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Musical Borrowings, Copyright, and the Canard of “Cultural Appropriation”
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Musical Borrowings, Copyright, and the Canard of “Cultural Appropriation” (2021)Musical Borrowings, Copyright, and the Ca…The Rosalía Polemic: Defining Genre Boundaries and Legitimacy in Flamenco (2021)The Rosalía Polemic: Defining…Cultural Appropriation and the Arts (2008)Cultural Appropriation and th…Profound Offense and Cultural Appropriation (2005)Profound Offense and Cultural…Introduction: On Difference, Representation, and Appropriation in Music (2001)Introduction: On Difference, …Music, Spirit Possession and the Copyright Law: Cross-Cultural Comparisons and Strategic Speculations (1999)Music, Spirit Possession and …The Cultural Life of Intellectual Properties (1998)The Cultural Life of Intellec…Borrowed Power: Essays on Cultural Appropriation (1998)Borrowed Power: Essays on Cul…Dangerous Crossroads: Popular Music, Postmodernism, and the Poetics of Place (1997)Dangerous Crossroads: Popular…The/An Ethnomusicologist and the Record Business (1996)The/An Ethnomusicologist and …Pygmy POP. A Genealogy of Schizophonic Mimesis (1996)Pygmy POP. A Genealogy of Sch…Indigenous Music and the Law: An Analysis of National and International Legislation (1996)Indigenous Music and the Law:…Race, Ethnicity, Expressive Authenticity: Can White People Sing The Blues? (1994)Race, Ethnicity, Expressive A…Love and theft: blackface minstrelsy and the American working class (1994)Love and theft: blackface min…Intellectual Property and Copyright Ethics (1991)Intellectual Property and Cop…Disjuncture and Difference in the Global Cultural Economy (1990)Disjuncture and Difference in…The Genius and the Copyright: Economic and Legal Conditions of the Emergence of the 'Author' (1984)The Genius and the Copyright:…Primitive Culture: Researches Into the Development of Mythology, Philosophy, Religion, Art, and Custom (1974)Imaginary homelands: essays and criticism, 1981-1991 (1991)Culture and Imperialism (2017)Cultural appropriation and oppression (2018)Cultural appropriation and the intimacy of groups (2018)What is (the wrong of) cultural appropriation? (2019)The Moral Limits of the Criminal Law Volume 1: Harm to Others (1987)Literary Racial Impersonation (2022)Culture for Sale: Unpacking Consumer Perceptions of Cultural Appropriation (2023)Imagined Communities. Reflections on the Origin and Spread of Nationalism (1985)Third-World Literature in the Era of Multinational Capitalism (1986)The role of national culture in international marketing research (2001)Hard‐branding the cultural city – from Prado to Prada (2003)Metaphors We Live By (2003)Transnational Migration: Bringing Gender In (2003)On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (1986)Mimesis and alterity: a particular history of the senses (1993)The Visible Evidence of Cultural Producers (2000)The New Grove dictionary of music and musicians (2001)World music: deterritorializing place and identity (2004)Soundscapes: Toward a Sounded Anthropology (2010)“Race records” and “hillbilly music”: institutional origins of racial categories in the American commercial recording industry (2004)The Social and the Aesthetic: For a Post-Bourdieuian Theory of Cultural Production (2010)Class, Control, and Classical Music (2019)An Essay on Framing and Overflowing: Economic Externalities Revisited by Sociology (1998)Voices of Modernity (2003)Translation, Rewriting, and the Manipulation of Literary Fame (2016)Dynamic texts and tourist gaze (2000)Material Geographies and Postcolonialism (2003)Performing identity within a multicultural framework (2005)Race and the re-embodied voice in Hollywood film (2011)Participatory and community‐based research, Indigenous geographies, and the spaces of friendship: A critical engagement (2012)The psychedelic renaissance and the limitations of a White-dominant medical framework: A call for indigenous and ethnic minority inclusion (2019)Millennial Capitalism: First Thoughts on a Second Coming (2000)Naturing the Nation: Aliens, Apocalypse and the Postcolonial State (2001)Kinship, Law and the Unexpected (2005)Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot (1997)Paranoid Reading and Reparative Reading; or, You’re So Paranoid, You Probably Think This Introduction is About You EVE KOSOFSKY SEDGWICK (1997)Signs of Difference (2019)
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References

  • 1990Disjuncture and Difference in the Global Cultural Economy3,616 cited
  • 1984The Genius and the Copyright: Economic and Legal Conditions of the Emergence of the 'Author'611 cited
  • 1998The Cultural Life of Intellectual Properties552 cited
  • 1994Love and theft: blackface minstrelsy and the American working class474 cited
  • 2008Cultural Appropriation and the Arts292 cited
  • 1996Pygmy POP. A Genealogy of Schizophonic Mimesis283 cited
  • 1997Dangerous Crossroads: Popular Music, Postmodernism, and the Poetics of Place209 cited
  • 1998Borrowed Power: Essays on Cultural Appropriation204 cited
  • 2001Introduction: On Difference, Representation, and Appropriation in Music125 cited
  • 2005Profound Offense and Cultural Appropriation120 cited
  • 1996The/An Ethnomusicologist and the Record Business109 cited
  • 1996Indigenous Music and the Law: An Analysis of National and International Legislation86 cited
  • 1994Race, Ethnicity, Expressive Authenticity: Can White People Sing The Blues?84 cited
  • 2021The Rosalía Polemic: Defining Genre Boundaries and Legitimacy in Flamenco17 cited
  • 1999Music, Spirit Possession and the Copyright Law: Cross-Cultural Comparisons and Strategic Speculations

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  • 1991Intellectual Property and Copyright Ethics12 cited
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