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Music and the New Global CultureFrom the Great Exhibitions to the Jazz Age$
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Harry Liebersohn

Print publication date: 2019

Print ISBN-13: 9780226621265

Published to Chicago Scholarship Online: May 2020

DOI: 10.7208/chicago/9780226649306.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 03 August 2021

Conclusion

Conclusion

Chapter:
(p.249) Conclusion
Source:
Music and the New Global Culture
Author(s):

Harry Liebersohn

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226649306.003.0012

The pre-1914 appreciation of extra-European music by a small elite gave way to a broad post-World-War-I popularity of mixed genres from around the world. Postwar polyglot music included Hawaiian popular music and Trinidadian calypso, the products of global entrepôts; genres such as jazz and Latin dance music, beginning with tango, came from immigrant and other culturally complex cities. This was the last of three phases in the creation of a new global culture. First came a new receptivity furthered by scientific analysis and craft expertise, which matured by the mid-1880s; beginning around 1900 the record industry disseminated music around the world; World War I was the watershed moment for a global enjoyment of entrepôt and urban genres. Since the 1980s Weberian and Marxian explanations of globalization have given way to conceptualizations by Arjun Appadurai, Carol Breckenridge, Ulf Hannerz, Akira Iriye, Stuart Rockefeller and Anna Lowenhaupt Tsing that capture the interplay of the global and the local. The history of musical globalization is a reminder that the globalization of culture goes back over a century and a half; it invites a free society’s creativity and confidence.

Keywords:   tango, jazz, Karl Marx, Arjun Appadurai, Akira Iriye, Stuart Rockefeller, Anna Lowenhaupt Tsing

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