Date: 3:30-5PM Wednesday, May 17, 2017

Location: Music Room 1145 

This paper addresses new musical formations that are articulated across places, times, and people and that are openly embraced and promoted by musicians as well as fans today. It explores what Guilbault calls the politics and logics of musical bonding as a processual example of worlding. Numerous studies have focused on the musical connections between centers and peripheries, on musical practices that have traveled from the so-called first countries to the global south. Save some notable exceptions, few studies ahve traced the bonding that musics from the global south have created not just in the West, but also among themselves--in various parts of the global south and Asia. This study examines two musicals practices from the sotuh, soca and zouk from the Caribbean region, to highlight the different logics of cosmopolitan musical bonding, the worlding (ways of thinking and being) they put into motion, the affective relations and the "mattering maps" (Lawrence Grossberg's term) that they generate. 

Professor Jocelyne Guilbault specializes in theory and method in popular music studies, politics of aesthetics, and issues deadling with power relations in music production and circulation. Since 1980, she has done extensive fieldwork in the French Creole- and English-speaking islands of the Caribbean on both traditional and popular music. She published several articles on ethnographic writings, aesthetics, the cultural politics of West Indian music industries, and world music. She is the author of Zouk: World Music in the West Indies (1993), Governing Sound: the Cultural Politics of Trinidad's Carnival Musics (2007), and Roy Cape: A Life on the Calypso and Soca Bandstand (with Roy Cape, 2014). 

Sponsored by the Music Department's Distinguished Lecturer Series, Ethnomusicology Forum, and the Center for the Interdisciplinary Study of Music.

More information: (805) 893-3230 or http://music.ucsb.edu/news/event/1278