Postnationalism, Postmodernism and the German Discourse(s) of Weltmusik

Hurley, AW

Postnationalism, Postmodernism and the German Discourse(s) of Weltmusik

Hurley, AW

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Publisher:: Lawrence & Wishart Ltd
Publication Type:: Journal Article
Citation:: New Formations, 2009, 66 (1), pp. 100 - 117
Issue Date:: 2009-01

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Field	Value	Language
dc.contributor.author	Hurley, AW https://orcid.org/0000-0001-6717-3537	en_US
dc.date.issued	2009-01	en_US
dc.identifier.citation	New Formations, 2009, 66 (1), pp. 100 - 117	en_US
dc.identifier.issn	0950-2378	en_US
dc.identifier.uri	http://hdl.handle.net/10453/10576
dc.description.abstract	Since the mid-1960s, just after the time at which Jameson posits the emergence of postmodernist aesthetics, German musicians and producers, operating in a range of fields of musical production from highbrow Ernste-Musik (serious music) to jazz and rock, have experimented with notions of Weltmusik (a term I will not translate since, in German discourses, Weltmusik has tended to signify western music in which various musical components are thought to synthesise into a whole, whereas the English term `world music' has often been used by the music industry as a marketing label to represent `authentic' musics from the margins).	en_US
dc.publisher	Lawrence & Wishart Ltd	en_US
dc.relation.ispartof	New Formations	en_US
dc.title	Postnationalism, Postmodernism and the German Discourse(s) of Weltmusik	en_US
dc.type	Journal Article
utslib.citation.volume	1	en_US
utslib.citation.volume	66	en_US
utslib.for	2002 Cultural Studies	en_US
utslib.for	1606 Political Science	en_US
utslib.for	2202 History and Philosophy of Specific Fields	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/e-Press
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
utslib.copyright.status	open_access
pubs.consider-herdc	true	en_US
pubs.issue	1	en_US
pubs.volume	66	en_US

Abstract:

Since the mid-1960s, just after the time at which Jameson posits the emergence of postmodernist aesthetics, German musicians and producers, operating in a range of fields of musical production from highbrow Ernste-Musik (serious music) to jazz and rock, have experimented with notions of Weltmusik (a term I will not translate since, in German discourses, Weltmusik has tended to signify western music in which various musical components are thought to synthesise into a whole, whereas the English term `world music' has often been used by the music industry as a marketing label to represent `authentic' musics from the margins).

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http://hdl.handle.net/10453/10576