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Music is a mobile art. When people move to faraway places, whether by choice or by force, they bring their music along. Music creates a meaningful point of contact for individuals and for groups; it can encourage curiosity and foster understanding; and it can preserve a sense of identity and comfort in an unfamiliar or hostile environment. As music crosses cultural, linguistic, and political boundaries, it continually changes. While human mobility and mediation have always shaped music-making, our current era of digital connectedness introduces new creative opportunities and inspiration even as it extends concerns about issues such as copyright infringement and cultural appropriation.
With its innovative multimodal approach, Music on the Move invites readers to listen and engage with many different types of music as they read. The text introduces a variety of concepts related to music's travels—with or without its makers—including colonialism, migration, diaspora, mediation, propaganda, copyright, and hybridity. The case studies represent a variety of musical genres and styles, Western and non-Western, concert music, traditional music, and popular music. Highly accessible, jargon-free, and media-rich, Music on the Move is suitable for students as well as general-interest readers.
Fig. 2.1. Music on the Move: Migration of Romani people into Europe. Map by Eric Fosler-Lussier, based on Lev Tcherenkov and Stéphane Laederich, The Rroma, vol. 1 (Basel, CH: Schwabe, 2004), 83. (See https://doi.org/10.3998/mpub.9853855.cmp.18)
Fig. 3.1. Music on the Move: Trans-Atlantic Slave Trade Voyages. Map by Eric Fosler-Lussier. This map depicts the transportation of enslaved people from Africa as listed in The Trans-Atlantic Slave Trade Database in the decades between 1580 and 1860, grouped by regions where they arrived. White boxes and dashed lines indicate departures; black boxes and solid lines indicate arrivals. Voyages for which the major place of sale could not be imputed were removed from this visualization: the number of enslaved people who did not arrive at their destination (many died, but some possibly escaped) is represented by the difference in the number of persons leaving Africa and those arriving at destination ports. The excellent database at slavevoyages.org describes the research behind this map and more detailed visualizations. (See https://doi.org/10.3998/mpub.9853855.cmp.31)
Fig. 3.2. Music on the Move: Concert Tours of the Fisk Jubilee Singers, 1871–80. Map by Eric Fosler-Lussier based on an original map and research by Elizabeth Lacy and Louis Epstein. Darker or overlapping dots indicate multiple performances. (See https://doi.org/10.3998/mpub.9853855.cmp.42)
Example 6.22. Excerpt from Darius Milhaud, “Creation of the World,” performed by Kaleidoscope Chamber Orchestra. Used by permission. See Youtube: https://www.youtube.com/watch?v=lu9VSsqhjZQ
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