El Sonido de lo otro: Nuevas Configuraciones de lo étnico en la industria musical.

Abstract

At the beginnings of Ethnomusicology as a science, it is possible to identify\na strong interest in translation of other music and delimitation of musical\nfeatures. This rush, contributed to the stereotyped marking of non–occidental\nmusic, producing at least two side–effects. In the first place, it made disappear –in the representational horizon– the urban, artistic, European music, which,\neven today, is considered in many fields as a “tacit synonym” of the term\nmusic.2 In the second place, it initiated a series of complex subject–building\nprocesses, linked to several identity effects that necessarily are present in\nnon–urban, non–artistic, and non–european music. The centrality of the\nterm identification in the consumption of what I call here ethnic music, is\nimportant to understand how, in the globalized recording market, there is\na new esthetic category, that seizes the marginality of this music –and the\nsimultaneous desire/rejection movements that they generate– to promote\nsales and move the market. This process is constituted by global discourses\n(multiculturalism, biodiversity), which are part of an ethnopolitic strategy,\nbased on the pacification of difference. However, as long as the marking\nof otherness is done by using stereotypes, which are fixed and simplifying\nrepresentations, there is always an open space thru which this ethnic music\ncan emerge to destabilize the regime of representation that classifies them.

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