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We might also speculate whether similar mechanisms to those involved in reproducing the hegemony of postserialist modernism—that is, the way that aesthetic movements lay down deep historical tracks through the cumulative momentum of their institutionalization, cultural authority, power, and, given the internationalization of twentieth-century avant-gardes, their wide geographical dispersal48—whether these mechanisms may not also have affected that rival and antagonist of modernism, experimental music.

Mark Slobin has offered a theoretical schema which may account for such a range of forces and which is irreducible to an external political function. 73 This perspective, uniting ethnomusicology with popular music studies by way of cultural studies, is itself conceptually a fertile hybrid. And yet, in the desire to read these hybrid musics as embodiments of a new and effective cultural politics from the margins, as productive ways of “writing back” against the center, writers such as Lipsitz and Slobin perhaps overstate the relative cultural power and visibility of these musics, and neglect the extent to which they are structured by an increasingly global and flexible industrial complex.

The increasing impact of non-Western popular forms and styles in the West was in part the result of well-meaning efforts on the part of independent entrepreneurs to promote and distribute these musics more widely, in an attempt to counter the ethnocentrism of the major Western markets. Record shops, magazines, independent labels and distributors sprang up devoted to the promotion of non-Western musics in Europe, North America, and Australia. 68 At about the same time, certain Western pop stars, most notably Paul Simon, Peter Gabriel, and David Byrne, were making increasing use of non-Western sounds in their music, and this helped to popularize certain African and Latin styles.

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Guitar School With John Frusciante

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