Why would a punk band popular only in Indonesia cut songs in no other language than English? If you're rapping in Tanzania and Malawi, where hip hop has a growing audience, what do you rhyme in? Swahili? Chichewa? English? Some combination of these?
Global Pop, Local Language examines how performers and audiences from a wide range of cultures deal with the issue of language choice and dialect in popular music.
Related issues confront performers of Latin music in the U.S., drum and bass MCs in Toronto, and rappers, rockers, and traditional folk singers from England and Ireland to France, Germany, Belarus, Nepal, China, New Zealand, Hawaii, and beyond.
For pop musicians, this issue brings up a number of complex questions. Which languages or dialects will best express my ideas? Which will get me a record contract or a bigger audience? What does it mean to sing or listen to music in a colonial language? A foreign language? A regional dialect? A "native" language?
Examining popular music from a range of world cultures, the authors explore these questions and use them to address a number of broader issues, including the globalization of the music industry, the problem of authenticity in popular culture, the politics of identity, multiculturalism, and the emergence of English as a dominant world language. The chapters are written in a highly accessible style by scholars from a variety of fields, including ethnomusicology, popular music studies, anthropology, culture studies, literary studies, folklore, and linguistics.
By Harris M. Berger, Michael Thomas Carroll.
By Harris M. By Harris M. Related issues confront performers of Latin music in the . drum and bass MCs in Toronto, and rappers, rockers, and traditional folk singers from England and Ireland to France, Germany, Belarus, Nepal, China, New Zealand, Hawaii, and beyond.
Related issues confront performers of Latin music in the . For pop musicians, this issue brings up a number of complex questions
Michael Thomas Carroll is professor of English at New Mexico Highlands University
Michael Thomas Carroll is professor of English at New Mexico Highlands University.
It demonstrates, for instance, that for non-native speakers of English, the decision to sing in English is not necessarily motivated by the standardising influence of the global music industry.
Michael Owen Carroll (born 21 March 1966) is an Irish writer of novels and short stories for adults and children. He is best known for his series of superhero novels The New Heroes and his romantic fiction under the name Jaye Carroll. He also writes Judge Dredd for 2000 AD and the Judge Dredd Megazine. After leaving school at sixteen, he worked as a postman. He moved into computer programming in 1985 at the age of nineteen.
Michael Thomas Carroll.
In Harris . Berger; Michael Thomas, Carroll (ed. Roppongi, Tokyo: Oricon Entertainment. Press of Mississippi.
Special issue of Popular Music and Society 24(3):1–133. Publications: Invited or Unrefereed Articles 2004.
He and Giovanna P. Del Negro are the authors of Identity and Everyday Life: Essays in the Study of Folklore, Music, and Popular Culture (Wesleyan University Press, 2004). In 1996, he founded the Popular Music Section of the Society for Ethnomusicology, which he chaired until 2004.
Harris M. Berger is associate professor of music at Texas A&M University. Harris M. He is the author of Metal, Rock and Jazz: Perception and the Phenomenology of Musical Experience (1999).