Music Glocalization: Heritage and Innovation in a Digital Age
This unique edited volume offers a distinctive theoretical perspective and advanced insights into how music is impacted by the interaction of global forces with local conditions. As the first major book to apply the timely notion of “glocality” to music, this collection features robust scholarship on genres and practices from many corners of the world: from studies of European opera professions and the oeuvre of several contemporary art music composers, to music in Uzbekistan and Indonesia, urban street musicians, and even the didjeridoo.
The authors interrogate theories of glocalization, distinguishing this notion from globalization and other more familiar concepts, and demonstrate how its application illuminates the mechanisms that link changing musical practices and technologies with their social milieu. This incisive book is relevant to scholars of many different specializations, particularly those with a deep interest in relationships between music and society, both past and present. More broadly, its discussions will be of value to those concerned with how changing policies and technologies impact cultural heritage and the creative approaches of performing artists worldwide.
David Hebert is a Professor of Music at the Western Norway University of Applied Sciences, where he leads the Grieg Academy Music Education research group. He also frequently lectures for China Conservatory in Beijing, and leads Bergen’s inter-university summer PhD course Cultural Heritage and Policy in a Digital Age. He has taught and researched music on each inhabited continent and is a frequent keynote speaker for music conferences. His work is widely cited, including articles in over 30 different professional journals, and he serves on several editorial boards. His previous publications include Wind Bands and Cultural Identity in Japanese Schools, Patriotism and Nationalism in Music Education, Theory and Method in Historical Ethnomusicology, and International Perspectives on Translation, Education and Innovation in Japanese and Korean Societies.
Mikolaj Rykowski lectures for the Music Theory Department at the Music Academy in Poznań, Poland. He holds a PhD in Musicology from Adam Mickiewicz University, Poland, wrote a dissertation entitled “Harmoniemusik: An Artistic and Sociological Phenomenon of Musical Culture in the 18th and First Half of the 19th Century Central Europe”. He has published in Alta Musica and Musicologica Brunensia. His latest research project is a monograph on Franz Xaver Scharwenka’s creative output. As an editor, he has produced a book about flute concertos in the 18th century, titled Koncert fletowy w XVIII wieku – od ekspresji wirtuozerii po syntezę stylów narodowych (2013).
“The volume displays remarkable thematic coherence, which allows the editors to use the material presented within individual chapters in order to build broader theoretical arguments. In its conception and execution, this volume is a noteworthy effort to insert the problematic of glocalization into the disciplines of musicology and ethnomusicology.”
Ethnomusicology Review, September 2019
“One of the major strengthens of Music Glocalization is that it clarifies and explains the varied literature circulating around the key word—music glocalization—to broaden our understanding and analysis of a wide variety of music issues. To summarize, this is an indispensable book, and I highly recommend it for researchers, students, and libraries with a strong interest in the processes of globalization and localization, musicology, ethnomusicology, cultural studies, cultural sociology, sociology, and communication. It will also be of great interest to those in the field of international, transnational, and cosmopolitan studies.”
Hong-Kong Baptist University
“[This is] the first collection on music topics to explicitly deal with the concept of glocalization […] [It provides] new and often original examples of how the transnational circulation of ideas, music, and musicians has contributed—in the 'digital age' as well as in the past—to the relentless, messy process of negotiation and definition of collective and individual identities.”
Notes: Journal of the Music Library Association
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