Translation And Research Of Postnational Musical Identities

“Postnationalism,” “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 identity occupies a central position in such a context,a discrepancy between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has been historically incorporated.Ignacio Corona and Alejandro Madrid editor of《Postnational Musical Identities》in 2007 which published by LEXINGTON BOOKS.This book to explore post-ethnic,cross-ethnic,globalization and related themes by reviewing the edge / center relationships of the current music market.For example,how to imagine audience and identity in a globalized economy,how music reflects and reflects a new understanding of citizens outside the nation state,how music serves as a place to resist oppression by globalization or forms of nationalism,etc.Postnational Musical Identities is divided into four chapters to discuss the musical identity generated by cross-regional flow from the perspective of globalization.From the perspective and standpoint of the author,summarizes the author’s views through the book’s translation practice.The Pacific Rim chapter mainly discusses the Nationalist and Postnationalist Perspectives in American Musicology,and the western identity of Oriental music with Japanese music as an example.The Caribbean chapter topic revolves around The Miamization of Latin-American Pop Music,and Nostalgia and the Negotiation of Dislocated Identities: Puerto Rican Boleros in New York and Nuyorican Poetry.The third chapter focuses on the musical identity of the US-Mexico border area and immigrants,while the fourth chapter discusses the identity of Brazilian samba and The “Afro-Colombianization” of Hip-Hop and Discourses on Authenticity.Music,as the main medium of human expression,can never be separated from the social identity,which is always based on the sense of the history,politicization and social gender of individuals and regions.Music is both politically and aesthetically powerful because it permeates people’s emotions,which inspires the images of communities and nation-states,traditions,authenticity,similarities and differences.In the postnational world,composers,artists,and audiences are no longer part of the same cultural context,and social meanings,ways of performance,and aesthetic values are no longer implicitly understood or assumed.Through the translation and study of Postnational Musical Identities,use interdisciplinary or multidisciplinary methods to have a deeper understanding of transnationalism mobility and the dissemination and reception of postnational music.