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BORN, Western Music
Western Music and Its Others Western Music and Its Others Difference, Representation, and Appropriation in Music EDITED BY Georgina Born and David Hesmondhalgh UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London All musical examples in this book are transcriptions by the authors of the individual chapters, unless otherwise stated in the chapters. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2000 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Western music and its others : difference, representation, and appropriation in music / edited by Georgina Born and David Hesmondhalgh. p. cm. Includes bibliographical references and index. isbn 0-520-22083-8 (cloth : alk. paper)—isbn 0-520--22084-6 (pbk. : alk. paper) 1. Music—20th century—Social aspects. I. Born, Georgina. II. Hesmondhalgh, David. ml3795.w45 2000 781.6—dc21 00-029871 Manufactured in the United States of America 09 08 07 06 05 04 03 02 01 00 10987654321 The paper used in this publication meets the minimum requirements of ANSI/NISO Z39.48-1992 (R 1997) (Permanence of Paper). 8 For Clara and Theo (GB) and Rosa and Joe (DH) And in loving memory of George Mully (1925–1999) CONTENTS acknowledgments /ix Introduction: On Difference, Representation, and Appropriation in Music /1 I. Postcolonial Analysis and Music Studies David Hesmondhalgh and Georgina Born / 3 II. Musical Modernism, Postmodernism, and Others Georgina Born / 12 III. Othering, Hybridity, and Fusion in Transnational Popular Musics David Hesmondhalgh and Georgina Born / 21 IV. Music and the Representation/Articulation of Sociocultural Identities Georgina Born / 31 V. -
Title: Valuing Tradition: Mali's Jeliw, European Publishers and Copyright
This is the version of the article accepted for publication in Journal of World Popular Music Vol. 4 (1) published by Equinox Publishing: https://journals.equinoxpub.com/index.php/JWPM/issue/archive Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/23968/ Title: Valuing Tradition: Mali’s jeliw, European publishers and Copyright Author: Caspar Melville, SOAS University of London The issue of how copyright works for the musical traditions of Africa has been steadily growing in importance since the 1990s, pushed to the fore by the increasing visibility of African artists in the world music market, the neoliberalisation of African economies that is pushing IP issues into the centre of state creative industry policies, the ubiquity of illegal forms of reproduction, physical and increasingly digital and the processes by which immaterial goods and cultural traditions are becoming reimagined as commodities. Recent scholarly discussions of this issue moves the debate significantly beyond the simple notion of copyright as a Eurocentric imposition on vulnerable African cultural heritage and instead considers how IP issues are addressed differentially in specific local contexts across sub-Saharan Africa. This article examines these issues in relation to how Mali‟s Mande griots (“jeliw”) work with European publishers. Based on a series of sixteen interviews with jeli musicians and European publishers and others in the world music industry, its main finding is that while it is necessary to reconsider what we mean by composition in relation to Mali‟s Jeliw and their musical practice, copyright can and is being adapted by publishers working with traditional musicians to provide much needed revenue to jeli composers and plays a role in sustaining a vital, but vulnerable, tradition. -
Untitled Meditation No
TABLE OF CONTENTS Ordering Information 2 Women's Spirituality * New Age 36 Ladyslipper On-Line! http://ww.ladyslipper.org 3 Women's Music * Feminist * Lesbian 45 Order Blank 4 Alternative 53 Gift Orders * Gift Certificates 5 Rock * Pop 56 Ladyslipper Listen Line * Buy A Brick 6 Folk * Singer-Songwriter 58 Ladyslipper Mailing List * E-Mail List 8 Country 63 How To Celebrate Our 20th Anniversary? 9 Jazz 64 Ladyslipper's Top 100 10 Blues 65 Musical Month Club * Donor Discount Club 11 Gospel 66 Free Gifts * Cassette Madness Sale 12 R&B * Rap 66 Holiday 13 Dance 67 Cards * Posters * Grab-Bags 16 Cabaret 68 Calendars 17 Soundtracks 69 Classical 18 Choral 70 World 20 "Mehn's Music" 72 Celtic * British Isles 21 Comedy 76 European 26 Spoken 77 Latin American 27 Babyslipper Catalog 78 Asian * Pacific 29 Videos 79 Arabic * Middle Eastern 29 T-Shirts * Music Screeners 83 Jewish 30 Songbooks 83 African 31 Books 84 African Heritage 31 Readers' Comments 85 Native American 33 Ladyslipper Anniversary Concerts 86 Drumming * Percussion 34 Artist Index 87 MAIL: Ladyslipper PO Box 3124, Durham NC 27715 USA PHONE ORDERS: 800-634-6044 (Mon-Fn 9-9. Sat 11-5 Eastern Time FAX ORDERS: 919-383-3525 INFORMATION: 919-383-8773 ORDERING INFO E-MAIL: orders®! adyshpperorg WEB SITE: http//w PAYMENT: Orders can be prepaid or charged (we BACK-ORDERS AND ALTERNATIVES: If we are FORMAT: Each description states which formats are don't bill or ship C.O.D. except to stores, libraries and temporarily out of stock on a title, we will automati available. -
Environmental Rights Report: Human Rights and the Environment
ENVIRONMENTAL RIGHTS REPORT HUMAN RIGHTS AND THE ENVIRONMENT MATERIALS FOR THE 61ST SESSION OF THE UNITED NATIONS COMMISSION ON HUMAN RIGHTS GENEVA, MARCH 14 – APRIL 22, 2005 ABOUT EARTHJUSTICE Earthjustice was founded in 1971 and has consultative status with the U.N. Economic and Social Council. We are a nonprofit public interest law firm dedicated to protecting the magnificent places, natural resources, and wildlife of this earth and to defending the right of all people to a healthy environment. We bring about far-reaching change by enforcing and strengthening environmental laws on behalf of hundreds of organizations and communities. Earthjustice’s International Program uses the power of the law to protect the environment and human health worldwide. We represent public interest and community groups in international tribunals and domestic courts to hold corporations and governments responsible for environmental harm, prevent trade rules from undermining public health and environmental protections, and create strong tools for citizens to defend the right to a healthy environment. This report was prepared by Marcello Mollo Alyssa Johl J. Martin Wagner Neil Popovic Yves Lador Jo Ann Hoenninger Ehren Seybert Matthew Walters and Environmental Justice Course Participants, Whittier Law School Course Taught by Professor Hari Osofsky Earthjustice 426 17th Street Oakland, CA 94612 U.S.A. Telephone: 510-550-6700 E-mail: [email protected] Internet: www.earthjustice.org FREE REPRODUCTION RIGHTS WITH CITATION TO ORIGINAL. TABLE OF CONTENTS -
Baka Beyond Biography
BAKA BEYOND BIOGRAPHY Musicians from 6 countries in the Celtic fringes of Europe and the West coast of Africa join together to play the most originallive world fusion sound around. The spirit of the music lives in the rhythm. All Baka Beyond's rhythms are played by human beings not machines ! History:Baka Beyond were originally inspired by Martin Cradick & Su Hart's visits to the Baka Forest People in Cameroon. While there they played music with and recorded the Baka resulting in two albums, Heart of the Forest - field recordings of the traditional Baka music - & Spirit of the Forest http://www.bakabeyond.net/images/martin_band.jpg- a mix of music written with & inspired by the Baka.Watch Martin playing with the Baka The album "Spirit of the Forest" helped define the term “world music” and pushed Baka Beyond into worldwide recognition. From these beginnings, recorded in a bedroom studio and based on live jams recorded while living with the Baka Pygmies in the rainforests of South-East Cameroon, Baka Beyond has evolved into a multicultural, dynamic live stage show. “It was the amazing bird-like singing or yelli that first attracted me,” says Su Hart, Baka Beyond’s lead singer. “The women get together before the dawn to sing, enchant the animals of the forest and ensure that the men’s hunting will be successful. Song and dance are used by the Baka for healing, for rituals, for keeping the community together and also for pure fun! We try to do the same in Baka Beyond.” Although in the early days the live “Baka Beyond” was mainly British musicians reproducing the recordings on “Spirit of the Forest”, over the years the band has grown to include members from Brittany, Cameroon, Senegal, Sierra Leone and Ghana as well as Britain.