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- W2493184477 abstract "ABSTRACTPaul Bowles (1910–1999) was a culture broker who introduced foreign artists visiting Morocco to one another and to local artists, with the result that ‘Tangier’ follows a certain circuit within global flows of cultural capital. As the best-paid composer of incidental music in the 1930s in Hollywood, however, he was the John Williams of his era. His musical background in particular has not been clearly reconciled to his role as culture broker. Focusing on the music Bowles composed before and after living in Morocco, and returning in particular to that earlier time in the 1930s and 1940s, this essay seeks to understand how knowledge of the city of Tangier was packaged according to Bowles’s aesthetics of appropriation, and the circulation of that knowledge since. This knowledge is appropriated according to racial and ethnic categories, a topic upon which Bowles had a uniquely well-formed perspective. The essay reviews Bowles’s composition, curation, and criticism while elucidating historical and cult..." @default.
- W2493184477 created "2016-08-23" @default.
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- W2493184477 date "2016-08-03" @default.
- W2493184477 modified "2023-09-22" @default.
- W2493184477 title "Discrete/discreet appropriation: Paul Bowles, non-Western music, and race in Tangier" @default.
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- W2493184477 doi "https://doi.org/10.1080/13629387.2016.1207887" @default.
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