Trajectories and Themes in World Popular Music - Globalization, Capitalism, Identity - Simone Krüger Bridge

Trajectories and Themes in World Popular Music - Globalization, Capitalism, Identity - Simone Krüger Bridge

Popular Music before Neoliberalism

Trajectories and Themes in World Popular Music - Globalization, Capitalism, Identity - Simone Krüger Bridge

Simone Krüger Bridge [+-]
Liverpool John Moores University
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Simone Krüger Bridge is a Reader [Associate Professor] in Music and Chair of the APS Faculty Research Degree Committee at Liverpool John Moores University (UK). She has published two monographs, Experiencing Ethnomusicology: Teaching and Learning in European Universities (2009) and Trajectories and Themes in World Popular Music (2018), and two co-edited collections, The Globalization of Musics in Transit: Music Migration and Tourism (2014) and Ethnomusicology in the Academy: International Perspectives (2011), and is currently working on the edited The Oxford Handbook of Global Popular Music (2 volumes) published by Oxford University Press. Her research on Paraguayan music, which focuses on guitar music culture and identity, has been presented in numerous talks, conference articles, and articles, such as in the The SAGE International Encyclopedia of Music and Culture (2021) and the Journal of the Royal Musical Association (2022). Her current research explores the social value of music participation in two comparative settings: Berta Rojas' music project Jeporeka 2021 and 2022, and Liverpool Cathedral's music outreach programme. Krüger Bridge is ceditor-in-chief of the Journal of World Popular Music, founding book series editor of Transcultural Music Studies (2015-2021), editorial board member for three academic journals, and has been co-editor of Ethnomusicology Forum (2010-2013), an Executive Committee member of the International Association for the Study of Popular Music (2019-2021), and a committee member of the British Forum for Ethnomusicology (2008-2011).


Chapter 1 considers world popular music before neoliberalism. It first discusses musical modernization under the influence of liberal capitalism and organized capitalism, exploring the early/subsequent trajectories and themes related to musical globalization from the late nineteenth century through the mid-twentieth century and until the 1970s. Under the influence of liberal capitalism (nineteenth century – 1940s), musical modernization meant to balance advantages of west and east, old and new, including the adoption and integration of western sound recording and broadcasting technology and other products of western culture. New technologies and mass media have aided the wide dissemination of popular music and its commodification for profit. The phase of musical modernization has transformed indigenous and national cultural formations under the impact of the spread of western culture on musical practices since the nineteenth century. During the subsequent phase in the history of capitalist hegemony, the Golden Age of Capitalism (1945 until mid-1970s), the US was able to build a successful economy, including a dominating music recording industry, which became driven by the logic of organized capitalism and Fordism as an economic practice, and led toward a “democratic moment” in Western Europe and the US. Since the 1960s, nations in Western Europe and Asia adopted similar economic models and witnessed a huge economic rise. The electronic musical revolution, along with western pop-rock music, spread globally and has affected music cultures all over the world. The structure and workings of the US-based music recording industry became replicated in the local music industries of countries around the world, so that international music industries became similarly marked by the standardization of production patterns and the pop-rock aesthetic. In considering the economic and technological dimensions of globalization and their impact upon society and culture, chapter 1 is also concerned with the politics of othering in popular music under liberal and organized capitalism, as these have been born out of historical, economic, social, and cultural manifestations of modern globalization. The chapter illustrates the politics of othering through racialized and gendered representations in popular music since its beginnings in the late nineteenth century.

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Krüger Bridge, Simone. Popular Music before Neoliberalism. Trajectories and Themes in World Popular Music - Globalization, Capitalism, Identity. Equinox eBooks Publishing, United Kingdom. p. 15-83 Mar 2018. ISBN 9781781796221. Date accessed: 22 Jun 2024 doi: 10.1558/equinox.34459. Mar 2018

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