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Unfamiliar sounds in familiar settings: On the cosmopolitan labour of film composers in Istanbul

About: The article was published on 2017-09-25 and is currently open access. It has received 21 citations till now. The article focuses on the topics: Identity (social science).
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Journal ArticleDOI
TL;DR: In this paper, Imagined communities: Reflections on the origin and spread of nationalism are discussed. And the history of European ideas: Vol. 21, No. 5, pp. 721-722.

13,842 citations

Journal ArticleDOI
TL;DR: Sound of Africa! as discussed by the authors is an account of the production of a mbaqanga album in a state-of-the-art recording studio in South Africa during the early 1990s during the transition from apartheid to democratic rule.
Abstract: Boosting the bass guitar, blending the vocals, overdubbing percussion while fretting over shoot-outs in the street, grumbling about a producer, teasing a white engineer, challenging an artist to feel his African beat - "Sound of Africa!" is a riveting account of the production of a mbaqanga album in a state-of-the-art recording studio in Johannesburg. Made popular internationally by Mahlathini and the Mahotella Queens, mbaqanga's distinctive style features a bass solo voice and soaring harmonies of a female frontline over electric guitar, bass, keyboard, and drumset. Louise Meintjes chronicles the recording and mixing of an album by Izintombi Zesimanje, historically the rival group of the Mahotella Queens. Set in the early 1990s during South Africa's tumultuous transition from apartheid to democratic rule, "Sound of Africa!" offers a rare portrait of the music recording process. It tracks the nuanced interplay among South African state controls, the music industry's transnational drive, and the mbaqanga artists' struggles for political, professional, and personal voice. Focusing on the ways artists, producers, and sound engineers collaborate in the studio control room, Meintjes reveals not only how particular mbaqanga sounds are shaped technically, but also how egos and artistic sensibilities and race and ethnicity influence the mix. She analyzes how the turbulent identity politics surrounding Zulu ethnic nationalism impacted mbaqanga artists' decisions in and out of the studio. Conversely, she explores how the global consumption of Afropop and African images fed back into mbaqanga during the recording process. Meintjes is especially attentive to the ways the emotive qualities of timbre (sound quality or tone color) forge complex connections between aesthetic practices and political ideology. Vivid photos by the internationally renowned photographer TJ Lemon further dramatize Meintjes' ethnography.

193 citations

Journal ArticleDOI
TL;DR: Abdel-Lughod as mentioned in this paper discusses the role of television in the politics of TV in Egypt and its role in the 2011 Egyptian revolution. Chicago: University of Chicago Press.
Abstract: Dramas of Nationhood: The Politics of Television in Egypt. Lila Abu-Lughod. Chicago: University of Chicago Press. 2005.

64 citations

Journal Article
TL;DR: Cooke's A History of Film Music as discussed by the authors is a comprehensive and accessible contribution to English-language literature on film music, producing a book that is comprehensive, accessible, and frequently thought-provoking.
Abstract: A History of Film Music. By Mervyn Cooke. Cambridge: Cambridge University Press, 2008. [xxii, 562 p. ISBN 978-0-521-81173-6 (hardback) $120; ISBN 978-0-521-01048-1 (paperback) $24.99] Scholarly interest in film music has grown exponentially in the past twenty-five years. Most universities offer courses on the subject, presentations at academic conferences typically attract packed rooms, and the most august music journals have joined more specialised ones in publishing articles on film music topics. Major university presses and such academic publishers as Ashgate, Boydell, and Routledge have been issuing books exploring national repertoires, various genres and other increasingly specialised aspects of film music. Both Green wood and Scarecrow presses have new book series with each title focusing on an individual film score. Much less common is the single-author book taking a broad view of the subject. Indeed, since Claudia Gorman's landmark Unheard Melodies: Narrative Film Music appeared in 1987 (Indiana University Press), only a handful of such books have been published in English. For many, Roy Prendergast's Film Music: A Neglected Art (W. W. Norton, 2nd edition, 1992) remains a favourite for the range of films covered and the quality of analysis. Newer contenders include Roger Hickman's Reel Music: Exploring 100 Years of Film Music (W. W. Norton, 2005), a substantial volume intended for the non-music major, and Peter Larsen's Film Music (Reaktion, 2007), which is more modest in scope. With A History of Film Music, Mervyn Cooke has made an important and ambitious contribution to English-language literature on film music, producing a book that is comprehensive, accessible, and frequently thought-provoking. The book is arranged chronologically with some well-considered detours. In the first two chapters, Cooke examines the silent era and the early years of sound film. In chapter three, he explores "Hollywood's Golden Age," setting out the context and working methods before focusing on some of the major composers of the period extending from the early 1930s through to the 1950s, including Steiner, Korngold, Waxman, Newman, and Rozsa. He continues this thread in chapter five, on post-war Holly wood, and rounds it off with chapter twelve, on the "New Hollywood." In between, he provides excursions into musical genres: opera and the musical on film (chapter 4), the documentary and animated film (chapter 7); explores the use of popular and Classical music in film (chapters 10 and 11, respectively); and devotes three chapters to national cinema: British (chapter 6), French (chapter 8), and other parts of the world ("Global highlights" in chapter 9). …

61 citations

References
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Journal ArticleDOI
TL;DR: In this paper, Imagined communities: Reflections on the origin and spread of nationalism are discussed. And the history of European ideas: Vol. 21, No. 5, pp. 721-722.

13,842 citations

Book ChapterDOI
01 Apr 1986
TL;DR: The authors argue that what creates the link between exchange and value is politics, and propose a new perspective on the circulation of commodities in social life, which justifies the conceit that commodities, like persons, have social lives.
Abstract: This essay has two aims. The first is to preview and set the context for the essays that follow it in this volume. The second is to propose a new perspective on the circulation of commodities in social life. The gist of this perspective can be put in the following way. Economic exchange creates value. Value is embodied in commodities that are exchanged. Focusing on the things that are exchanged, rather than simply on the forms or functions of exchange, makes it possible to argue that what creates the link between exchange and value is politics , construed broadly. This argument, which is elaborated in the text of this essay, justifies the conceit that commodities, like persons, have social lives. Commodities can provisionally be defined as objects of economic value. As to what we ought to mean by economic value, the most useful (though not quite standard) guide is Georg Simmel. In the first chapter of The Philosophy of Money (1907; English translation, 1978), Simmel provides a systematic account of how economic value is best defined. Value, for Simmel, is never an inherent property of objects, but is a judgment made about them by subjects. Yet the key to the comprehension of value, according to Simmel, lies in a region where “that subjectivity is only provisional and actually not very essential” (Simmel 1978:73). In exploring this difficult realm, which is neither wholly subjective nor quite objective, in which value emerges and functions, Simmel suggests that objects are not difficult to acquire because they are valuable, “but we call those objects valuable that resist our desire to possess them” (p. 67).

2,803 citations

Book
01 Jan 1956
TL;DR: Kraehenbuehl and McAllester as discussed by the authors studied the relationship between pattern and meaning in music, and provided a basis for meaningful discussion of emotion and meaning of all art.
Abstract: "Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."-David Kraehenbuehl, "Journal of Music Theory" "This is the best study of its kind to have come to the attention of this reviewer."-Jules Wolffers, "The Christian Science Monitor " "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."-David P. McAllester, "American Anthropologist " "A book which should be read by all who want deeper insights into music listening, performing, and composing."-Marcus G. Raskin, "Chicago Review "

2,239 citations

BookDOI
TL;DR: The Audible Past as discussed by the authors explores the cultural origins of sound reproduction and explores the constantly shifting boundary between phenomena organized as "sound" and "not sound" in the history of sound.
Abstract: The Audible Past explores the cultural origins of sound reproduction. It describes a distinctive sound culture that gave birth to the sound recording and the transmission devices so ubiquitous in modern life. With an ear for the unexpected, scholar and musician Jonathan Sterne uses the technological and cultural precursors of telephony, phonography, and radio as an entry point into a history of sound in its own right. Sterne studies the constantly shifting boundary between phenomena organized as "sound" and "not sound." In The Audible Past, this history crisscrosses the liminal regions between bodies and machines, originals and copies, nature and culture, and life and death. Blending cultural studies and the history of communication technology, Sterne follows modern sound technologies back through a historical labyrinth. Along the way, he encounters capitalists and inventors, musicians and philosophers, embalmers and grave robbers, doctors and patients, deaf children and their teachers, professionals and hobbyists, folklorists and tribal singers. The Audible Past tracks the connections between the history of sound and the defining features of modernity: from developments in medicine, physics, and philosophy to the tumultuous shifts of industrial capitalism, colonialism, urbanization, modern technology, and the rise of a new middle class. A provocative history of sound, The Audible Past challenges theoretical commonplaces such as the philosophical privilege of the speaking subject, the visual bias in theories of modernity, and static descriptions of nature. It will interest those in cultural studies, media and communication studies, the new musicology, and the history of technology.

1,446 citations