- List of Contributors
- About the Companion Website
- An Introduction to Music Revival as Concept, Cultural Process, and Medium of Change
- Traditional Music, Heritage Music
- An Expanded Theory for Revivals as Cosmopolitan Participatory Music Making
- Antiquarian Nostalgia and the Institutionalization of Early Music
- A Folklorist’s Exploration of the Revival Metaphor
- A Participant- Documentarian in the American Instrumental Folk Music Revival
- Reviving Korean Identity through Intangible Cultural Heritage
- Music Revival, <i>Ca Trù</i> Ontologies, and Intangible Cultural Heritage in Vietnam
- The Hungarian Dance House Movement and Revival of Transylvanian String Band Music
- National Purity and PostColonial Hybridity in India’s <i>Kathak</i> Dance Revival
- Choreographic Revival, Elite Nationalism, and Postcolonial Appropriation in Senegal
- Revived Musical Practices within Uzbekistan’s Evolving National Project
- Two Revivalist Moments in Iranian Classical Music
- Reclaiming Choctaw and Chickasaw Cultural Identity through Music Revival
- Revivalist Articulations of Traditional Music in War and Postwar Croatia
- Cultural Rescue and Musical Revival among the Nicaraguan Garifuna
- Toward a Methodology for Research into the Revival of Musical Life after War, Natural Disaster, Bans on All Music, or Neglect
- Innovation and Cultural Activism through the Reimagined Pasts of Finnish Music Revivals
- Revival Currents and Innovation on the Path from Protest Bossa to Tropicália
- Bending or Breaking the Native American Flute Tradition?
- Toward an Application of Globalization Paradigms to Modern Folk Music Revivals
- Contemporary English Folk Music and the Folk Industry
- Ivana Kupala (St. John’s Eve) Revivals as Metaphors of Sexual Morality, Fertility, and Contemporary Ukrainian Femininity
- Trailing Images and Culture Branding in Post-Renaissance Hawai‘i
- Grassroots Revitalization of North American and Western European Instrumental Music Traditions from Fiddlers Associations to Cyberspace
- Georgian Polyphony and its Journeys from National Revival to Global Heritage
- Irish Music Revivals Through Generations of Diaspora
- Reviving the Reluctant Art of Iranian Dance in Iran and in the American Diaspora
- Musical Remembrance, Exile, and the Remaking of South African Jazz (1960–1979)
Abstract and Keywords
This article has been commissioned as part of the forthcoming Oxford Handbook of Music Revival edited by Caroline Bithell and Juniper Hill. This chapter offers fresh theoretical perspectives for understanding music revival as concept, cultural process, and medium of change. Upon reviewing existing revival scholarship and contextualizing it within nineteenth and twentieth-century intellectual history, the authors identify new territories (social, political, geographical, and ontological) that are ripe for critical examination through the revival lens. The chapter’s key arguments are advanced via a set of six inter-related themes: (1) activism and the desire for change; (2) the valuation and reinterpretation of history; (3) recontextualization and transformation; (4) legitimacy and authenticity; (5) musical transmission and dissemination; and (6) post-revival outgrowths and ramifications. Viewing the project of reclaiming, reimagining, and transforming the past as a recurring universal phenomenon and revealing the extent to which the legacy of revivalist visions continues to shape our musical and social worlds, the authors argue for the potential of revival as a productive analytical tool in contemporary, global contexts.
Juniper Hill, Marie Curie Intra-European Research Fellow, Faculty of Music, University of Cambridge, UK, and Lecturer, School of Music and Theater, University College Cork, Ireland
Caroline Bithell is Senior Lecturer in Ethnomusicology at the University of Manchester, UK. She has published widely on Corsican music, which was the main focus of her research from 1993. Her monograph Transported by Song: Corsican Voices from Oral Tradition to World Stage appeared with Scarecrow Press in 2007. Her edited collection The Past in Music appeared as a special issue of the journal Ethnomusicology Forum (2007). Her new monograph on the natural voice and world song is forthcoming, together with other new work on Georgian polyphony. She is also co-editor of The Oxford Handbook of Music Revival.
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