Global Popular Music Bassim Hamadeh, CEO and Publisher Mieka Portier, Senior Acquisitions Editor Susan Christie, Developmental Editor Alia Bales, Production Editor Miguel Macias, Senior Graphic Designer Alisa Munoz, Licensing Coordinator Jennifer Redding, Interior Designer Natalie Piccotti, Director of Marketing Kassie Graves, Vice President of Editorial Jamie Giganti, Director of Academic Publishing Copyright © 2019 by Cognella, Inc. All rights reserved. No part of this publication may be reprinted, reproduced, transmitted, or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter in- vented, including photocopying, microfilming, and recording, or in any information retrieval system without the written permission of Cognella, Inc. For inquiries regarding permissions, translations, foreign rights, audio rights, and any other forms of reproduction, please contact the Cognella Licensing Department at [email protected]. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Cover image copyright © 2017 iStockphoto LP/Kuptsovas87. Printed in the United States of America. ISBN: 978-1-5165-2586-7 (pbk) / 978-1-5165-2587-4 (br) Global Popular Music First Edition Edited by Thomas Garcia Contents INTRODUCTION TO GLOBAL POPULAR MUSIC: WHAT IS POP? vii CHAPTER 1: AFRICAN-AMERICAN MUSIC: BLUES, BLOOD, AND A BACKBEAT 01 Reading 1: The Roots of the Blues by Dick Weissman 11 CHAPTER 2: BRAZIL: SAMBA, SAMBA-REGGAE, AND CARNAVAL 29 Reading 1: Reggae and Samba-Reggae in Bahia by Antonio J. V. dos Santos Godi 33 Reading 2: From Popular Culture to Microenterprise by Alison Raphael 46 CHAPTER 3: ARGENTINA: IT TAKES TWO TO TANGO 56 Reading 1: Reinventing the Finnish Tango by Wif Stenger 61 Reading 2: Globalization and the Tango by Chris Goertzen and Maria Susana Azzi 65 CHAPTER 4: MEXICO: MARIACHI, MÚSICA NORTEÑA, AND CROSS-BORDER MUSIC 76 Reading 1: Mexicanidad and Música Norteña in the “Two Mexicos” by Catherine Ragland 81 CHAPTER 5: LATIN AMERICAN MUSIC: SALSA PICANTE WITH RICE AND BEANS 100 Reading 1: Situating Salsa by Lise Waxer 107 CHAPTER 6: CARIBBEAN MUSIC: REGGAE, RUMBA, AND RIDDIMS 125 Reading 1: How Reggae Defeated Mambo by Chris Kjorness 128 Reading 2: Five Themes in the Study of Caribbean Music by Peter Manuel, Kenneth Bilby, and Michael Largey 137 CHAPTER 7: AFROPOP: HIGHLIFE, TIP-TOE GUYS, AND GRACELAND 154 Reading 1: First Fusions—Orchestras and Brass Bands by John Collins 157 Reading 2: Graceland (1986) World Music Collaboration by Carol A. Muller 166 CHAPTER 8: BOLLYWOOD AND BHANGRA: INDIAN MUSIC IN THE DIASPORA 186 Reading 1: India’s Music by Natalie Sarrazin 189 Reading 2: Bhangra Boomerangs by Anjali Gera Roy 199 CHAPTER 9: K-POP: GLOBALIZATION OF THE ASIAN MUSIC INDUSTRY 218 Reading 1: Lessons from K-pop’s Global Success by Seo Min-Soo 222 CHAPTER 10: HOW RADIOHEAD CHANGED THE WORLD: A NEW MARKETING MODEL 228 Reading 1: Is Radiohead the Pink Floyd of the Twenty-First Century? by George A. Reisch 231 CHAPTER 11: EXPORTING RAP: HIP-HOP GOES GLOBAL 240 Reading 1: Hip-hop as a Global Cultural Phenomenon by Peter Webb 243 An Introduction Global Popular Music What Is Pop? his anthology is a survey of popular music throughout the world, looking at specific countries T and genres, examining how popular music throughout the world is connected. It considers some basic questions: to what music do people around the globe listen? What do they watch? How do they access music? Through the study of specific cultures and repertories, students will explore popular music in various cultural contexts in the United States, Europe, Asia, Africa, and Latin America. The goal is to give students a broad understanding of what exactly is meant by popular music, how it can be defined, and the differences and similarities among diverse popular music traditions. This anthology is designed to: • Foment understanding and appreciation of the historical evolution of musical style, genre, and performance in various cultural contexts; • Encourage the recognition and understanding of political, sociological, and cultural forces on music throughout the globe; • Foster an understanding of the evolution of popular music in various cultural contexts; • Examine local, regional, and global forces on the development of music and popular culture. By the end of this anthology, students will be able to: • Evaluate the impact of political, sociological, and cultural forces on popular music and the arts; • Analyze and understand political and social forces in contemporary and historical popular music; • Discuss the complex relationship among race, ethnicity, and class in the development of culture; • Describe how technology has shaped the performance, composition, and consumption of music. vii What is Popular Music? This book is dedicated to global popular music. This brings up several questions: What is pop- ular? What is global? How can we define either? What are the connections? How does popular music differ from classical? From folk? What separates classical, folk, and popular music is in many ways hard to define, but one thing that distinguishes all three is transmission: how music goes from person to person, from place to place, from time to time. Classical Music Classical music in most music cultures has some specific characteristics not present in folk or popular music. In most cases, in the Americas, Europe, Japan, India, or any other place with a strong classical music tradition, classical music tends to be the music of the elite. This may be the economic, social, or intellectual elite, a population that is generally educated and cultured. Classical music transmission in Western music culture is traditionally by means of notation, but this is not the case in many other classical music traditions, most of which do not have music notation system. Indian classical music, for example, differs in the North and South, but in either case this music is transmitted orally, not by means of notation. There is no traditional notation system in Indian music, although the Western notation system is used by many today. However, it does not function particularly well, due to the differences in scale and tuning in India compared to Western music. There is a developed and rigorous training system for Indian classical music, but it is learned by rote from master to apprentice, and although there is a standard repertory in Southern India (Northern Indian classical music is improvised based on very strict rules), pieces are passed down orally and undoubtedly have been subjected to changes due to this means of transmission. Another common element in classical music traditions is training, which is for the most part by means of a master-apprentice relationship. In the Western classical music system, the study of classical music often begins at a young age, taking lessons either in school or with a private teacher. Who in today’s day and age doesn’t know someone who takes or has taken private lessons, be it for piano, singing, clarinet or what have you? This is also the case in many non-Western classical music traditions. For example, Indian children often take lessons with a guru, a teacher specializing in singing or one of many Indian classical instruments, usually with lessons in a group setting, studying for years by means of oral instruction. The common thread in all classical music is this idea of instruction, establishing a separate musician class, separating performer and audience, a phenomenon not common in folk music traditions in which audience and performer are often the same group of people. Folk Music “Folk music is music that has been submitted to the process of oral transmission; it is the product of evolution and is dependent on the circumstances of continuity, variation, and selection” (Karpeles 1955, 6; italics added): viii • “Continuity, which links the present with the past; • Variation, which springs from the creative impulse of the individual or the group; • Selection by the community, which determines the form in which folk music survives” (International Folk Music Council 1955, 23). This definition leaves out the origin of folk music, which in Western music evolved from rudimentary beginnings uninfluenced by art or classical music. It is also “music which has originated with an individual composer [or composers] and has subsequently been absorbed into the unwritten, living tradition of a community” (International Folk Music Council 1955). When a tune passes into oral tradition, it becomes subject to the forces of evolution and con- forms to the demands of continuity, variation, and selection. Folk music is not static but always changing. Often folk music is of communal authorship, in which time is a factor. It is constantly altered through time by means of oral transmission in the great, cosmic game of telephone whereby one person says something which gets passed from person to person, changing as it is transmitted; in folk music, this telephone game is from person to person, community to community, through time and space. It changes by evolution, not revolution. Art music and folk music exist side by side, and there is often an interaction between the two; one has only to listen to the music of Aaron Copland or Bela Bartok to understand this connection. Folk music informs art music, and vice-versa. Some scholars connect folk music to rural culture, and in many traditions, this seems to be the case. In much of Europe, for example, folk music is connected for the most part to rural areas, where it is passed down from generation to generation, with variations having to do with the particular villages; the village could have the same repertory with local changes or might have a completely different repertory or even style. In Norway, folk fiddling traditions, style, and repertory vary greatly from village to village, sometimes only a few miles apart.