Lexington Books
Pages: 250
•
Trim: 6 x 9¼
978-0-7391-1821-4 • Hardback • December 2007 • $104.00 • (£80.00)
978-0-7391-1822-1 • Paperback • April 2010 • $46.99 • (£36.00)
978-0-7391-5937-8 • eBook • December 2007 • $44.50 • (£34.00)
Ignacio Corona is associate professor in the departments of Spanish and Portuguese and comparative studies at Ohio State University. Alejandro L. Madrid is assistant professor in the Latin American and Latino Studies Program, University of Illinois at Chicago.
Chapter 1 Preface
Part 2 Part I. Postnational Perspectives in Music Scholarship
Chapter 3 Chapter 1. Introduction: The Postnational Turn in Music Scholarship and Music Marketing
Chapter 4 Chapter 2. Nationalist and Postnationalist Perspectives in American Musicology
Chapter 5 Chapter 3. Productive Orientalisms: Imagining Noise and Silence Across the Pacific, 1957-1967
Part 6 Part II. A Transnational Caribbean
Chapter 7 Chapter 4. The Miamization of Latin-American Pop Music
Chapter 8 Chapter 5. Nostalgia and the Negotiation of Dislocated Identities: Puerto Rican Boleros in New York and Nuyorican Poetry
Part 9 Part III. Across the U.S.-Mexico Border
Chapter 10 Chapter 6. Ideology, Flux, and Identity in Tijuana's Nor-tec Music
Chapter 11 Chapter 7. Quest for the Local: Building Musical Ties between Mexico and the United States
Chapter 12 Chapter 8. Assimilation, Reclamation, and the Rejection of the Nation-State Chicano Musicians
Chapter 13 Chapter 9. RockIn' la Frontera: Mexican Rock, Globalization, and National Identity
Part 14 Part IV. South-American Connections
Chapter 15 Chapter 10. Before and After Samba: Modernity, Cosmopolitanism, and Popular Music in Rio de Janeiro at the Beginning and End of the 20th Century
Chapter 16 Chapter 11. The "Afro-Colombianization" of Hip-Hop and Discourses on Authenticity
Chapter 17 Chapter 12. Transnational Soundscapes: Ambient Music and Bossatrônica
Postnational Musical Identities offers diverse scholarly interpretations of music in relation to globalization through varied musical examples….Contribute to knowledge of particular musics, illustrate varied processes of musical production and explicate the interpretive frameworks these musics both engender and by which they are engendered….The book offers a variety of methodological and conceptual approaches to the study of music production and meaning in the complicated "globalized" world in which we all live.
— Current Musicology, Number 89, Spring 2010
Postnational Musical Identities is a remarkable collection of essays that brings together scholars from several disciplinary and regional specializations to reflect critically and innovatively on the production, distribution, performance and consumption of music in a globalized context. These essays bear witness to Stuart Hall's famous remark that cultural identity is not so much about ancient 'roots' as it is about jagged 'routes' that traverse multiple borders. Combining keen theoretical insights with feet-on-the-ground analysis, this volume is a most welcome and timely contribution to music scholarship.
— Christopher Dunn, Tulane University
The editors of this volume do a laudable job balancing historical essays with more ethnographic ones and although the essays complement each other well, ten of twelve focus on Latino or Latin American case studies.....Overall, Postnational Musical Identities makes a valuable and fascinating contribution to studies dealing with borderlands, migration, and identities.
— Project Muse
This book is a welcome addition to the growing corpus of work that seeks to re-situate new configurations of the national amidst a reductive debate in musicology which has too often become unhelpfully polarized between the global and the local.
— Twentieth-Century Music