Chapter 1 Preface Chapter 2 Chapter I. Postnational Perspectives in Music Scholarship Chapter 3 Chapter 1. Introduction: The Postnational Turn in Music Scholarship and Music Marketing Chapter 4 Chapter 2. Nationalist and Postnationalist Perspectives in American Musicology Chapter 5 Chapter 3. Productive Orientalisms: Imagining Noise and Silence Across the Pacific, 1957-1967 Chapter 6 Chapter II. A Transnational Caribbean Chapter 7 Chapter 4. The Miamization of Latin-American Pop Music Chapter 8 Chapter 5. Nostalgia and the Negotiation of Dislocated Identities: Puerto Rican Boleros in New York and Nuyorican Poetry Chapter 9 Chapter III. Across the U.S.-Mexico Border Chapter 10 Chapter 6. Ideology, Flux, and Identity in Tijuana's Nor-tec Music Chapter 11 Chapter 7. Quest for the Local: Building Musical Ties between Mexico and the United States Chapter 12 Chapter 8. Assimilation, Reclamation, and the Rejection of the Nation-State Chicano Musicians Chapter 13 Chapter 9. RockIn' la Frontera: Mexican Rock, Globalization, and National Identity Chapter 14 Chapter IV. South-American Connections Chapter 15 Chapter 10. Before and After Samba: Modernity, Cosmopolitanism, and Popular Music in Rio de Janeiro at the Beginning and End of the 20th Century Chapter 16 Chapter 11. The Afro-Colombianization of Hip-Hop and Discourses on Authenticity Chapter 17 Chapter 12. Transnational Soundscapes: Ambient Music and Bossatrônica
Postnational Musical Identities gathers interdisciplinary essays that explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizenship beyond the nation-state, and how music works as a site of resistance against globalization. 'Hybridity,' 'postnationalism,' 'transnationalism,' 'globalization,' 'diaspora,' and similar buzzwords have not only informed scholarly discourse and analysis of music but also shaped the way musical productions have been marketed worldwide in recent times. While the construction of identities occupies a central position in this context, there are discrepancies between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has historically been incorporated. As such, music has always been linked to the construction of regional and national identities. The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identification.