
Contents
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Introduction Introduction
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A Note on Methodology A Note on Methodology
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Migration, Diaspora, and Transnational Groups Migration, Diaspora, and Transnational Groups
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Music, Diaspora, and Social Media Music, Diaspora, and Social Media
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“Jaka Jest Dobra Muzyka?” (“What Is Good Music?”): Music and Social Media Use by Polish Groups in Dublin “Jaka Jest Dobra Muzyka?” (“What Is Good Music?”): Music and Social Media Use by Polish Groups in Dublin
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Polish Popular Music Polish Popular Music
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Polish-Language Social Media and Music Polish-Language Social Media and Music
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Finding Home? Social Media, Music, and Identity Construction Among and Across Transnational South Asian Youth Populations Finding Home? Social Media, Music, and Identity Construction Among and Across Transnational South Asian Youth Populations
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South Asian Popular Musics South Asian Popular Musics
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South Asian Networks, Social Media, and Music South Asian Networks, Social Media, and Music
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Concluding Comments Concluding Comments
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Notes Notes
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References References
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5 Diaspora, Transnational Networks, and Socially Mediated Musical Belonging
Get accessJohn O’Flynn is an associate professor of music at Dublin City University, where he teaches film music, popular music, and other courses. Publications include The Irishness of Irish Music (Ashgate, 2009) and the co-edited volume Music and Identity in Ireland and Beyond (Ashgate, 2014). He is currently completing Music, the Moving Image, and Ireland (Routledge) and co-editing Made in Ireland: Studies in Popular Music, also with Routledge. Recent articles include “Alex North’s Adapted Score for The Dead” in American Music (2018) and “Sounding Dublin: Mapping Popular Music Experience in the City” for the Journal of World Popular Music (2019).
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Published:08 October 2020
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Abstract
This chapter considers the evolving ways in which migrant groups and ethnic minorities engage collectively with music as diasporas, transnational networks, genres, and practices in ways that are increasingly imagined and supported through social media. It further contemplates the potential for musical belonging and learning between and among diasporic/transnational groups and the implications of this in broader global contexts. A review of literature leads to fluid conceptions of diaspora and transnational networks that also embrace socially mediated affinity groups in domestic and international music spheres. The chapter presents two “field-sites” of popular music “prosumption”: the first of these examines activities of Polish residents in Dublin, where on- and offline musical-social networks converge to negotiate migrant and transnational identities; the second reports on how socially mediated networks among young South Asians in North America, Britain, and beyond afford alternative configurations of diasporic and musical belonging in addition to facilitating new popular music genres. Findings that emerge from both field-sites lead to a discussion on the educative and broader societal implications of socially mediated music “prosumption” by diasporic and transnational groups.
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