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| | A Sweet Lullaby For World Music |
 | | The binary reproduced by the world music concept thus participated in reinscribing the separation of musicology, constructed as the historical and analytic study of Western European art musics, from ethnomusicology, constructed by default as the cultural and contextual study of musics of non-Europeans, European peasants, and marginalized ethnic or racial minorities. |
 | | This prayer-like "Pygmy Lullaby" was on my mind when I went to a music globalization seminar in Norway in June 1998 to discuss my research on "pygmy pop," the history of jazz, rock, and avant-garde appropriations and extensions of musics from Central Africa's rainforest peoples (Feld 1996). |
 | | The inability of pop music "royalty" to examine their privilege (Lipsitz 1994, 63), and their lack of reflexivity about how those being curated might see and hear it all quite differently, is a stunning act of narcissism for an industry so invested in a democratic image of collaboration. |
| www.deepforestmusic.com /dfpress_00-00-00sweetlullabyforworld.htm (8359 words) |
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