Euro-American popular music (as well as Western Art Music) has throughout its history been shaped by various musical forms, styles and collaborations – in effect being a precursor to the term “hybridity” applied primarily to collaboration between Euro-American musicians and musicians from other cultures and since the late 1980s often marketed as „world music“ or „world beat“. When drawing on music from far away places, rural areas or other genres, musicians, composers, dj’s, and producers have often focused on “otherness” and “difference” – rendering the music as something exotic and still familiar for the listener.
Today a growing number of artists in Africa, Latin America and Asia have rediscovered the appeal of “exotic” sounds and stage them in a colorful play – drawing on irony, sarcasm as well as anger. Ethnomusicologist Veit Erlmann (1995, 14) sheds light on the different approaches: He defines the intercultural modus of “world music” (the “old” formula) with the term pastiche, which he defines as a form of parody that lacks the polemical or satirical aspect. World music tries to highlight unspoiled musical forms and idioms. It, however, mixes sounds of the completely commercialized present with the pseudo-historical patina of different places and times. Some contemporary musicians have replaced pastiche with parody: They play joyfully with some of the Euro-American fetishizing and leitmotifing of the East or the South.
This call for the 3rd volume of the Norient Academic Online Journal (NAOJ) aims to explore representations of otherness that have emerged in the 21st century. Through what Wayne Marshall (2007) labels “global ghettotech” a new generation of musics drawing on local traditions, electronic dance music and other forms of popular music have emerged. The submitted articles should discuss these contemporary renderings of exoticism and discuss them from “local”, “transnational”, “political”, post-colonial”, “economical” or other perspectives. What questions of representation do these cultural products generate? How do contemporary musicians from outside the Euro-American centers play on previous representations of the “other”? Who are they aimed at? What role do global migration patterns play? How do these musical representation incorporate tonal, rhythmic and harmonic structures foreign to the dominant Euro-American foundation of popular music? How has the internet and social media influenced these developments? What are the technological challenges?
Parallel to the thematic call that will result in the third issue of the NAOJ we also welcome ethnographic articles on popular musics from around the world.
Articles can be submitted in any language the editors can read (currently English, German, French, Spanish, Portuguese, Scandinavian, Russian, Dutch, Esperanto) but must include an abstract in either English or German.
Please submit your abstracts to
journal_submission at norient.com
June 30th, 2013: Deadline for abstracts (maximum 200 words)
October 1st, 2013: Deadline for articles (maximum 6.000 words, Chicago Manual of Style with the author-date system and endnotes)
Spring 2014: Articles published.
Erlmann, Veit. 1995. Ideologie Der Differenz: Zur Ästhetik Der World Music. PopScriptum 3 (World Music): 6-29, http://www2.hu-berlin.de/fpm/popscrip/themen/pst03/pst03_erlmann.htm (accessed 27.04.2013).
Marshall, Wayne. 2007. Global Ghettotech Vs. Indie Rock: The Contempo Cartography of Hip. wayne&wax. http://wayneandwax.com/?p=205 (accessed 27.04.2013).
Norient Academic Online Journal (NAOJ)
NAOJ (ISSN: 2296-049X) is part of Norient – Network for Local and Global Sounds and Media Culture (http://norient.com). For inquiries regarding the journal you can contact the editor-in-chief David-Emil Wickström (dew at norient.com).
P.S.: The planned publishing date of the second volume of the NAOJ is June 2013.