This Article Full Text (PDF) References Alert me when this article is cited Alert me if a correction is posted Services Email this article to a friend Similar articles in this journal Alert me to new issues of the journal Add to Saved Citations Download to citation manager Request Permissions Request Reprints Add to My Marked Citations Citing Articles Citing Articles via Google Scholar Citing Articles via Scopus Google Scholar Articles by Regev, M. Search for Related Content Social Bookmarking                         What's this?

Ethno-National Pop-Rock Music

Aesthetic Cosmopolitanism Made from Within

The Open University of Israel, mottire{at}openu.ac.il

Pop-rock music is portrayed as a major embodiment of the transformation of national cultural uniqueness from purist essentialism into aesthetic cosmopolitanism. Examining the local production of ethno-national pop-rock, and its public reception and legitimation through half a century, the article demonstrates how forces within the national context greatly contribute to cultural globalization. The article looks at three aspects of the rise of ethno-national pop-rock music to national legitimacy: the agency of musicians, analyzed as structurally stemming from the intersection of the field of pop-rock and the field of national culture; a four-phase, half-century long process, called here the `historical musical event' of pop-rock; and the consequence of pop-rock legitimacy for performance of national uniqueness. The general arguments and theoretical points are illustrated by detailed reference to the cases of pop-rock music in Argentina and Israel.

Key Words: aesthetic cosmopolitanism • Argentina • Israel • national culture • pop-rock music • popular music • sociology of music

Cultural Sociology, Vol. 1, No. 3, 317-341 (2007)
DOI: 10.1177/1749975507082051


CiteULike    Complore    Connotea    Del.icio.us    Digg    Reddit    Technorati    Twitter    What's this?