brusila2004
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Brusila, Johannes: |
CONTENTS
Acknowledgements 7
I. introduction 11
1. Earlier approaches 13
2. Aims of the research 22
3. Research setting 26
4. Methodological choices 31
II. The formation and industrial practice of world music 43
1. Historical background 43
1.1 The term ‘World Music’ 47
1.2 Background discourses 49
1.3 Cultural and industrial context 56
2. The formation of World Music 58
2.1 Definitions of World Music 60
2.2 The music of the ‘Other’ 64
3. The industrial practice of World Music 68
3.1 The marketing category of exclusion 69
3.2 The assumptions framing the concept of World Music 78
4. Binaries and fields of tension 84
III. The tension traditional-modern 89
1. Traditional culture 89
1.1 The search for the lost tradition 92
1.2 Modern traditional rnbira by Virginia Mukwesha 96
2. Roots music 107
2.1 The Bhundu Boys’ jit 112
2.2 The city jiti of Mukwesha 123
2.3 Sunduza’s mbube 127
3. Different yet familiar music 138
3.1 The accessibility of the music 139
3.2 The Bhundu Boys and WEA 145
4. Changing interpretations of tradition and modernization 157
IV. The tension local-global 163
1. Local music in an international context 163
1.1 The Zimbabwean musicians out in the world 168
1.2 Musical tourism and traveling 174
2. The universality of the local 178
2.1 The production of music 180
2.2 The idea of universalism 181
2.3 Webs of consumption 186
2.4 The World Music scene 192
3. Cultural gray-out or heterogeneity 194
3.1 The Bhundu Boys between darkness and light 196
3.2 Virginia Mukwesha’s pan-Africanized style 200
3.3 Sunduza: from mbube to dance theatre 204
4. Globalization processes 213
V. Summary and conclusions 221
1. World Music as a discourse 222
2. Fields of tension 224
3. World Music as a phenomenon of late modernity 228
4. Concluding words 229
References 233
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