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 (jkaiser@ucsd.edu) Teaching Assistants: Nicholas Deyoe (ndeyoe@ucsd.edu) Todd Moellenberg (tmoellen@ucsd.edu) 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 cant 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 worlds...
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12-Youssou, Baaba, Oumou - T HE M USIC OF A FRICA AND THE D...

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