Global and local perspectives on the meaning and significance of cultural rights through music
Recenzijos
"Illuminating and thought provoking. Music and Cultural Rights will challenge musicians, music scholars, and music educators to reexamine their preconceived notions of culture, music's purpose within culture, and the social responsibilities that come when using this music."--Music Educators Journal "The best perspective to date on the issues of music and cultural rights. This anthology speaks to the many scholars who believe that engaged scholarship is the way of the future."--Beverley Diamond, author of Native American Music in Eastern North America: Experiencing Music, Expressing Culture "A volume on music and cultural rights is both timely and welcome, particularly one that relies upon diverse ethnographic studies as this one does. An innovative interdisciplinary contribution to ethnomusicology."--Rosemary J. Coombe, Senior Canada Research Chair in Law, Communication and Culture, York University
Daugiau informacijos
Global and local perspectives on the meaning and significance of cultural rights through music
Preface: Bell Yung; Acknowledgements; Introduction: Andrew N.
Weintraub;
1. Agency and Voice, The Philippines at the 1998 Smithsonian
Folklife Festival: Ricardo D. Trimillos;
2. Use and Ownership, Folk Music in
the People's Republic of China: Helen Rees;
3. Access and Control, A Key to
Reclaiming the Right to Construct Hawaiian History: Amy Ku'uleialoha
Stillman;
4. National Patrimony and Cultural Policy, The Case of the
Afroperuvian Cajon: Javier Leon;
5. Historical Legacy and the Contemporary
World, UNESCO and China's Qin Music in the 21st Century: Bell Yung;
6.
Representation and Intracultural Dynamics, Romani Musicians and Cultural
Rights Discourse in Ukraine: Adriana Helbig;
7. Representing Tibet in the
Global Cultural Market, The Case of the Chinese-Tibetan Musician Han Hong:
Nimrod Baranovitch;
8. Music and Human Rights, AfroReggae and the Youth from
the Favelas as Responses to Violence in Brazil: Silvia Ramos/Ana Maria Ochoa;
9. In Search of a Cross-Cultural Legal Framework, Indigenous Musics as
Worldwide Commodity: Felicia Sandler; Bibliography; Glossary of Chinese
Characters for
Chapters By Baranovitch, Rees, and Yung; Notes on
Contributors; Index Preface: Bell Yung; Acknowledgements; Introduction:
Andrew N. Weintraub;
1. Agency and Voice, The Philippines at the 1998
Smithsonian Folklife Festival: Ricardo D. Trimillos;
2. Use and Ownership,
Folk Music in the People's Republic of China: Helen Rees;
3. Access and
Control, A Key to Reclaiming the Right to Construct Hawaiian History: Amy
Ku'uleialoha Stillman;
4. National Patrimony and Cultural Policy, The Case of
the Afroperuvian Cajon: Javier Leon;
5. Historical Legacy and the
Contemporary World, UNESCO and China's Qin Music in the 21st Century: Bell
Yung;
6. Representation and Intracultural Dynamics, Romani Musicians and
Cultural Rights Discourse in Ukraine: Adriana Helbig;
7. Representing Tibet
in the Global Cultural Market, The Case of the Chinese-Tibetan Musician Han
Hong: Nimrod Baranovitch;
8. Music and Human Rights, AfroReggae and the Youth
from the Favelas as Responses to Violence in Brazil: Silvia Ramos/Ana Maria
Ochoa;
9. In Search of a Cross-Cultural Legal Framework, Indigenous Musics as
Worldwide Commodity: Felicia Sandler; Bibliography; Glossary of Chinese
Characters for
Chapters By Baranovitch, Rees, and Yung; Notes on
Contributors; Index
Andrew N. Weintraub is an associate professor of music at the University of Pittsburgh and the author of Power Plays: Wayang Golek Puppet Theater of West Java.Bell Yung is a professor of music, the former director of the Asian Studies Center at the University of Pittsburgh, and the author of The Last of China's Literati: The Music, Poetry, and Life of Tsar Teh-yun.
