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Ethnomusicology @ Staley Library
Music in Mainland Southeast Asia by
Call Number: ML330 .D68 2010
Publication Date: 2009-11-20
Placing the music of this region within a social, cultural, and historical context, Music in Mainland Southeast Asia is the first brief, stand-alone volume to profile the under-represented musical traditions of Burma, Cambodia, Thailand, and Vietnam. Book and CD.
Music in the Hispanic Caribbean by
Call Number: ML3565 .M66 2010
Publication Date: 2009-12-14
Ethnomusicologist Robin Moore employs three themes in his survey of Hispanic Caribbean music: the cultural legacy of the slave trade, the creolization of Caribbean musical styles, and diaspora, migration, and movement. Book and CD.
Music in Turkey by
Call Number: ML345.T8 B37 2011
Publication Date: 2010-08-20
Author Eliot Bates employs four themes in his survey of Turkish music: the role of music in forming a national consciousness about local and regional cultures; how changes in musical meaning pertain to changes in contemporary Turkish society; the process of arrangement, where technology is creatively used to revitalize and modernize traditional music; and how today's Anatolian musical instrument performance and construction are linked to local, regional, and national identities.
The Oxford Handbook of Medical Ethnomusicology by
Call Number: ML3920 .O88 2008
Publication Date: 2008-11-03
Medical Ethnomusicology is a new field of integrative and holistic research and applied practice that approaches music, health, and healing anew, engaging the biological, psychological, emotional, social, and spiritual domains of human life that frame and inform our experiences of health and healing, illness and disease, life and death.
For your "Music Diplomacy Project," you will select an organization of your choice that engages with the United States and address:
- What are the mission, activities, and history of the organization? What global issue does it use music to address? Who are its audiences?
- How and why does this organization engage in music diplomacy? For example, do its participants engage in nation-branding, concert diplomacy, protest music, or some combination?
- For what democratic values does this organization advocate?
- What are the ethical stakes surrounding this organization: what are "both sides" of its mission? With which ethical stake or "side" do you align most closely and why?
- How effective is this organization in achieving its goals?
You will need at least one scholarly source to support your research for this project.
Music Diplomacy @ Staley Library
Popular Music and Public Diplomacy by
Call Number: Available Online
Publication Date: 2019-09-17
In the early years of the Cold War, Western nations increasingly adopted strategies of public diplomacy involving popular music. While the diplomatic use of popular music was initially limited to such genres as jazz, the second half of the 20th century saw a growing presence of various popular genres in diplomatic contexts, including rock, punk, reggae, and hip-hop. This volume illuminates the interrelation of popular music and public diplomacy from a transnational and transdisciplinary angle.
Music and Diplomacy from the Early Modern Era to the Present by
Call Number: ML3916 .M855 2014
Publication Date: 2014-12-10
How does music shape the exercise of diplomacy, the pursuit of power, and the conduct of international relations? Drawing together international scholars with backgrounds in musicology, ethnomusicology, political science, cultural history, and communication, this volume interweaves historical, theoretical, and practical perspectives.
Music in America's Cold War Diplomacy by
Call Number: ML3917.U6 F67 2015 and Available Online
Publication Date: 2015-05-01
During the Cold War, thousands of musicians from the United States traveled the world under the sponsorship of the U.S. State Department's Cultural Presentations program. Using archival documents and newly collected oral histories, this study illuminates the reception of these musical events, for the practice of musical diplomacy on the ground sometimes differed substantially from what the department's planners envisioned. Performances of music in many styles--classical, rock 'n' roll, folk, blues, and jazz--were meant to compete with traveling Soviet and Chinese artists, enhancing the reputation of American culture. These concerts offered large audiences evidence of America's improving race relations, excellent musicianship, and generosity toward other peoples. Most important, these performances also built meaningful connections with people in other lands. Through personal contacts and the media, musical diplomacy created subtle musical, social, and political relationships on a global scale. Although these tours were sometimes conceived as propaganda ventures, their most important function was the building of imagined and real relationships, which constitute the essence of soft power.
Call Number: ML3918.R37 K37 2020 and Available Online
Publication Date: 2019-11-04
Since 2001, the U.S. Department of State has been sending hip hop artists abroad to perform and teach as goodwill ambassadors. There are good reasons for this: hip hop is known and loved across the globe, acknowledged and appreciated as a product of American culture. Hip hop has from its beginning been a means of creating community through artistic collaboration, fostering what hip hop artists call building. 0A timely study of U.S. diplomacy, Build: The Power of Hip Hop Diplomacy in a Divided World reveals the power of art to bridge cultural divides, facilitate understanding, and express and heal trauma. Yet power is never single-edged, and the story of hip hop diplomacy is deeply fraught. Drawing from nearly 150 interviews with hip hop artists, diplomats, and others in more than 30 countries, Build explores the inescapable tensions and ambiguities in the relationship between art and the state, revealing the ethical complexities that lurk behind what might seem mere goodwill tours. Author Mark Katz makes the case that hip hop, at its best, can promote positive, productive international relations between people and nations. A U.S.-born art form that has become a voice of struggle and celebration worldwide, hip hop has the power to build global community when it is so desperately needed.
Moscow Nights by
Call Number: ML417.C67 C65 2016
Publication Date: 2016-09-20
A dramatic account of the life of Cold War pianist Van Cliburn describes his early years as a musical prodigy in Texas and the ways he charmed both American and Russian audiences, helping to ease tensions between the two nations.
Jazz Diplomacy by
Call Number: ML3918.J39 D38 2009
Publication Date: 2013-05-07
Jazz as an instrument of global diplomacy transformed superpower relations in the Cold War era and reshaped democracy's image worldwide. Lisa E. Davenport tells the story of America's program of jazz diplomacy practiced in the Soviet Union and other regions of the world from 1954 to 1968. Jazz music and jazz musicians seemed an ideal card to play in diminishing the credibility and appeal of Soviet communism in the Eastern bloc and beyond. Government-funded musical junkets by such jazz masters as Louis Armstrong, Dave Brubeck, Duke Ellington, Dizzy Gillespie, and Benny Goodman dramatically influenced perceptions of the U.S. and its capitalist brand of democracy while easing political tensions in the midst of critical Cold War crises.
Music on the Move by
Call Number: Available Online
Publication Date: 2020
Music is a mobile art. When people move to faraway places, whether by choice or by force, they bring their music along. Music creates a meaningful point of contact for individuals and for groups; it can encourage curiosity and foster understanding; and it can preserve a sense of identity and comfort in an unfamiliar or hostile environment. As music crosses cultural, linguistic, and political boundaries, it continually changes. While human mobility and mediation have always shaped music-making, our current era of digital connectedness introduces new creative opportunities and inspiration even as it extends concerns about issues such as copyright infringement and cultural appropriation.
Music, Art and Diplomacy: East-West Cultural Interactions and the Cold War by
Call Number: ML3916 .M8736 2020
Publication Date: 2016-02-28
Music, Art and Diplomacy shows how a vibrant field of cultural exchange between East and West was taking place during the Cold War, which contrasts with the orthodox understanding of two divided and antithetical blocs. The series of case studies on cultural exchanges, focusing on the decades following the Second World War, cover episodes involving art, classical music, theatre, dance and film. Despite the fluctuating fortunes of diplomatic relations between East and West, there was a continuous circulation of cultural producers and products. Contributors explore the interaction of arts and politics, the role of the arts in diplomacy and the part the arts played in the development of the Cold War. Art has always shunned political borders, wavering between the guidance of individual and governmental patrons, and borderless expression. While this volume provides insight into how political players tried to harness the arts to serve their own political purposes, at the same time it is clear that the arts and artists exploited the Cold War framework to reach their own individual and professional objectives. Utilizing archives available only since the collapse of the Soviet Union, the volume provides a valuable socio-cultural approach to understanding the Cold War and cultural diplomacy.
Music and International History in the Twentieth Century by
Call Number: Available Online
Publication Date: 2015-04-30
Bringing together scholars from the fields of musicology and international history, this book investigates the significance of music to foreign relations, and how it affected the interaction of nations since the late 19th century. For more than a century, both state and non-state actors have sought to employ sound and harmony to influence allies and enemies, resolve conflicts, and export their own culture around the world. This book asks how we can understand music as an instrument of power and influence, and how the cultural encounters fostered by music changes our ideas about international