"Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the digital as
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sume clamouring audibility. The book contains ten chapters, eight of which present comprehensive original ethnographies; they are bookended by an authoritative introduction and a comparative postlude. Five chapters address popular, folk, art and crossover musics in the global South and North, including Kenya, Argentina, India, Canada and the UK. Three chapters bring the digital experimentally to the fore, presenting pioneering ethnographies of an extra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max. The book is unique in bringing ethnographic research on popular, folk, art and crossover musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. It shows how music enlarges anthropology while demanding to be understood with reference to classic themes of anthropological theory." (Publisher description)
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"This introduction is more of an outline than a detailed description of and for intercultural communication. This book should help to introduce students and anybody interested into the field of intercultural communication. The main approach in the presentation comes from the social communications fi
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eld, but an attempt is also made to incorporate interdisciplinary considerations from fields like anthropology and missiology." (Forweord to the first edition)
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"This article describes a phenomenon known all over Africa, for which there is no really satisfactory term in English but which is summed up in the French term 'radio trottoir', literally 'pavement radio'. It may be defined as the popular and unofficial discussion of current affairs in Africa, parti
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cularly in towns. Unlike the press, television or radio, pavement radio is not controlled by any identifiable individual, institution or group of people. An examination of the social role and pedigree of pavement radio reveals it to be qualitatively different from either rumour or gossip and to have a quite different social and political function from its counterpart in Europe. It is also different from mere rumour in its choice of subject, often discussing matters of public interest or importance which have been the subject of no official announcement. Pavement radio should be seen in the light of oral tradition and treated as a descendant of the more formal oral histories associated with ruling dynasties and national rituals." (Abstract)
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