Revised Pages Music on the Move Revised Pages Revised Pages Music on the Move Danielle Fosler-lussier University of Michigan Press Ann Arbor Revised Pages Copyright © 2020 by Danielle Fosler-Lussier Some rights reserved Tis work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. Note to users: A Creative Commons license is only valid when it is applied by the person or entity that holds rights to the licensed work. Works may contain components (e.g., photographs, illustrations, or quotations) to which the rightsholder in the work cannot apply the license. It is ultimately your responsibility to independently evaluate the copyright status of any work or component part of a work you use, in light of your intended use. To view a copy of this license, visit http://creativecommons.org/ licenses/by-nc/4.0/ Published in the United States of America by the University of Michigan Press Manufactured in the United States of America Printed on acid-free paper First published June 2020 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Names: Fosler-Lussier, Danielle, 1969– author. Title: Music on the move / Danielle Fosler-Lussier. Description: Ann Arbor : University of Michigan Press, 2020. | Includes bibliographical references and index. | Identifers: lccn 2020011847 (print) | lccn 2020011848 (ebook) | isbn 9780472074501 (hardcover) | isbn 9780472054503 (paperback) | isbn 9780472126781 (ebook) | isbn 9780472901289 (ebook other) Subjects: LCSH: Music—Social aspects. | Dissemination of music. | Music and globalization. Classifcation: LCC ml3916 .f67 2020 (print) | LCC ml3916 (ebook) | DDC 780.9—dc23 LC record available at https://lccn.loc.gov/2020011847 LC ebook record available at https://lccn.loc.gov/2020011848 Publication of this open monograph was the result of Te Ohio State University’s participation in TOME (Toward an Open Monograph Ecosystem), a collaboration of the Association of American Universities, the Association of Research Libraries, and the Associ- ation of University Presses. TOME aims to expand the reach of long-form humanities and humanistic social science scholarship including digital scholarship. Funding from Te Ohio State University Libraries made it possible to open this publication to the world. Cover illustration: Map by M. Bourie for Air Afrique. Courtesy of David Rumsey Map Collection, www.davidrumsey.com. Revised Pages Contents Preface vii List of Maps xi Media Chronology xiii Introduction 1 Part 1: Migration Introduction to Part I 13 Chapter 1 Colonialism in Indonesia: Music Moving with an Occupying Force 19 Chapter 2 The Romani Diaspora in Europe: Mutual Influences 43 Chapter 3 The African Diaspora in the United States: Appropriation and Assimilation 68 Part 2: Mediation Introduction to Part II 93 Chapter 4 Sound Recording and the Mediation of Music 95 Chapter 5 Music and Media in the Service of the State 120 Revised Pages vi Contents Part 3: Mashup Introduction to Part III 149 Chapter 6 Composing the Mediated Self 151 Chapter 7 Copyright, Surveillance, and the Ownership of Music 180 Chapter 8 Localizations: Mediated Selves Mixing Musics 202 Conclusion: Violence, Difference, and Peacemaking in a Globalized World 229 Notes 241 Selected Bibliography 279 Index 293 Digital materials related to this title can be found on the Fulcrum platform via the following citable URL: https://doi.org/10.3998/mpub.9853855 Additional materials and teacher resources can be found at musiconthemove.org Revised Pages Preface In this book I aim to work out some of the ways in which human connections made through migration and media have shaped music-making. Arjun Appa- durai has observed that “any book about globalization is a mild exercise in megalomania,” and I am well aware that this project can never be complete.1 I do not have a “god’s-eye view” of the world or its music; I have not even been to all the places discussed in these pages. Yet in an age where the movement of people and music is evident all around us, it seems important to try to think about music in a connected way, tracking not only music that stays in one place but also music that moves. Although this book undoubtedly re ects my perspective as a college teacher from the United States, I have tried to make the viewpoint inclu- sive—to frame the discussion so that people who come from many back- grounds will fnd something here they might relate to. Te broad scope of this book means that no topic is treated in full: there is always more to the story than I can tell here. My training in the United States and Europe concentrated on concert music and, to a lesser extent, jazz. My subsequent growth has been shaped by engagement with many friends and scholars and the music they love and study. Tis is personal work: I have drawn on the enthusiasm of my colleagues as well as their expertise. Te National Endowment for the Humanities Sum- mer Institute on Ethnomusicology and Global Culture, led by Eric Charry, Mark Slobin, Sumarsam, and Su Zheng in June 2011, taught me a great deal and helped me begin to turn my Music on the Move course into this book. When Emily Erken, Alison Furlong, and Austin McCabe Juhnke taught the course, they too made improvements, as did guest lecturers Tracie Parker and Nicholas Poss. Te undergraduate students who took the course between 2005 and the present have also assisted in the development of this project—most of all, by bringing me music they cared about and asking me to listen. I owe a great deal to generous people who have shared their perspectives Revised Pages viii Preface and corrected many errors along the way. Nathaniel Lew, Marianne Lipson, Joanne Lussier, Benjamin Tausig, and one anonymous reader ofered valuable criticism on the whole manuscript. Hyun Kyong (Hannah) Chang, Brigid Cohen, Eric Drott, Luis-Manuel Garcia, Petra Gelbart, K. E. Goldschmitt, Sandra J. Graham, Jeremy Grimshaw, Lynn Hooker, Mark Katz, Ryan Tomas Skinner, Kendra Salois, and Henry Spiller kindly ofered their extensive sub- ject matter expertise and vastly improved various sections of the book. To Lynn Hooker I owe particular thanks: without her research and teaching, chapter 2 could not have been written, and her willingness to use this book with her students helped me refne it. Courtney Bryan, Samantha Ege, and Asha Srinivasan were generous in sharing insights, scores, and recordings with me; Soojin Kim allowed me to use a photograph from her research. Louis Epstein’s innovative thinking and technical knowledge about digital mapping has shaped this work. Jane Harrison, Dan Jurafsky, Lijuan Qian, Ali Sait Sadıkoğlu, Johanna Sellman, Henry Spiller, and Janet Yu graciously helped with selection, translation, and interpretation of sources. I appreciate Julian Halliday’s assistance with the images. And conversations with Gabriel Solis and Olivia Bloechl, who are bringing a global music history into being, helped me adjust my frame of reference. For partnership in this work I am deeply grateful to Eric Fosler-Lussier, who not only authored the digital maps but also urged me to think about my data in new ways and helped me secure the practical conditions necessary for a phase of intensive writing. His confdence and his sacrifces of time and energy made this book possible. My writing and teaching are further sustained by a network of wonderful colleagues, many more than I can name here. In addi- tion to those listed above, they include Carolyn Abbate, Emily Abrams Ansari, Harmony Bench, Joy Haslam Calico, Maribeth Clark, Daniel Goldmark, Anna Gawboy, David Hedgecoth, Erika Supria Honisch, Lisa Jakelski, Jennifer Johnson, Marian Wilson Kimber, Hannah Kosstrin, Beth Levy, Morgan Liu, Dorothy Noyes, Hye-jung Park, Chris Reynolds, Peter Schmelz, Anne Shref- er, Leslie Sprout, Steve Swayne, Juliet White-Smith, and Reba Wissner. Funding from the College of Arts and Sciences at Ohio State University helped me acquire the rights to images and audiovisual materials, and a sab- batical in 2017–18 allowed me to fnish writing the text. For a subvention that allowed the University of Michigan Press to publish this as an open-access book, I am grateful to the Ohio State University Libraries and the TOME initiative (Toward an Open Access Monograph Ecosystem), a collaboration of the Association of American Universities, the Association of University Presses, Revised Pages Preface ix and the Association of Research Libraries. A Course Enhancement Grant from the Ohio State University Libraries also supported early development of these materials. Many thanks to Sara Cohen, Susan Cronin, Jon McGlone, Kevin Rennells, Charles Watkinson, and Lanell White for shepherding the book to publication; Joe Abbott for copyediting; and Mary Francis for believ- ing in the possibilities for this book on the Press’s digital platform. Revised Pages Revised Pages Maps Trading Area of the Dutch East India Company 21 Migration of Romani People into Europe 45 Trans-Atlantic Slave Trade Voyages 69 Concert Tours of the Fisk Jubilee Singers, 1871–80 88 Superpower Interventions during the Cold War 130 Internet Usage Rates by Region, 2018 181 Korean Population of the United States 207 Revised Pages Revised Pages Media Chronology 1877 Edison phonograph invented 1910s 78 rpm records widely available (not the only recording speed) 1925 Electric recording available (via microphones) 1930s Magnetic tape used by German government for propaganda recordings 1946 Only 0.5 percent of US households have television sets 1947 Magnetic tape available for commercial recordings; can be spliced to edit 1948 33 1/3 rpm long-playing (LP) records available 1949 45 rpm “singles” (1 song on a side) cheaply available 1954 More than 55 percent of US households have television sets 1958 Stereophonic sound, multitrack magnetic tape 1966 Compact cassette tape in wide circulation 1983 Compact discs introduced 1980s Internet access available to consumers 1998 First music stores appear on the internet 2001 Apple begins selling the iPod.