Relevant bibliographies by topics / Zouk (Music)

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Zouk (Music)'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Zouk (Music)"

1

Cohen, Paul. "“Zouk Is the Only Medicine We Need”." French Historical Studies 45, no. 2 (April 1, 2022): 319–53. http://dx.doi.org/10.1215/00161071-9532010.

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Abstract This article demonstrates how the history of Kassav, the French Caribbean music group founded in 1979, sheds light on the cultural politics of French Caribbean music and the history of “global France.” It argues that Kassav's music represents an inventive cultural and commercial response to patterns of neocolonial and capitalist exclusion in the French Caribbean, one that drew on the islands' own cultural resources to fashion a new musical form, called zouk, that has had lasting influence. Kassav owes its commercial success in part to a global music industry hungry for new musics from postcolonial peripheries and to Paris's role as a world music capital. That Kassav was seen in metropolitan France as “Caribbean” or “world” music, rather than “French,” speaks to the historical and racial fault lines that obscure the Frenchness of the French Caribbean to many in the Hexagon. Cet article analyse comment l'histoire de Kassav, le groupe musical antillais fondé en 1979, permet de mieux comprendre la politique culturelle de la musique des Antilles françaises ainsi que l'histoire « mondiale » de la France. La musique de Kassav représente une réponse culturelle et commerciale inventive à des structures d'exclusion néocoloniales et capitalistes dans les Antilles françaises, une réponse qui puisait dans les ressources culturelles propres aux îles, afin de façonner un nouveau genre de musique (le zouk) qui a exercé une influence importante. Kassav doit son succès commercial en partie à une industrie musicale mondialisée à l'affût de musiques issues des périphéries postcoloniales et au rôle de Paris comme capitale de la « musique du monde ». Que la musique de Kassav ait été perçue en France métropolitaine comme « antillaise » ou « du monde », plutôt que « française », témoigne des lignes de faille historiques et raciales qui occultent l'appartenance française des Antilles aux yeux de nombreux habitants de l'Hexagone.
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2

Malm, Krister, and Jocelyn Guilbault. "Zouk: World Music in the West Indies." Yearbook for Traditional Music 26 (1994): 154. http://dx.doi.org/10.2307/768260.

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Largey, Michael, Jocelyne Guilbault, Gage Averill, Edouard Benoit, and Gregory Rabess. "Zouk: World Music in the West Indies." Notes 52, no. 1 (September 1995): 123. http://dx.doi.org/10.2307/898831.

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Guilbault, Jocelyne. "Sociopolitical, Cultural, and Economic Development Through Music: Zouk in the French Antilles." Canadian Journal of Latin American and Caribbean Studies 17, no. 34 (January 1992): 27–40. http://dx.doi.org/10.1080/08263663.1992.10816677.

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Guilbault, Jocelyne. "Interpretation out of Contradiction: A World of Music in the West Indies." Canadian University Music Review, no. 14 (February 22, 2013): 1–17. http://dx.doi.org/10.7202/1014308ar.

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This paper addresses the researcher's double challenge: to acknowledge and situate contrasting experiences of the same phenomenon and yet to integrate them into a personal rendition of that phenomenon. An examination of the various strategies employed in ethnographic writing, from the copious use of quotations to dialogical or polyphonic writing, shows how contradictory viewpoints have been given more attention in ethnographic literature, as the politics of representation have developed into an important debate in the social sciences. While these various approaches have undeniably allowed more voices to be heard, they have nevertheless left unanswered the problem of interpretation in the case of contested appropriations or contradictory versions of the same phenomenon. The simple fact of integrating various voices in an ethnography does not indeed constitute in an by itself an explanation of what is being said and why. This paper examines possible uses and treatments of diverging voices in ethnographic writing. By way of illustration, I emphasize the great complexity of the responses and interpretations generated by zouk, a mass-distributed popular music from the West Indies, by presenting contrasting voices and viewpoints from the islands of Guadeloupe, Martinique, Domenica, and Haiti. By doing so, I show, on the one hand, how each viewpoint can provide distinct types of knowledge. On the other hand, I argue that while there can be no analysis which can provide final answers to the questions raised by controversial phenomenon such as zouk, not all the points of view should be accorded the same importance.
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MURRAY, DAVID A. B. "Zouk: World Music in the West Indies. JOCELYNE GUILBAULT with GAGE AVERILL, EDOUARD BENOIT, and GREGORY RABESS." American Ethnologist 22, no. 3 (August 1995): 661–62. http://dx.doi.org/10.1525/ae.1995.22.3.02a00600.

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7

Bilby, Kenneth M. "Tracking the Caribbean sound: three current hits." New West Indian Guide / Nieuwe West-Indische Gids 71, no. 1-2 (January 1, 1997): 69–77. http://dx.doi.org/10.1163/13822373-90002616.

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[First paragraph]Zouk: World Music in the West lndies. JOCELYNE GuiLBAULT (with GAGE AVERILL, ÉDOUARD BENOIT & GREGORY RABESS). Chicago: University of Chicago Press, 1993. xxv + 279 pp. and compact disk. (Cloth US$ 55.00, Paper US$ 27.75) Calypso Calaloo: Early Carnival Music in Trinidad. DONALD R. HlLL. Gainesville: University Press of Florida, 1993. xvi + 344 pp. and compact disk. (Cloth US$ 49.95, Paper US$ 24.95) Calypso & Society in Pre-Independence Trinidad. GORDON ROHLEHR. Port of Spain: Gordon Rohlehr, 1990. x + 613 pp. (Paper US$ 40.00)In 1983, from my Hstening post in Cayenne, the southernmost extension of the French Caribbean, I reported that "popular musicians in the Lesser Antilles are in the process of breathing life into new musical varieties blending soka, cadence, and reggae" (Bilby 1985:211). Little did I know that what I was describing was the sudden emergence, at that very moment, of an entirely new music in French Guiana's fellow Départements d'Outre-Mer to the north, Martinique and Guadeloupe. Down in Cayenne, which has always had close ties to the French Antilles, there was a feeling in the air that some fresh and invigorating cultural trend was about to burst forth. Even in the Maroon villages of the French Guianese interior, where I relocated in early 1984, the excitement was palpable.
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8

Archer, Ken. "From Vodou to Zouk: A Bibliographic Guide to Music of the French-speaking Caribbean and its Diaspora (review)." Notes 68, no. 1 (2011): 76–77. http://dx.doi.org/10.1353/not.2011.0107.

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9

Witmer, Robert. "Jocelyne Guilbault, with Gage Averill, Édouard Benoit, and Gregory Rabess. Zouk: World Music in the West Indies. Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press, 1993. xxv, 279 pp., compact disc included. ISBN 0-226-31041-8 (hardcover), ISBN 0-226-31042-6 (paperback)." Canadian University Music Review, no. 15 (1995): 194. http://dx.doi.org/10.7202/1014408ar.

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10

Staverman, Désirée, and Desiree Staverman. "Op zoek naar de ware Elektra. Diepenbrocks toneelmuziek en het probleem van het melodrama." Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 51, no. 1 (2001): 42. http://dx.doi.org/10.2307/939227.

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Dissertations / Theses on the topic "Zouk (Music)"

1

Gibbs, Levi Samuel. "Beyond the Western Pass: Emotions and Songs of Separation in Northern China." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248745393.

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2

Kielman, Adam Joseph. "Zou Qilai!: Musical Subjectivity, Mobility, and Sonic Infrastructures in Postsocialist China." Thesis, 2016. https://doi.org/10.7916/D8TT4RGN.

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This dissertation is an ethnography centered around two bands based in Guangzhou and their relationships with one of China’s largest record companies. Bridging ethnomusicology, popular music studies, cultural geography, media studies, vocal anthropology, and the anthropology of infrastructure, it examines emergent forms of musical creativity and modes of circulation as they relate to shifts in concepts of self, space, publics, and state instigated by China’s political and economic reforms. Chapter One discusses a long history of state-sponsored cartographic musical anthologies, as well as Confucian and Maoist ways of understanding the relationships between place, person, and music. These discussions provide a context for understanding contemporary musical cosmopolitanisms that both build upon and disrupt these histories; they also provoke a rethinking of ethnomusicological and related linguistic theorizations about music, place, and subjectivity. Through biographies of seven musicians working in present-day Guangzhou, Chapter Two outlines a concept of “musical subjectivity” that looks to the intersection of personal histories, national histories, and creativity as a means of exploring the role of individual agency and expressive culture in broader cultural shifts. Chapter Three focuses on the intertwining of actual corporeal mobilities and vicarious musical mobilities, and explores relationships between circulations of global popular musics, emergent forms of musical creativity, and an evolving geography of contemporary China. Chapter Four extends these concerns to a discussion of media systems in China, and outlines an approach to “sonic infrastructures” that puts sound studies in dialogue with the anthropology of infrastructure in order to understand how evolving modes of musical circulation and the listening practices associated with them are connected to broader economic, political, and cultural spatialities. Finally, Chapter Five examines the intersecting aesthetic and political implications of popular music sung in local languages (fangyan) by focusing on contemporary forms of articulation between music, language, listening, and place. Taken together, these chapters explore musical cosmopolitanisms as knowledge-making processes that are reconfiguring notions of self, state, publics, and space in contemporary China.
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Books on the topic "Zouk (Music)"

1

Guilbault, Jocelyne. Zouk: World music in the West Indies. Chicago: University of Chicago Press, 1993.

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2

Benoît, Edouard. Musique populaire de la Guadeloupe: De la biguine au zouk, 1940-1980. [Pointe-à-Pitre, Guadeloupe]: Office régional du patrimoine guadeloupéen, 1990.

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3

Julian, Gerstin, ed. From vodou to zouk: A bibliographic guide to music of the French-speaking Caribbean and its diaspora. Nyack, N.Y: African Diaspora Press, 2010.

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4

Chen, Mei Yu. Ren sheng xie zou qu. Hong Kong: Yinyuezhiliao, 2002.

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5

Hua, Yu. Jian zou: Yu Hua de yin yue bi ji. Nanjing: Jiangsu wen yi chu ban she, 2009.

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6

Youdi, Huang. Gang qin du zou shu qing qu: Fu du chang qu. Xianggang: Xianggang xing yun yue pu teng yin fu wu she, 1989.

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7

Junyu, Chen. Gang qin du zou de mi mi: Liu xing gang qin du zou jiao ben = The secret of piano. Gaoxiong Shi: Zhuo zhu chu ban she, 2014.

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8

Zha, Fuxi. Gu qin de chang shi he yan zou. Beijing Shi: Sheng huo, du shu, xin zhi san lian shu dian, 2020.

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9

Zuo, Yiyou. Yin yue yan zou shu yu ci dian: The dictionary of music & performance. Taibei Shi: Ming shan chu ban she, 1986.

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Hua, Yu. Jian zou: Yu Hua de yin yue bi ji = Interlude of Yu Hua music notes. Nanjing Shi: Jiangsu wen yi chu ban she, 2013.

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Book chapters on the topic "Zouk (Music)"

1

"ZOUK." In Music in the 20th Century (3 Vol Set), 681. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-514.

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2

Zamor, Hélène, and Apollinaire Anakesa Kululuka. "Konpa, Zouk, and the Politics of World Music." In The Cambridge Companion to Caribbean Music, 159–72. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108379779.012.

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3

"Music, Identity, and Community." In Cultural China 2020: The Contemporary China Centre Review, 45–63. University of Westminster Press, 2021. http://dx.doi.org/10.16997/book58.d.

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This chapter discusses the role of music in the imagination of self, community, and nation. It includes topics such as Tibetan pop music, ‘anti-extremism’ campaigns in Xinjiang, Cantopop in Hong Kong, and contemporary revivals of ‘red songs’. Chapter contents: 3.0 Introduction (by Paul Kendall) 3.1 Performing Devotion: Revitalised ‘Red Songs,’ Choral Flash Mobs, and National Identity (by Sheng Zou) 3.2 Rethinking Hong Kong Identity through Cantopop: The 1980s as an Example (by Yiu-Wai Chu) 3.3 Tibetan Popular Music: Politics and Complexities (by Anna Morcom) 3.4 Music in the Disciplinary Regimes of Xinjiang’s ‘Anti-Extremism’ Campaign (by Rachel Harris)
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