Source:The University of Chicago Press,, Chicago, United States , p.200 pages : (2022)
Mots-clés:(OCoLC)fst01030444, (OCoLC)fst01030477, (OCoLC)fst01071422, (OCoLC)fst01181375, Aspect social, China, China., Chine, Chine., fast, Histoire et critique., History and criticism., Music, Music and globalization, Music and globalization., Musique, Musique et mondialisation, Musique populaire, Musiques du monde, Popular music, Popular music., Social aspects, Social aspects., World music, World music.
Includes bibliographical references (pages 183-192) and index.Musical cosmopolitanism and new mobilities -- Worlding genres -- Places and styles converging -- Singing in dialects no one understands -- Musical lives : Mabang -- Musical lives : Wanju Chuanzhang -- Sonic infrastructures -- Epilogue : Music, China, and the political."Guangzhou is a large Chinese city like many others. With a booming economy and abundant job opportunities, it has become a magnet for rural citizens seeking better job prospects as well as global corporations hoping to gain a foothold in one of the world's largest economies. This openness and energy has led to a thriving pop music scene that is every bit the equal of Beijing's. But the musical culture of Guangzhou expresses the city's unique cosmopolitanism. A port city that once played a key role in China's maritime Silk Road, Guangzhou has long been an international hub. Now, rural migrants to the city are incorporating Chinese folk traditions into the musical tapestry. In Producing Sonic Worlds, ethnomusicologist Adam Kielman takes a deep dive into Guangzhou's music scene through two bands, Wanju Chuanzhang (Toy Captain) and Mabang (Caravan), that express ties to their rural homelands as well as cosmopolitan musical connections. These bands make music that captures the intersection of the global and local that has come to define Guangzhou, for example by writing songs with a popular Jamaican reggae beat and lyrics in their distinct regional dialects incomprehensible to their audiences. These bands create a sound both instantly recognizable and totally foreign, international and hyper local. This juxtaposition, Kielman argues, is an apt expression of the demographic, geographic, and political shifts underway in Guangzhou and across the country. Bridging ethnomusicology, popular music studies, cultural geography, and media studies, Kielman examines the cultural dimensions of shifts in conceptualizations of self, space, publics, and state in a rapidly transforming People's Republic of China"--