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Michelle Collay. Resourcing the Start-Up Business. Oswald Jones. Strategic Leadership. Bert Cannella. Handbook of Leadership Theory and Practice. Nitin Nohria. Karen Golden-Biddle. Organizational Design: A Holistic View.
James Triplett. Harold P. Tom Sergiovanni. David Glen Mick. Excellence Through Equity. Alan M. Marketing Theory. Professor Michael J Baker. The Virtues of Leadership.
Miguel Pina e Cunha. Work Without Boundaries. Michael Allvin. The Routledge Companion to Digital Consumption. Russell W.http://outer-edge-design.com/components/cam/4670-need-to.php
Ethnomusicology - Wikipedia
Creativity and Leadership in Science, Technology, and Innovation. Sven Hemlin. Roger Mansfield. The Handbook of Communication and Corporate Reputation. Craig E. Leif Melin. Energizing Management Through Innovation and Entrepreneurship. Creativity and Entrepreneurial Performance. Thomas P. Creating Sustainable Work Systems. Peter Docherty. Values and Opportunities in Social Entrepreneurship. Public Trust in Business. Jared D. Generational Diversity at Work. Emma Parry.
Effective Risk Communication. Joseph Arvai. Morley D. Unpacking Open Innovation. Manlio Del Giudice. Gale Goldberg Wood.
Frontiers of Management Routledge Revivals. Cooperation, Clusters, and Knowledge Transfer. Organizational Wrongdoing. Donald Palmer. Handbook of Research on Consumerism in Business and Marketing. Hans-Ruediger Kaufmann. The International Handbook on Innovation.
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Transcultural Marketing for Incremental and Radical Innovation. Bryan Christiansen. Social Intelligence, Leadership, and Problem Solving. Afzalur Rahim. Coopetition Strategy. By the late s, the field of ethnomusicology had begun examining popular music and the effect of media on musics around the world. Several definitions of popular music exist but most agree that it is characterized by having widespread appeal. Peter Manuel adds to this definition by distinguishing popular music by its association with different groups of people, performances by musicians not necessarily trained or intellectual, and dispersion through broadcasting and recording.
Popular music can operate less deliberately and focuses on creating a general effect or impression, usually focusing on emotion. Thus, a duality emerged from this standardization, an industry-driven manipulation of the public's tastes to give people what they want while simultaneously guiding them to it. In the case of rock music, while the genre may have grown out of politicized forces and another form of meaningful motivation, the corporate influence over popular music became integral to its identity that directing public taste became increasingly easier. However, because popular music assumes such a corporatized role and therefore remains subject to a large degree of standardization, ambiguity exists whether the music reflects actual cultural values or those only of the corporate sector seeking economic profit.
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From the fame and economic success surrounding such superstars, subcultures continued to arise, such as the rock and punk movements, only perpetuated by the corporate machine that also shaped the musical aspect of popular music. Musical interaction through globalization played a huge role in ethnomusicology in the s. Ethnomusicologists began looking into a 'global village', straying away from a specialized look at music within a specific culture. There are two sides to this globalization of music: on one hand it would bring more cultural exchange globally, but on the other hand it could facilitate the appropriation and assimilation of musics.
Ethnomusicologists have approached this new combination of different styles of music within one music by looking at the musical complexity and the degree of compatibility.
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This Westernization and modernization of music created a new focus of study; ethnomusicologists began to look at how different musics interact in the s. By the s, musicology which had previously limited its focus almost exclusively to European art music , began to look more like ethnomusicology, with greater awareness of and consideration for sociocultural contexts and practices beyond analysis of art music compositions and biographical studies of major European composers.
Ethnomusicologists continued to deal with and consider the effects of globalization on their work. Bruno Nettl identifies Westernization and modernization as two concurrent and similar cultural trends that served to help streamline musical expression all over the world. While creeping globalization had an undeniable effect on cultural homogeneity, it also helped broaden musical horizons all over the world. Rather than simply lamenting the continuing assimilation of folk music of non-western cultures, many ethnomusicologists chose to examine exactly how non-western cultures dealt with the process of incorporating western music into their own practices to facilitate the survival of their previous traditions.
With the ongoing globalization of music, many genres influenced each other and elements from foreign music became more prevalent in mainstream popular music. Diaspora populations such as the Punjab population in England were studied due to the characteristics of their music showing signs of the effects of global media. Their music, like many other music of displaced cultures, was made up of elements from the folk music of their culture along with the popular music of their location.