Western Music and Its Others: Difference, Representation, by Georgina Born, David Hesmondhalgh
By Georgina Born, David Hesmondhalgh
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If acculturation was the key term for a previous generation in ethnomusicology, in an earlier phase of popular music studies the buzzword was authenticity, and this has also been consigned to the intellectual dust-heap. ” Frith surveys a number of recent contributions, teasing out a range of attitudes toward globalization and postmodernity. Ironically, he suggests, hybridity has been reinflected by popular music scholars as a new form of authenticity: whether writing about Caribbean musicians’ consciousness of their position within a global industry, or the way that nonWestern musicians have been drawn to rock, that seemingly most Western of popular forms, these writers suggest that music in an era of globalization powerfully affirms the syncretic nature of contemporary cultural identity.
In this discourse, indebted to the cultural theory of Raymond Williams and Stuart Hall, arabesk is seen to represent opposition and resistance, a utopian element in popular culture. In sum, for Stokes, all the prominent discourses around arabesk exhibit “reverse essentialism,” an internal Orientalism in which the genre represents an “east” within to be either expelled or reintegrated. And yet, through a reading of a song by the major arabesk star, Orhan Gencebay, Stokes shows how arabesk’s music and lyrics, its “dissonant multitextuality,” can themselves work through internal contradiction to ironize and undermine the simplistic east/west binaries they are supposed to encode.
Another was the passing in nineteenth-century Austria of increasingly liberal laws, which allowed Jews to enter for the first time the “free professions” of Austrian society. Changes of aesthetic and of language made the music more attractive and “open” to the Viennese public. Bohlman stresses the collective and individual agency of the Jewish community and INTRODUCTION 37 of particular cantors in these transformations of Viennese public culture. Through music, difference was composed, performed, and enacted; and yet, through music’s powers of pleasing and unifying, differences were also lessened, effecting, through cultural practice, a rapprochement with the Jewish other within.