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Popular Music Short response

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please read the 3 articles attached below and write a short response..

Here is what the response should look like:

Reading Response (EXAMPLE)

Nettl, Bruno. “Mozart and the Ethnomusicological Study of Western Culture (An Essay in Four Movements.” Yearbook for Traditional Music 21 (1989):1-16.

Racy, A.J. “Domesticating Otherness: The Snake Charmer in American Popular Culture.” Ethnomusicology 60, no. 2 (Spring/Summer 2016):197-232.

Wong, Deborah. “Ethnomusicology and Critical Pedagogy as Cultural Work: Reflections on Teaching and Fieldwork.” College Music Symposium 38 (1998):80-100.

All of these publications seek to suggest a framework from which to teach world music(if not music at large) effectively. Each invites the reader to take an aerial, objective view on how educators of ethnomusicology present music, recognize how the material may be perceiveddifferently by individuals of various cultural backgrounds, and thus adapt accordingly. Each speaks to themes of appropriation, mythologization, and other socio-political boundaries that are inevitably present when teaching world music cultures.

In his essay, Nettl is most concerned with how American music departments present themselves and how a foreigner—in this case, a Martian—would interpret their cultural dynamic. He cautions us that our culture’s fetishization, essentialization, and mythologization of composers such as Mozart puts us in danger of being perceived as one-dimensional. Wong, also writing in the late twentieth century, produces similar dilemmas as Nettl. She advises educators to stop avoiding social strife in their scholarship and to teach music in a way that inspires both a larger social and cultural understanding but also a political sense of activism. She encourages a more fluid approach to pedagogy, one where the boundary between educator and student is more permeable. Despite Racy’s article being written in 2016, it speaks to the same themes both Nettland Wong presented. Racy’s article challenges American tendencies of cultural exoticization. He expounds on media, music, painting, and mythology’s role in “imaginative othering,” how certain sounds, images, and ideas are inevitably associated with a particular culture and thus a set of predisposed assumptions.

All of the readings hark on four major themes: appropriation, mythologization, awareness, and hierarchy. These themes are not mutually-exclusive, however, the presence of one can augment the other and vice versa. By warning scholars of these greater issues in higher education, each author provides suggestions from which to make academia more accessible and more diverse. They present new ways of viewing student perspectives to foster a more productive and inclusive classroom. By being aware of the different social, cultural, economic, and political backgrounds each student brings to the classroom, educators are more receptive to educational opportunities themselves. By addressing moments of social strife, educators are encouraging their students to become more globally aware and to become active in worldwide cultural phenomena.

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