Week 7: Theory of heritage & cultural revival

Theory of heritage and cultural revival
Weeks 7:

-The migration of 18th and 19th century folk music traditions from select European settings to the US.

10/13 Mark Slobin (2003), Fiddler on the Move, Chapt. 2: “Klezmer as a Heritage Music,” (11-35).

https://brooklyncollege.zoom.us/rec/share/CxjceNIsFpOP_8toN6ACPMN2sICfwYuVKyVpDVfUkCGDN8ZIWSNbfenvXxpf_bWR.ee4z5aUMbFuZTuWB

10/15 Slobin, continued.

https://brooklyncollege.zoom.us/rec/share/5fDTelv1T-Ix9TdJSP_mprVnj3flz7IGOUbtFhGYJAkrgnuAEJYtfy4pNji3ij_o.OtFblhyli2JTcP74

Understanding Heritage as an intersection of Micromusics and the Superculture

  1. The superculture and micromusics

    superculture: the continual building and rebuilding dominant system that unifies a vast and varied population

    micromusics: music-cultures that grapple with the superculture for its economic and political visibility as well as their need to set themselves off from it. 
  2. Two social forces in which a micromusic operates in the superculture: outside pigeonholing & inner needs

superculture ————-outside pigeonholing——> micromusic
                              governments & corporations
                        target marketing & representation

superculture <——-—-inner needs——————- micromusic
                                 “minority” groups
                                  demand visibility

III. Heritage: an intersection of outside pigeonholing and inner needs

Slobin argues that the term “heritage” is actually a recent phenomenon. While the term “heritage” is commonly used to refer to an aspect of culture that is inherited, “heritage” is also a keyword used by governments and corporations as well as smaller “minority” groups for cultural representation and economic viability (i.e. tourism, national identity).

“I use the term ‘heritage music’ to distinguish between music that is part and parcel of a way of life [here is where we miss the word ‘traditional’] and music that has been singled out for preservation, protection, enshrinement, and revival–in a word, heritage music” (Barbara Kirshenblatt-Gimblett quoted by Slobin).

  1. Typologies of Heritage Music

    A micromusic/heritage music such as Klezmer music should be understood as a constellation of all five typologies, which are: 1) National 2) Exotic 3) Diasporic 4) Postdiasporic/rediasporic & 5) Traditional/transnational. The narratives generated by typologies provide a means of analyzing and understanding micromusics and heritage musics.

 

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