno učvrstio i ujedno proširio opseg osnovne, antropološke argumentacije. Mizanscen fontaneNa spoljašnjem zidu bazena muzičke fontane na Slaviji nema nikakvih skulptorskih radova, bilo naturalističkih, bilo apstraktnih, koji bi nam pomogli da se neposredno usredsredimo na njen simbolički sadržaj. Na njoj nema reljefnih predstava, bilo slikovno, bilo znakovno kodiranih, pa ni softera za animaciju 3D slika, koji je, prema izveštajima nekih medijskih kuća iz daleke 2016. godine, 6 trebalo da bude instaliran u mehanizam fontane u cilju vizuelne dopune njenog gala performansa. Boje koje emituju podvodni i spoljni reflektori na vodoskoku kreću se od hladnog (zelena, žuta, plava) ka toplom (crvena, ružičasta) spektru, pa stoga ne sugerišu nikakav implicitan značenjski sadržaj, već samo estetsku funkciju. Lišena uobičajenih simbola podložnih antropološkoj analizi, kao što su određene konfiguracije boja, geometrijski i slovni znakovi, kompoziti životinjskih i floralnih elemenata, reprodukcije događaja iz nacionalne istorije, mitskih narativ...

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Music and the Global Order

Cited by 12 publications

References 0 publications

The role of music in ethnic identity formation in diaspora: a research review

The role of music in ethnic identity formation in diaspora: a research review

Live music network in Larnaca, Cyprus: from musicians to audience and back (to the venue) again

One Song a Day Takes Mischief Away: Anthropological Analysis of the Music Fountain on Slavija Square

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