Modern Noise, Fluid Genres
What happens to alocala sound when globalization exposes musicians and audiences to cultural influences from around the world? Jeremy Wallach explores this question as it plays out in the eclectic, evolving world of Indonesian music after the fall of the repressive Soeharto regime. Against the backdrop of Indonesiaas chaotic and momentous transition to democracy, Wallach takes us to recording studios, music stores, concert venues, university campuses, video shoots, and urban neighborhoods. Integrating ground-level ethnographic research with insights drawn from contemporary cultural theory, he shows that access to globally circulating music and technologies has neither extinguished nor homogenized local music-making in Indonesia. Instead, it has provided young Indonesians with creative possibilities for exploring their identity in a diverse nation undergoing dramatic changes in an increasingly interconnected world. Ultimately, he finds, the unofficial, multicultural nationalism of Indonesian popular music provides a viable alternative to the religious, ethnic, regional, and class-based extremism that continues to threaten unity and democracy in that country.in dangdut recordings include nylon-stringed aSpanish guitarsa (for flamenco-like flourishes), saxophone, sitar, trumpet, oboe, keyboards (playing accordion, organ , piano, or analog ... Below is a schematic summary of Pak Cecepa#39;s preferred method for recording the instruments of a dangdut song: 1. ... Electric bass guitar 4.
| Title | : | Modern Noise, Fluid Genres |
| Author | : | Jeremy Wallach |
| Publisher | : | Univ of Wisconsin Press - 2008-12-15 |
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