Musicians in transit : Argentina and the globalization of popular Music
In 1994, on the eve of his appearance at the Montreux Jazz Festival in Switzerland, the Argentine rock star Fito Páez was asked to consider the place of Latin American popular music in the world. In response, he claimed that musicians from the global South had a distinct advantage over those from th...
- Autores:
- Tipo de recurso:
- Book
- Fecha de publicación:
- 2017
- Institución:
- Universidad de Bogotá Jorge Tadeo Lozano
- Repositorio:
- Expeditio: repositorio UTadeo
- Idioma:
- eng
- OAI Identifier:
- oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/14983
- Acceso en línea:
- http://hdl.handle.net/20.500.12010/14983
- Palabra clave:
- Popular Music
Globalization
Argentina
Música popular -- Argentina
Música popular - América Latina
Música y globalización
- Rights
- License
- Abierto (Texto Completo)
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oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/14983 |
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|
dc.title.spa.fl_str_mv |
Musicians in transit : Argentina and the globalization of popular Music |
title |
Musicians in transit : Argentina and the globalization of popular Music |
spellingShingle |
Musicians in transit : Argentina and the globalization of popular Music Popular Music Globalization Argentina Música popular -- Argentina Música popular - América Latina Música y globalización |
title_short |
Musicians in transit : Argentina and the globalization of popular Music |
title_full |
Musicians in transit : Argentina and the globalization of popular Music |
title_fullStr |
Musicians in transit : Argentina and the globalization of popular Music |
title_full_unstemmed |
Musicians in transit : Argentina and the globalization of popular Music |
title_sort |
Musicians in transit : Argentina and the globalization of popular Music |
dc.subject.spa.fl_str_mv |
Popular Music Globalization Argentina |
topic |
Popular Music Globalization Argentina Música popular -- Argentina Música popular - América Latina Música y globalización |
dc.subject.lemb.spa.fl_str_mv |
Música popular -- Argentina Música popular - América Latina Música y globalización |
description |
In 1994, on the eve of his appearance at the Montreux Jazz Festival in Switzerland, the Argentine rock star Fito Páez was asked to consider the place of Latin American popular music in the world. In response, he claimed that musicians from the global South had a distinct advantage over those from the North: “I could enjoy the Beatles, but they never heard [Chilean folksinger] Violeta Parra. They have missed out on a part of the world.”1 Páez’s wry observation is a reminder of the inequality that structures global cultural exchange. Popular music produced in the United States and Britain has been elevated to universal status, a cultural product that is consumed and emulated everywhere in the world. By contrast, the music of other societies is of more particular, local significance; when it circulates internationally, it is often packaged as a novelty. North American musicians can indulge a taste for the exotic or they can simply ignore the music of the rest of the world, a choice that is typically not available to musicians from elsewhere who want to attract even a local audience. In other words, while Latin American musicians like Páez have been forced to compete directly against Elvis Presley, the Beatles, or Michael Jackson, the reverse has never been true. Páez interprets this apparent weakness as a strength: Latin American musicians have greater resources at their disposal. They can and do draw on local, regional, and global styles in order to forge their own music. |
publishDate |
2017 |
dc.date.created.none.fl_str_mv |
2017 |
dc.date.accessioned.none.fl_str_mv |
2020-10-27T19:32:18Z |
dc.date.available.none.fl_str_mv |
2020-10-27T19:32:18Z |
dc.type.coar.spa.fl_str_mv |
http://purl.org/coar/resource_type/c_2f33 |
format |
http://purl.org/coar/resource_type/c_2f33 |
dc.identifier.uri.none.fl_str_mv |
http://hdl.handle.net/20.500.12010/14983 |
url |
http://hdl.handle.net/20.500.12010/14983 |
dc.language.iso.spa.fl_str_mv |
eng |
language |
eng |
dc.rights.coar.fl_str_mv |
http://purl.org/coar/access_right/c_abf2 |
dc.rights.local.spa.fl_str_mv |
Abierto (Texto Completo) |
rights_invalid_str_mv |
Abierto (Texto Completo) http://purl.org/coar/access_right/c_abf2 |
dc.format.extent.spa.fl_str_mv |
281 páginas |
dc.format.mimetype.spa.fl_str_mv |
application/pdf |
dc.publisher.spa.fl_str_mv |
Duke University Press |
institution |
Universidad de Bogotá Jorge Tadeo Lozano |
bitstream.url.fl_str_mv |
https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/14983/1/625280.pdf https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/14983/2/license.txt https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/14983/3/625280.pdf.jpg |
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bitstream.checksumAlgorithm.fl_str_mv |
MD5 MD5 MD5 |
repository.name.fl_str_mv |
Repositorio Institucional - Universidad Jorge Tadeo Lozano |
repository.mail.fl_str_mv |
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2020-10-27T19:32:18Z2020-10-27T19:32:18Z2017http://hdl.handle.net/20.500.12010/14983In 1994, on the eve of his appearance at the Montreux Jazz Festival in Switzerland, the Argentine rock star Fito Páez was asked to consider the place of Latin American popular music in the world. In response, he claimed that musicians from the global South had a distinct advantage over those from the North: “I could enjoy the Beatles, but they never heard [Chilean folksinger] Violeta Parra. They have missed out on a part of the world.”1 Páez’s wry observation is a reminder of the inequality that structures global cultural exchange. Popular music produced in the United States and Britain has been elevated to universal status, a cultural product that is consumed and emulated everywhere in the world. By contrast, the music of other societies is of more particular, local significance; when it circulates internationally, it is often packaged as a novelty. North American musicians can indulge a taste for the exotic or they can simply ignore the music of the rest of the world, a choice that is typically not available to musicians from elsewhere who want to attract even a local audience. In other words, while Latin American musicians like Páez have been forced to compete directly against Elvis Presley, the Beatles, or Michael Jackson, the reverse has never been true. Páez interprets this apparent weakness as a strength: Latin American musicians have greater resources at their disposal. They can and do draw on local, regional, and global styles in order to forge their own music.281 páginasapplication/pdfengDuke University PressPopular MusicGlobalizationArgentinaMúsica popular -- ArgentinaMúsica popular - América LatinaMúsica y globalizaciónMusicians in transit : Argentina and the globalization of popular MusicAbierto (Texto Completo)http://purl.org/coar/access_right/c_abf2http://purl.org/coar/resource_type/c_2f33Karush, Matthew B.ORIGINAL625280.pdf625280.pdfVer libroapplication/pdf14427441https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/14983/1/625280.pdf942a1d99c47ec0751f6f8b54140c386cMD51open accessLICENSElicense.txtlicense.txttext/plain; charset=utf-82938https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/14983/2/license.txtabceeb1c943c50d3343516f9dbfc110fMD52open accessTHUMBNAIL625280.pdf.jpg625280.pdf.jpgIM Thumbnailimage/jpeg19841https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/14983/3/625280.pdf.jpg41de4a37797e5ee29a321dd69126be49MD53open access20.500.12010/14983oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/149832020-10-27 14:32:18.303open accessRepositorio Institucional - Universidad Jorge Tadeo Lozanoexpeditio@utadeo.edu.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 |