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Local FusionsFolk Music Experiments in Central Europe at the Millennium$
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Barbara Rose Lange

Print publication date: 2018

Print ISBN-13: 9780190245368

Published to Oxford Scholarship Online: July 2018

DOI: 10.1093/oso/9780190245368.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 16 January 2021

Introduction

Introduction

Chapter:
(p.1) Introduction
Source:
Local Fusions
Author(s):

Barbara Rose Lange

Publisher:
Oxford University Press
DOI:10.1093/oso/9780190245368.003.0001

The Introduction outlines a historical and cultural framework for musical fusion projects in Central Europe, specifically Hungary, Slovakia, and Austria, between 1989 and 2008. It argues that such projects participate in a regional artistic heritage of stylistic virtuosity and social critique. It describes how Central Europeans treat some of their own world music, folk music, and ethnojazz as high or “serious” art, while in Western Europe, world music is part of the popular music industry. The Introduction argues that the Central European projects are experiments in economic independence and in ethnic inclusion stemming from the region’s history of war, exclusion of Romani (Gypsy) and Jewish minorities, and transition to neoliberal capitalism. The Introduction discusses artistic precedents of the 1970s and 1980s, and delineates aspects of the sociopolitical atmosphere for the arts in Central Europe between 1989 and 2008.

Keywords:   poetic nationalism, neoliberal subjectivity, risk society, folk music, musicking, world music, postcommunism, Slovakia, Austria, Hungary

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