Music Cultures: Global Pop

Discipline: Music
Instructor: Ciucci
Credits: 3
Day: null
Start: 13:55
End: 15:10
Field Work: Day 1 | Croatia Download Syllabus

An introduction to some of the popular musics from around the world within the framework of popular culture and the impact of globalization. The course is structured around three major questions: What do we mean by music as popular culture? What do we mean by global perspective? What is the mutual impact between global forces and local musics? The course also aims to examine the concept of globalization and its effects on the production, distribution and consumption of popular musics in both Western and non-Western cultures. To this end we will examine a number of case studies-such as the Asian Underground scene of DJ Rekha, the rap of the German-Turkish Sert Müslümanlar, and the Afrobeat of Fela Kuti. Course readings, from the fields of anthropology, sociology, cultural studies, and ethnomusicology, explore important issues surrounding popular

Field Work

Country: Croatia
Day: 1

Described as the "Pearl of the Adriatic," Dubrovnik is the focus of a major restoration program coordinated by UNESCO, which placed the old city it on the list of World Heritage Site. The Dubrovnik Summer Festival is the largest and most celebrated culture event in Croatia, which is promoted as a way of "harmonizing the renaissance and baroque atmosphere of Dubrovnik and the living spirit of drama and music from its living creative tradition." Although the Festival highlights Western art music, since the early 1970s they have added Croatian folk music, alongside with jazz and world music. At festivals, performances may be altered in accordance with the "cultural agenda," or the needs and requests of promoters. The role of festivals, in fact, is critical to the exploitation of culture, particularly of "folk" culture, by governments within their framework of cultural policies. The field lab aims to investigate how the categories of "folk" and "popular" are used, (re)shaped, and presented at the festival to support a specific image of Dubrovnik. Our investigation will begin with a visit to the Konavle region outside of Dubrovnik-where much of the "folk" of the festival derives-before moving on to the old city of Dubrovnik where we will be able to observe how the city has been transformed, which music is performed for free outside of the festival-and how it is defined by musicians themselves-and which music is instead performed for a paying audience inside the festival, and how it is presented.