Roots

The relationship between the global and the local within the Extreme Metal scene

Bibliographic Data

ID4788151
AuthorsKeith Harris (0000-0003-0724-1088), K M Harris (0000-0003-2405-1016, corresponding author)
Year2000
Volume19
Issue1
Pages13-30
Publication date2000-01-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenuePopular Music (JOURNAL)
Journal identifiersISSN: 0261-1430 • E-ISSN: 1474-0095
PublisherCambridge University Press (CUP) (PUBLISHER)
DOI10.1017/s0261143000000052
OpenAlexW102217122
LanguageEN
Citations received56
References cited1

Music's 'malleability' (Taylor 1997) has always facilitated its export and import from one location to another. Indeed, such processes are central to the creation and dissemination of new musical forms. Yet in our contemporary globalised world, such processes occur ever more extensively and rapidly giving rise to new forms of appropriation and syncretism. Record companies from the developed world find new audiences in the developing world (Laing 1986). Musicians from the West appropriate non-Western music, sometimes collaboratively (Feld 1994; Taylor 1997). Non-Western musicians and musicians from subaltern groups within the West create new syncretic forms drawing on both Western and non-Western music (Mitchell 1996; Lipsitz 1994, Slobin 1993). The resulting 'global ecumene' produces considerable 'cultural disorder' (Featherstone 1990, p. 6) whose results cannot easily be summarised

Aesthetics · Appropriation · Art · Epistemology · Ethnomusicology · Linguistics · Musical · Political science · Sociology · Subaltern · Syncretism (linguistics · Visual arts · Cultural Industries and Urban Development · History · Law · Music History and Culture · Philosophy

Tools

Open DOISci-HubOpen Access