12-Youssou, Baaba, Oumou

12-Youssou, Baaba, Oumou - T HE M USIC OF A FRICA AND THE D...

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Unformatted text preview: T HE M USIC OF A FRICA AND THE D IASPORA Music 13AF: Tuesdays and Thursdays, 11:00 to 12:20pm Instructor: Jeff Kaiser ([email protected]) Teaching Assistants: Nicholas Deyoe ([email protected]) Todd Moellenberg ([email protected]) Quiz 2-28 1. (T/F) According to our reading: focusing on corporations that own the means of production and distribution are a “red herring” to take us off of what we really need to look at: the individual morality of musicians 2. (T/F) According to our lecture: in spite of its construction as a benign and “apolitical” album, Graceland became quite political 3. The Sun City video and song featured a group called Artists United Against ________. (Fill in the blank.) 4. (T/F) Angelique Kidjoe said, “The only danger of the world music label is that of being left out of the mainstream.” First: • Authentic/Authenticity • What do these terms mean in relation to the music we are studying? • Frequently: • Westerners are “authentic” when they are “true to themselves” • Non-Westerners are only authentic when they are true to their country/people, frequently this mean “pre-modern” • Paul Simon, Peter Gabriel, The Weavers, Yma Sumac can “Africanize” • But African artists can’t “Westernize” as Westerners demand “authenticity” • Are constructions of “authenticity” actually stereotyping? • Strategic Inauthenticity (Timothy Taylor, Global Pop) • IF Western demands for “authenticity” (imposition to remain “pre-modern”) • THEN being “inauthentic,” for African artists, may be a strategy against stereotyping • To limit hybridity or access to modern sounds and production is a form of musical Apartheid First: • Even though we must remain on the watch for cultural imperialism… • Traditional musics are (often) being maintained • At times financed by global pop artists • Others are being lost (or have become museum pieces), but arguably this has always happened • New indigenous sounds are being created and transformed • New popular musics are engaging styles and musicians from all over • Decentralization of production allows for more players to get involved • New U.S. styles have (almost) always emerged for the underclass • Perhaps the same will be true globally First: • Questions/Concerns remain • Is “world music” really helping us to appreciate the world’s...
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This note was uploaded on 03/23/2012 for the course MUSIC 13af taught by Professor Kaiser during the Winter '12 term at UCSD.

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12-Youssou, Baaba, Oumou - T HE M USIC OF A FRICA AND THE D...

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