Читать книгу Sociology - Anthony Giddens - Страница 217

Music is often the first art form to embody socio-economic change, in production methods, styles, content and geographical spread. We might expect to find that globalization is easier to see in musical trends than other forms and perhaps even more so in popular music, which more readily allows for mixing and blending of regional traditions and musical trends. One simple example is that songwriters, singers, bands, producers and distributors from around the world collaborate in ways that were previously more difficult.

Listen to a 2019 podcast debate on this subject here and address the questions below:

‘The 2010s: The Globalization of Music’, 31 October 2019, www.npr.org/2019/10/07/767904453/the-2010s-the-globalization-of-music?t=1582886387558.

 What examples and artists are discussed that may signal the erosion of single-genre pop music today?

 What evidence is there that collaborations and mixing/blending of styles in music illustrates a shift in power relations away from the USA and Europe?

 How has the emergence and rapid growth of digital technology, music streaming and online environments facilitated the globalization of music?

 If Western-based artists adopt the musical style of, say, Korean K-pop, is this an example of globalization, of glocalization, or simply a form of appropriation by the more powerful cultures?

 Thinking back to our discussion of economic, political and cultural forms of globalization, what evidence is there that one of these forms is the primary driver of the globalization of music?