Global or regional music styles Books

Book Synopsis'Fizzes with energy.' GUARDIAN'Insistent and propulsive and unforgettable.' MAAZA MENGISTE'A hugely original, lyrical odyssey.' JOHNY PITTSHours before performing at one of Europe's most iconic music festivals, Kalaf is detained on suspicion of being an illegal immigrant.

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Book SynopsisIn the summer of 1972, during a compulsory stint in the South African military, Stephen ''Sugar'' Segerman heard the music that would forever change his life. A decade later, on yet another military base, Craig Bartholomew Strydom heard the same music. It would have a profound effect. Who was this folk singer who resonated with South Africa''s youth? No one could say. All that anyone knew was his name - Rodriguez - and the fact that he had killed himself on stage after reading his own epitaph.After many years of searching in a pre-internet age, Strydom with support from Segerman found the musician not dead but alive and living in seclusion in Detroit. Even more remarkable was the fact that Rodriguez, no longer working as a musician and struggling to eke out a blue-collar existence, had no idea that he had been famous for over 25 years in a remote part of the world...

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Book SynopsisBlending European and African-American styles with traditional African patterns, highlife music was the soundtrack of the independence era. Its influence still resonates today. Highlife Giants is an intimate portrait of the pioneering artistes of West Africa''s music scene from the 1920s onwards. It contains interviews with stars including Victor Uwaifo and Ignace De Souza, revealing behind-the-scenes moments such as Louis Armstrong giving Eddie Okonta a trumpet with a golden mouthpiece.Professor John Collins is a guitarist, harmonica player, and percussionist whohas worked with musicians including E.T. Mensah and Fela Kuti. He has authored over one hundred journalistic and academic publications.

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Book SynopsisA diverse history of the pipes--from inspiring terror on battlefields to enriching cultures worldwide.

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Book SynopsisA radical new book by journalist, critic and BBC Radio 3 broadcaster Kate Molleson, which fundamentally changes the way we think about classical music and the musicians who made it on a global scale.''Wonderful . . . This is a book of discovery that speaks of music as a life force, that urges us to live our lives through music. ''COSEY FANNI TUTTI''A marvellous book that opens our ears to sonic worlds that will enrich and delight us, whoever and wherever we are.''IAN McMILLAN''A clear-eyed, utterly fascinating exploration of outsiders in classical music. Molleson''s excellent book challenges and enlightens.''SINÉAD GLEESONThis is the impassioned and exhilarating story of the composers who dared to challenge the conventional world of classical music in the twentieth century.Traversing the globe from Ethiopia and the Philippines to Mexico, Jerusalem, Russia and beyond, journalist, critic and BBC Rad

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Book SynopsisAfrobeats is a fast-growing genre, one that has carved out a distinct and powerful Black identity rooted within the African continent.The first book of its kind, A Quick Ting On: Afrobeats chronicles the social and cultural development of the eponymous music genre, tracing its rich history from the African continent all the way to the musical centre of the Western world.This exciting new book takes a unique look at the music of the African diaspora and their children, delving into how Afrobeats and its sub-genres have provided new articulations of Black identity and pride. It remembers the Afrobeats pioneers and memorable cultural moments, as well as investigating the impact of African migration, travel and modernisation on the genre.A Quick Ting On: Afrobeats provides an insightful look at how Afrobeats became the explosive music genre it is today.Table of Contents 1: My Personal Relationships with Afrobeats 2: Fela and Afrobeat–The Man And The Music 3: Hiplife–Fusion and Cutlure 4: Wxmen in Afrobeats 5: The Skanking Era–UK Funky House 6: Is It Really Everyday Dance? 7: The Sonic Creators: Music Producers 8: Afrobeats (Yes, With An S) 9: Diasporic sounds, Afro-suffixes and everything in between 10: Homecoming And The Future

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Book SynopsisEverything you want to know about the fabulousness that is Eurovision! The Eurovision Song Contest is one of the world's longest running TV programmes, and has become a much loved tradition across Europe and now Australia. From the spandex to the glitter, ABBA to Lordi, and the unexpected winners to the "nil points" losers, The Little Book of Eurovision will take you through the best and the "Wurst" moments of the last 65 years. Eurovision has come a long way from its very first competition in 1956, with just seven entrants and a studio audience of 200 people. Now people gather for Eurovision parties, complete with food and drink from the competing countries, and even dress up in finery to match the feathers, sequins, and leather on stage. Whether you are a cynic, a true believer or just a disappointed Brit (again), you'll love reliving the highs and lows of Eurovision through these pages.

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Book SynopsisThis volume of the famous Schott World Music' series follows Scottish Folk Tunes for Guitar and features internationally recognised guitarist and composer Hugh Burns as he presents some of his favourite traditional songs.The arrangements vary in difficulty from about grade 3 to performance standard. The music can be performed on solo guitar or in a session' situation with other guitarists. In the book a number of the pieces are arranged and played with a 2nd guitarist.The music is displayed on the stave, tab and chord symbols making the pieces accessible to a wider selection of guitarists. The pieces use various tunings such as; standard, Drop D and Open G.Audio files of all pieces are offered with a download code.Besetzung:guitar

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Book Synopsis''THE BOOK THAT EVERY REGGAE FAN SHOULD READ'' John Masouri, Echoes''Rodigan can still claim a currency few presenters of his vintage can match. Perhaps it''s because while his wider musical and professional milieu has been in constant change, his boundless enthusiasm has been constant. Reggae''s been lucky to have him'' Ian Harrison, MOJO''Rodigan was a major part of my childhood, he played the hottest tunes and in a style that just resonated with me and millions like me. Being able to contribute anything to a man that filled my life with such joy is an honour, respect, David Rodigan'' Ian Wright''David is a pioneer in Reggae music. As a selector and radio personality, his vast knowledge of Jamaican music and its culture has helped to educate and fascinate music lovers around the world; he''s an amazing son of the music, and an icon. We couldn''t have made it this far without him'' ShaggyThis is the unlikely Trade ReviewIn my lifetime, David Rodigan has been one of the most respected broadcasters and DJs in any music genre. He always will be. His passion and energy for the music are unparalleled -- Trevor NelsonPeople use the word "legend" too lightly, but when it comes to this man, he's just a don gargan! Beyond legend * Goldie *Today the world has finally gotten to know that Sir David Rodigan is the very best at what he does. Not just playing the music, but loving it with a world of musical knowledge. We love you David, ride on ... -- Freddie McGregorRodigan's insatiable appetite for Reggae in all its guises and permutations has been a gift to Great Britain. Life without Rodigan would be unimaginable. He waged war against the marginalisation of Reggae and fought to infuse radio listeners with his own indefatigable passion. We are forever in his debt -- Vanessa FeltzWhen I think of Rodigan I immediately think - mum preparing the food, me doing the hoovering with the shake & vac, Rodigan in the background on the radio and me skanking to some riddim. The word legend is banded about far too often these days and often unwarranted, but for this man, it's the perfect way to sum him up. Thanks to YouTube these days you can now see how he went to Jamaica and clashed with various sound systems and coming out victorious 'nuff times. The utmost respect for a true icon, Mr David Rodigan -- Rio FerdinandThere a very few DJs who have made the sort of contribution to the music industry as David Rodigan. He invited me onto his Capital Radio show in the early 80s and he was as impressive in real life as his persona suggested. Rodigan has had a profound effect on generations of Reggae lovers and has taken the genre to the four corners of the globe. Bob Marley, Dennis Brown, Gregory Isaacs et al sang the music we loved but we needed someone to make the connection between the artist, the music and the people and no one did that better than David Rodigan -- Gareth CrooksAs a teenager growing up, my weekend wasn't complete unless I listened to David Rodigan playing all the tunes I loved and still love today. Nuff respect due -- Les FerdinandAn enjoyable history of Jamaican music in Britain -- Graeme Thomson * Uncut *The book that every reggae fan should read ... it's the story of a genuine, if unlikely, British reggae institution whose love of the music illuminates every page. It's as easily digestible, engaging and informative as the man's radio broadcasts -- John Masouri * Echoes *David Rodigan is the outside world's greatest ambassador of Jamaica's musical heritage, whose enthusiasm and keen insight has enlightened and entertained millions internationally over the past four decades. Now, in his revelatory self-titled autobiography, he takes us behind the scenes to sometimes harrowing, more often exhilarating events and encounters, interacting with nearly all of reggae's finest creators, sharing professional insights and guiding us through the music's evolution from ska to grime. Never has a book taken us so skillfully through this ethereal world with such candor, grit and honesty. Essential reading for everyone who calls themselves a fan of Jah Music - -- Roger Steffens, Founding Editor, Beat magazine; Founding Chairman, Reggae Grammy Committee

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Book SynopsisAn exhilarating debut novel told through three different voices, Whites Can Dance Too is Kalaf Epalanga''s reflection on and celebration of the music of his homeland, the intertwining of cultural roots, and freedom and love.It took being caught at a border without proper documents for me to realise I'd always been a prisoner of sorts. Kuduro had been my passport to the world, thanks to it I'd travelled to places I'd never dreamed of visiting. But the chickens had come home to roost . . .Hours before performing at one of Europe's most iconic music festivals, Kalaf Epalanga is detained at the border on suspicion of being an illegal immigrant. Trapped, his thoughts soon thrum to the beat of kuduro, the blistering, techno-infused Angolan music which has taken him from Luanda to Kristiansund, Beirut to Rio de Janeiro, Paris to Lisbon.Shifting between his reflections while incarcerated, and the stories of Sofia Kalaf's friend at the heart of t

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Book Synopsis(Schott). French Folk Tunes for Accordion is a collection of arrangements for solo accordion, of traditional tunes including a range of stylessuch as Polkas, Waltzes, Bourrees and more. Experienced accordionist Murray Grainger provides notes on all of the styles, as well as general advice on interpretation and performance. The volume is accompanied by recordings for download of all tunes performed by Murray. German and French translations of all texts are available as pdf downloads from the Schott Music website. Suitable for players of grades 3-8.

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Book SynopsisContains a series of six lessons with music tablature and standard notation presented on two DVDs, featuring the pieces Solea, Rasgueo, Compas, Alzapua, Bulerias Al Golpe and many more. This title explains and demonstrates the techniques and rhythmic forms of flamenco guitar playing, designed for players from beginners to advanced.

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Book SynopsisUnique in showcasing both the front stage and back stage realities of the K-pop world, this book presents the K-pop phenomenon from many perspectives: as music industry, dance practices, talent management system, as a new media phenomenon, and as transnational community building efforts.Table of ContentsIntroduction: Korea's moment in the limelight Suk-Young Kim; Part I. Genealogies: 1. Sticking it to the man: early neoliberalism in Korean pop music Roald Maliangkay; 2. Itaewon class, Gangnam style and Yeouido star: the industrial revolution of Korean pop in the 1990s Hyunjoon Shin; Part II. Sounding out K-pop: 3. Finding the K in K-pop musically: a stylistic history Jung-Min Mina Lee; 4. Recording the soundscape of K-pop Hyewon Kim; Part III. Dancing to K-pop: 5. K-pop dance music video choreography Chuyun Oh; 6. Embodying K-pop hits through cover dance practices CedarBough T. Saeji; Part IV. The making of idols: 7. K-pop idols: media commodities, affective laborers and cultural capitalists Stephanie Choi; 8. From K-pop to Z-pop: the pan-Asian production, consumption and circulation of idols So-Rim Lee; Part V. The band that surprised the world: 9. BTS, transmedia and hip hop Kyung Hyun Kim; 10. The BTS phenomenon Suk-Young Kim and Youngdae Kim; 11. Transcultural fandom: BTS and ARMY Candace Epps-Robertson; Part VI. Circuits of K-pop flow: 12. K-pop and the participatory condition: vicarity, serial affect and 'real-life contents' Michelle Cho; 13. Idol shipping culture: exploring queer sexuality among fans of K-pop Thomas Baudinette; 14. Following the footsteps of BTS: the global rise of K-pop tourism Youjeong Oh.

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Book SynopsisMaria Sonevytsky is Associate Professor of Anthropology and Music at Bard College, USA. She is the author of Wild Music: Sound and Sovereignty in Ukraine (2019), winner of the 2020 Lewis Lockwood Award from the American Musicological Society, and is currently writing a book about Soviet Ukrainian children's music.Table of ContentsAcknowledgements Note on Translation and Transliteration Timeline: 1985-1989 1. Intro: There Will Be Dances 2. Tusovka: Ad Hoc Infrastructures and the Kyiv Rock Scene 3. Total Stiob: Irony vs. Hypocrisy 4. Sex, Drugs, and Komsomol 5. Conclusion: Tantsi Forever Bibliography Index

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Book SynopsisThe full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club or Sarajevo street-café. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable.Each title in the series is available in two formats: the Violin Edition (with an optional easy violin part and guitar chords); or the Complete Edition, which also includes both keyboard and violin accompaniments. Either format is hugely flexible, which means the music can be played as solos, duets or trios as well as with larger ensembles.Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style, giving his own suggestions for a lively performance.Instrumentation:violin (2 violins), guitar ad libitum

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Book SynopsisThe full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club or Sarajevo street-café. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable.Instrumentation:violin (2 violins) and piano, guitar ad libitum

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Book Synopsis'A joyous treasure trove' Michael Morpurgo'A delight' Tom Jones'A Tour De Force' Roger PhillipsCook your way around the world with Cerys Matthews' Where the Wild Cooks Go, with a Spotify playlist ready for each country, as well as poems, proverbs, curiosities and some very surprising aspects of world history. The pages of her 'folk cookbook' are brim-full of generations' old nuggets of wisdom, as well as stories about Catatonia touring days and other escapades, plus over a hundred recipes and cocktail ideas from 15 countries.Easy haggis, vegan haggis, jambalaya, cawl, traditional and vegan Welsh cakes, tequila prawns, chocolate and Guinness fondants, thousand hole pancakes, pineapple and chilli, potato, chickpea and coconut curry, dahl and hedgerow salad are just some of delicious, sustainable and fuss free ideas served in this beautiful book.Trade ReviewA joyous treasure trove * Michael Morpurgo *A delight -- Tom JonesA Tour De Force -- Roger Phillips

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Book SynopsisBob Marley and the Wailers documents the band’s crucial role in establishing reggae’s global popularity, with socially conscious lyrics that made Marley a symbol of pride and justice. Table of ContentsINTRODUCTION CHAPTER 1: Beginnings: 1945–1962 CHAPTER 2: The Studio One Ska Years: 1963–1966 CHAPTER 3: From Rock Steady to Reggae: 1967–1971 CHAPTER 4: The International Breakthrough: 1972–1974 CHAPTER 5: The First Third-World Superstar: 1975–1979 CHAPTER 6: The Final Years: 1980–1981 EPILOGUE: Legacy SELECTED DISCOGRAPHY BIBLIOGRAPHY AUTHOR AND CONTRIBUTORS

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisDerek Pardue holds a PhD in Cultural Anthropology and is an Associate Professor in Global Studies at Aarhus University, Denmark. He has conducted fieldwork and archival research in Brazil, Portugal, Denmark, and Cape Verde. His books include: Living (Il)legalities in Brazil (2020), Cape Verde: Let's Go (2015), Brazilian Hip Hoppers Speak from the Margins (2011), and Ruminations on Violence (2008).Table of ContentsAn Opening Salve 1. Who Cares about Brazilian Rap? 2.Brazilian Hip Hop: A Brief Genealogy 3.Sound, Text, Delirium 4.Dreams at the Beginning 5.A Go-getter 6.The Wait 7.It’s Everywhere 8.Wesley’s House 9. The Laugh and the Echo 10. Nóia / The Sounds of Paranoia 11. Guina’s Turn 12. Surroundings 13. … 14. Aleph in the Periferia 15. In Search of Authority 16. Outro Notes Glossary

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Book SynopsisPhilip V. Bohlman is Ludwig Rosenberger Distinguished Service Professor in the Department of Music at the University of Chicago, USA, where he is also Artistic Director of The New Budapest Orpheum Society, a Grammy-nominated cabaret. He is author and editor of many books including World Music: A Very Short Introduction (2nd ed., 2020), Focus: Music, Nationalism, and the Making of the New Europe (2010), and Wie sängen wir Seinen Gesang auf dem Boden der Fremde! Jüdische Musik des Aschkenas zwischen Tradition und Moderne (2019). He is Associate Editor for ethnomusicology of Grove Music Online, and co-editor of Acta Musicologica, the journal of the International Musicological Society.Table of ContentsAcknowledgments Sources and Translations Preface Introduction – Sounding the Wounded Dialectic 1. Russian Gambit 2. Forest near Moscow 3. The Duel 4. Centaurs 5. The Foundling Epilogue: The End of Epic as Its Beginning Bibliography

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Book SynopsisDarkthrone's A Blaze in the Northern Sky (1992) is a foundational keystone of the musical and aesthetic vision of the notorious Norwegian black metal scene and one of the most beloved albums of the genre. Its mysterious artwork and raw sound continue to captivate and inspire black metal fans and musicians worldwide. This book explores the album in the context of exoticism and musical geography, examining how black metal music has come to conjure images of untamed Nordic wildernesses for fans worldwide. In doing so, it analyzes aspects of musical style and production that created the distinctly grim sound of Darkthrone and Norwegian black metal.Trade ReviewHagen is uniquely placed to navigate [black metal's] paradoxes, as well as the sub-genre’s wider social significance. His exploration here of black metal’s appeal as a form of contemporary Nordic folk music, and his theoretical deliberations on the scene’s “romantic” and "modernist” aspects, are both forthright and stimulating ... [A] thought-provoking analysis. * Record Collector *Table of ContentsAcknowledgments Introduction: “Kathaarian Life Code” 1. “In the Shadow of the Horns” 2. “Where Cold Winds Blow” 3. “Paragon Belial” 4. “The Pagan Winter” Notes Bibliography

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Book SynopsisUpon its release, Don''t Break the Oath charted fifth on the official British heavy metal album list and was supported by a two month long sold-out American tour in early 1985. The band''s controversial stage appearance with burning crosses, a microphone stand formed as a cross made of two human leg bones, as well as other blasphemous rituals attracted the attention of the then newly formed PRMC (Parental Resource Music Center) committee, ironically reassuring the band its position on the charts. But though the album was hugely popular in the anglophone metal scene, it was conceived in peripheral Denmark.This book discusses the relationship between center and periphery. It juxtaposes the Anglophone reticent of heavy metal with the rather marginalized location of Copenhagen, and examines Mercyful Fate''s relation to the Nordic region more generally. It also takes a close look at the methods involved in the production of King Diamond''s vocals, and emphasizes the role of the vocalTable of ContentsFigures Acknowledgments Tracklisting A note to the reader 1. Introduction: A broken yet completed circle 2. Sounds, atmospheres and 43 minutes of not breaking the Oath 3. The satanic endeavors: Intentional transgressions and antinomian discourses 4. Diabolus in musica and other musical modes of symbolic Satanism 5. Unmasking the masks of masculinities:(Dis)appearances of the paint mask 6. Queer-Satanism galore: Otherings of the Oath 7. Conclusion: Rewriting the Heavy Metal canon of hegemonic masculinity Notes References Index

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Book SynopsisFor decades, the state-run music industry in Hungary has artificially isolated musical worlds. The 2010 album I'll Be Your Plaything is a concept album comprising at times drastically re-imagined cover versions of Hungary's most popular hits from the socialist era. As such it is a testament to music as a medium's aptness to reflect on public and personal pasts. The album moreover exemplifies how rich and appealing synthesis of sounds and traditions can be concocted when folk, classically trained, rock, and jazz musical artists collaborate. Along with this freedom to blend and synthesize, the album opens up some long overdue space for women; playing with personas, voices, and singing styles, Palya reflects on issues of femininity, maternity, sexuality, and coupledom across generations.Table of ContentsList of Figures Acknowledgments Preface 1. Playing Music, Playing with Music: Bea Palya and Samu Gryllu's Musical Partnerships 2. Memory Work with Souvenirs, Bronzes, and Tunes of State Socialism 3. "Play it One More Time, Play it All Night Long": Recycling, Re-working, and Reflecting in Popular Music Discourse 4. Start Making a New Sense 5. "A Babe in Toyland" or Pop-cultural Feminism in Bea Palya's Music and Early Career (2005-2014) 6. In the Aftermath of "I'll Be Your Plaything": A Woman Writing her Self References Track Listing of "I'll Be Your Plaything" Discography Index

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Book SynopsisThis book highlights the role of Romani musical presence in Central and Eastern Europe, especially from Krakow in the Communist period, and argues that music can and should be treated as one of the main points of relation between Roma and non-Roma. It discusses Romani performers and the complexity of their situation as conditioned by the political situations starkly affected by the Communist regime, and then by its fall. Against this backdrop, the book engages with musician Stefan Dymiter (known as Corroro) as the leader of his own street band: unwelcome in the public space by the authorities, merely tolerated by others, but admired by many passers-by and respected by his peer Romain musicians and international music stars. It emphasizes the role of Romani musicians in Krakow in shaping the soundscape of the city while also demonstrating their collective and individual strategies to adapt to the new circumstances in terms of the preferred performative techniques, repertoire, and overalTrade ReviewPiotrowska devotes entire chapters to prized musicians and folk heroes that arose during this time. She uses their music and writing to guide their stories. Her photos of these musicians are captivating. * Lossi 36 *This is a highly significant contribution to the field of Romani music research. Its microhistorical focus on one European urban location at one particular time - Krakow during Communist rule - allows the author to reveal not just how complex (indeed, how polyphonic) but also how culturally strategic the daily activity of Romani musicians was in this context. Putting her personal familiarity with the city to good advantage, the author’s extensive research overcomes the hitherto scarce source material on Romani music-making in this period to provide herself, and us, with a richly detailed body of original material for discussion and analysis, in which the case-study of the virtuoso Romani busker Corroro in particular stands out. -- David Horn, joint editor of the Bloomsbury Encyclopedia of Popular Music of the WorldAlready a noted authority on the presence of Romani practices in European art music since the eighteenth century, Anna G. Piotrowska now offers a richly textured, nuanced, and largely unfamiliar portrait of the Romani music making in her native Kraków under the Communist regime, contrasting the activities of the state-sponsored folkloric ensemble with those of the proliferating unofficial street bands, each devising its individual strategy of survival and each carving some independent space for itself under politically coercive circumstances. -- Karol Berger, Osgood Hooker Professor in Fine Arts, Emeritus, at the Department of Music, Stanford University, and author of Beyond Reason: Wagner contra Nietzsche (2017)A fascinating read. Well-informed and enriched by participant observation, Music, City, and the Roma Under Communism is a milestone in an interdisciplinary field, where ethnomusicology, popular music studies, oral history, and urban anthropology converge. Piotrowska’s book leads us in an investigation into the ideas of “pure” and “impure” music in Europe, where the latter is reappraised in light of the long struggle for visibility, recognition, and respect by the Romani. -- Paolo Prato, Lecturer in Italian Studies, John Cabot University, Rome, Italy, co-editor of Genres: Europe, Bloomsbury Encyclopedia of Popular Music of the World (Bloomsbury, 2017)Anna G. Piotrowska succeeds, with a brilliantly written study, to unfold the history of the Romani musicians of Kraków in a larger historical context by interrelating the Central and Eastern European developments of Roma music of cities like Vienna, Budapest and Bucharest. The main focus is on Lovara and Carpathian Romani musicians in Kraków, the cultural capital of Poland. The insight analysis of various voices is underscored by theoretical reflections on minorities in the urban environment of the communist regime from the post-war period until the fall of the Berlin Wall in 1989. -- Max Peter Baumann, Emeritus Professor of Ethnomusicology at University of Würzburg, Germany, author of Musik im interkulturellen Kontext (2005)Table of ContentsList of Illustrations Acknowledgment Prologue: In the Circle of the Official and Personal Memories Part I: City and Music 1.1. The Tradition of Music-Making in the Streets 1.2. Romani Music-Making in Central and Eastern Europe 1.3. Romani Musicians in the Cities: Vienna, Budapest and Bucharest Part II Roma and Communism 2.1. The Roma in Communistic Poland: The Case of Nowa Huta 2.2. Romani Musicians from Nowa Huta: Traditions versus New Expectations 2.3. Romani State-Supported Ensembles: On the example of ROMA from Kraków Part III The Story of Corroro 3.1. The Situation of Romani Buskers in Kraków: The Significance of the Late 1970s 3.2. The Case of Corroro: A Romani Virtuoso in Communistic Times 3.3. The Myth of a Disabled Genius Epilogue: Post-1989 Reality Bibliography Index

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Book SynopsisThis is the first study of its kind, focusing exclusively on scenes throughout the world; it makes an important contribution to metal studies. Metal Scenes around the World is a collection of thirteen chapters that examine metal scenes from smaller communities like Dayton, Ohio in the USA, to entire countries, such as Estonia. The goal of the book is to expand the research on metal scenes. This is the only book produced on metal scenes to date, and it will lead the way to more research in this new area of metal studies. The strongest element of the book is its international focus, with chapters from such diverse settings as post-apartheid South Africa, Graz, Nantes, Brazil and Turkey. The chapters are detailed, richly embedded in local histories and contexts, and provide important analyses of their respective scenes. Foreword from Henkka Seppälä, former bassist with the Finnish metal band Children Of Bodom. Primary readership will be composed of fans and scholars of metal music, and those in the fields of anthropology, musicology and history. The diversity of the chapters connects metal to other disciplines in the music field and the book is likely to have appeal more widely to anyone who likes music.Trade Review'As heavy metal is diversifying within a music culture in which active fan participation is crucial in cementing its longevity, these books are not just an excellent read for casual metal fans, but important for present and future heavy music scholars. [...] These books demonstrate not just how the music is produced and performed within non-Western countries, but also how the genre and culture serve to strengthen the global heavy music community.' Reviewed alongside Decolonial Metal Music in Latin America. -- Laina Dawes, The Wire'In the introduction Bardine and Stueart suggest eight questions for scholars interested in doing future research in the global metal scene. As the editors suggest, Living Metal offers readers new tools and methods to pursue these questions. – Recommended.' -- CHOICETable of ContentsAcknowledgements List of Figures Foreword Henkka Seppala, M.A. Introduction Dr. Bryan A. Bardine and Dr. Jerome Stueart, Chapter 1: From The Ashes of the Fallen Empire: Heavy Metal and Community in Post-Apartheid South Africa Edward Banchs, MA Chapter 2: Polar Fate: Mapping Metal at the Southern Edge of the World Dr. Catherine Hoad Chapter 3: The Enemy Within: Conceptualizing Turkish Metalheads as the Ideological ‘Other’ Dr. Pierre Hecter and Douglas Mattsson, M.A. Chapter 4: ‘Métal noir épique patriotique’: Analysis of historical, sociological and cultural discourses uniting metal noir québécois and Québec society. Mei-Ra St. Laurent, PhD Chapter 5: Living Sonic Knowledge in South-Eastern Austria: The Sound History of the Metal Scene in Graz and Styria, c. 1980 to the Present Dr. Peter Pichler Chapter 6: Heavy Metal Scene in Osaka: Localness Now and Then Dr. Kei Saito Chapter 7: Heart of Sadness: Fieldwork in the Copenhagen Black Metal Undergrounds Dr. Tore’ Tvarno Lind Chapter 8: "Dit is Berlin":[1] Local metal scene building and transformation in Berlin, Germany Dr. Wolf-Georg Zaddach Chapter 9: Old and New: Cross-Generational Community in the Dayton Metal Scene Dr. Bryan A. Bardine and Jacob Hale, M.A. Chapter 10: La Belle Endormie Awakened by Hellfest Open Air?: A Study of the Nantes Heavy Metal Music Scene Dr. Gerome Guibert and Dr. Sophie Turbe’ Chapter 11: Heavy Metal in Estonia: Cohesions and Divisions, Past and Present Dr. Toni-Matti Karjalainen Chapter 12: From the Sound of the Lathes to the Noise of the Amplifiers: The Heavy Metal And the Music Scene in the ABC Region of Brazil (1980-1990) Rui Luiz Ferreira Granado, M.A. and Dr. Heloisa de Aaujo Duarte Valente Chapter 13 : ‘This Is the City of Hate’: Surveying the Hull Metal/Hardcore Scene Dr. Lewis Kennedy

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Book SynopsisA beautiful and wide-ranging collection of 41 great tunes from all over Argentina. This collection features tangos, milongas, chamamés, chacareras, zambas and gatos as well as earlier styles and new compositions. Many pieces are presented as duets and so there is the opportunity for the solo violinist to play along with the guitar or bandoneon and the second violin on the MP3 backing tracks. Summaries of the individual tunes and detailed notes on the music of Argentina enable you to get the best out of this exciting and colourful music. All pieces were recorded by Ros Stephen and are available as MP3 files for free download. The edition is suitable for players of level 3 and above.I would recommend this volume to anyone interested in exploring traditional music. (Sarah Kekus (Chair National Association of Music Educators [NAME] 2010-11) This is a really appealing book, and great value for money. (The Strad) Additionally, all pieces are expertly played by violinist Stephen. Her extensive notes on the different styles and tunes enable one to get the best out of this colourful and exciting music. (Australian Strings Association Journal, Stringendo)Instrumentation:violin

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Book SynopsisIn his new book, Pete Cooper presents a rich collection of 98 Old Time fiddle tunes from across the USA.All pieces are grouped by key, as played in sessions, and include bowing and chords.The introduction and notes on the individual tunes provide explanations of non-standard string tunings, bowing techniques, and regional playing styles. All tunes, played by Pete Cooper, are available for free download.Grade 3 and above (intermediate to advanced).Instrumentation:violin

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Book Synopsis Traditionelle Irische Stücke Inklusive MP3-Aufnahmen aller Melodien Mittlerer SchwierigkeitsgradIrish Folk Tunes für Akkordeon ist eine Sammlung von 30 Arrangements traditioneller irischer Melodien und Stilen wie Reels, Hornpipes, Jigs und mehr. Akkordeonistin Gemma Telfer hat die Stücke selbst eingespielt und gibt allgemeine Hinweise zur Interpretation und Hintergrund. Deutsche und französische Übersetzungen aller Texte sind als Download erhältlich. Mittlerer Schwierigkeitsgrad.Besetzung:Akkordeon

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Book SynopsisShawn Okpebholo's Heritage, in the Edition Peters Concert Band Series, evokes moods, events and sounds (including West African drumming and indigenous melodies) from an ethnomusicological research visit the composer undertook to Nigeria. One of the primary musical themes of the work is an adaptation of a song that comes from the Esan people, a small ethnic group in the southern part of Nigeria and the tribe to which the composer has deep historical and family ties.The Esan language is poetic in nature and, at various moments in the work, the musicians chant the text from an Esan song: Ekine leleyea do obhimen la doeki nalo (My investment in you is paid off. Because of your hard work, your future is bright).Heritage is a revised version of a work previously entitled This is Africa, which was commissioned by Professor Marcellus Brown and the Boise State University Symphonic Winds for the 2011 National CBDNA Convention an

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Book SynopsisShawn Okpebholo's Heritage, in the Edition Peters Concert Band Series, evokes moods, events and sounds (including West African drumming and indigenous melodies) from an ethnomusicological research visit the composer undertook to Nigeria. One of the primary musical themes of the work is an adaptation of a song that comes from the Esan people, a small ethnic group in the southern part of Nigeria and the tribe to which the composer has deep historical and family ties.The Esan language is poetic in nature and, at various moments in the work, the musicians chant the text from an Esan song: Ekine leleyea do obhimen la doeki nalo (My investment in you is paid off. Because of your hard work, your future is bright).Heritage is a revised version of a work previously entitled This is Africa, which was commissioned by Professor Marcellus Brown and the Boise State University Symphonic Winds for the 2011 National CBDNA Convention and is dedicated to

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Book SynopsisIncludes a new chapter on John Cage.Alex Ross's award-winning international best-seller, The Rest is Noise: Listening to the Twentieth Century', has become a contemporary classic, establishing him as one of our most popular and acclaimed cultural historians; this is his much anticipated next book on the subject of music.In Listen To This' Alex Ross, the music critic for the New Yorker, looks both backwards and forwards in time, capturing essential figures and ideas in classical music history, as well as giving an alternative view of recent pop music that emphasizes the power of the individual musical voice.After relating his first encounter with classical music, Ross vibrantly sketches canonical composers such as Schubert, Verdi and Brahms; gives us in-depth interviews wth modern pop masters such as Bjork and Radiohead; and introduces us to music students at a Newark high school and to indie-rock hipsters in Beijing. In his essay Chacona, Lamento, Walking Blues', Ross brilliantly retelTrade Review‘Chacona, Lamento, Walking Blues. This essay is Alex Ross’s own chaconne, one that only he could have written – a display of lateral thinking as virtuosic, in its own way. It alone is worth the price of the book, which I strongly encourage you to buy.’ Sunday Telegraph ‘One minute, you're immersed in Mozart, and then suddenly you're on tour with Radiohead and contemplating what it must have felt like for an unworldly Finnish conductor, Esa-Pekka Salonen, to take the reins of the LA Philharmonic. Reading the book is the literary equivalent of an iPod on shuffle; it offers fresh and unexpected stimulation at every turn.’ Guardian ‘The qualities that make him a top-notch critic become clearer in concentrated reading…Ross is an avowed buff. He loves music with a nerdish obsession and he wants you to love it as much as he does’ New Statesman

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Book SynopsisA landmark work within the study of conflict, sound studies, and ethnomusicology, Listening to War offers a broad theorization of sound, violence, music, listening and place, while also providing a discrete window into the lives of individual Iraqis and Americans struggling to orient themselves within the fog of war.Trade ReviewTo say that Listening to War is ground-breaking, penetrating, and vitally important doesn't begin to convey the affective and intellectual impact of engaging with this work. More than challenging music and sound apprehension and scholarship, the book offers painful, visceral access to the ways in which ears suffer, bodies suffer, places suffer in wartime. There is no escape into abstraction or aestheticization here. It's shattering, from the very beginning... * Norie Neumark, University of Melbourne, Journal of Sonic Studies *This book is profound and urgently important. It is literally a study of war, not its outcomes. Daughtry expands ethnomusicologists' most basic assumptions, stepping sideways from music to the moment when sound creates and obliterates the self. He parses the inhabited, diachronic moment of sonic violence in a way I wouldn't have thought critically possible. Listening to War is stunningly smart, informed, and original. Virtually every sentence made me pause. Daughtry shows how ethnomusicology can-and should-address the most pressing issues of our time. * Deborah Wong, University of California, Riverside *Although the sounds of war are often recounted in art and scholarship, Listening to War is the first book I know of that helps us to really understand them. J. Martin Daughtry uses the anthropology of sound and hearing to offer a profound investigation of the experience of being close to violence-both of people physically proximate to violence and people unable to extricate themselves from it, either during wartime or afterward. This is a rare scholarly book: gripping, haunting, troubling and deeply edifying. I could not put it down. * Jonathan Sterne, author of MP3: The Meaning of a Format *More than any other ethnomusicologist over the last decade, J. Martin Daughtry has challenged and deeply reconfigured my understanding of sound, and that's not trivial considering that I taught a course called "Sound" for many years. In this book he performs an extraordinary trick: he has taken the web of sonic violence that surrounds all in a theatre of war and he has extended the intimate and visceral experience of its power and its horror to his readers. Daughtry has immersed us in the most important work of sound studies in many years. * Gage Averill, Dean of the Faculty of Arts, University of British Columbia *I have not read a more thorough case study of military conflict and sound, one that is so scrupulously documented, with its own implications and methodologies so fully explored. If, in fact, this study is exhaustive, what is the next step in research? The monograph gestures toward some answers. For example, the discussion of acoustic territories (p. 189 and elsewhere) is a further reminder of the interconnectedness of mind, body, and the physical environment, and fortifies the argument that the study of sonic experience provides the most promising platform for the further development of studies in cognitive theory. Apart from its own awe-inspiring comprehensiveness, the book provides a foundation for continued exploration of such emergent fields as cognitive ecology, extended mind theory, and the relationship between gesture and cognition. * American Musicological Society *Table of ContentsDedication Note on Transliteration Introduction: Composing Thoughts on Sound and Violence -In Lieu of an Epigraph: Sound-centered Memories of Operation Iraqi Freedom -The Belliphonic -Intellectual Predecessors -A Necessary Detour -Approaches and Challenges Fragment #1: The Presence of Mind to Save an Ear: Ali's Story Section I: Sonic Matériel Chapter 1: Belliphonic Sounds and Indoctrinated Ears: The Elements of Wartime Audition -Charting the Belliphonic -Listening, Structure, and Positionality -Vehicular Sounds -Communications -Civilian Sounds -Weapons Chapter 2: Mapping Zones of Wartime (In)audition -The Zone of the Audible Inaudible -The Narrational Zone -The Tactical Zone -The Trauma Zone -A Complicating Factor: Iraqi Civilian Auditors -Another Complicating Factor: Sound and Psychological Trauma -Conclusion Fragment #2: Stealth and Improvisation in the Desert: Jason's Story Fragment #3: Loudly Searching in the Resonant Darkness: The Anatomy of a Nighttime House Raid Section II: Structures of Listening, Sounding, and Emplacement Introduction to section II Chapter 3: Auditory Regimes -Ideals of Military Audition -National Audition -Oblique Indoctrination of Belliphonic Ears -Situational Awareness -The Inclusive Auditory Regime of Iraqi Civilians -Auditory Literacy, Competence, Virtuosity -Incommensurability Chapter 4: Sonic Campaigns -Sound (and Violence) -Violence (and Sound) -The Omnidirectionality of Sound and Violence -Sonic Campaigns Chapter 5: Acoustic Territories -Emplacement, Displacement, Transplacement -Sound and Territoriality -The Virtual Acoustic Territory of Recorded Sound -The Radiant Acoustic Territories of Wartime -The Resonant Acoustic Territories of Baghdad -The Resonant Acoustic Territory of the body -Life at the Intersection of Regime, Campaign and Territory Fragment #4: Fatal Mishearing Section III: Music, Mediation, and Survival Chapter 6: Mobile Music in the Military -Introducing the Wartime iPod -A Century of Recorded Music on the Battlefield -iPods in the Iraq War -Amping Up, Staying Focused, Cooling Down: Technologies of Self-regulation in Combat -Moving Bodies, Loosening Tongues, Adjusting Crosshairs: Technologies for Manipulating Others in Combat -Concluding Thoughts Fragment #5: From "Hell's Bells" to "Silent Night": A Conversation about Music in the Military Fragment #6: Keeping the Music Turned Down Low: Shymaa's Story Chapter 7: A Time of Troubles for Iraqi Music -Iraq's Musical Legacy -Post-invasion Challenges -Political Violence -Sectarian Violence -U.S. Forces Targeting Music -The Attenuated Acoustic Territory of Iraqi Musical Practice Conclusion: The Amplitude of Violence Fragment #7: Listening as Poiesis: Tareq's Story Acknowledgments Glossary Works Cited Index

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Book SynopsisThis title provides an overview of the many styles of North Indian music, from the chants of the ancient Vedas to modern devotional singing; from the serious and meditative rendering of raga to the concert-hall excitement of the modern sitar, sarod and tabla.Table of ContentsForeword: Preface: CD Track List: 1. Modernity and Tradition A Culture of Bewildering Variety Threads to Follow in this Text The Devotional Component: Fixed Composition and Improvisation: The Verbal Syllable: Rhythmic Jatis Syllables for Pitch Names The Old and New in an Ancient Land Indian Music on the Move 2. Affect Religious Connotations Sacred Texts Verbal Syllables The Vocal Genre of dhrupad The Vocal Genre of Tarana Song Texts A Musician's Practice The Nine Moods Extramusical Effects Conclusion 3. Teaching, Learning, and Performing Music Teaching and Learning Music Old Traditions in New Packages 4. Rhythm and Drumming Tala: Theka: The Tal as a Succession of Drum Sounds Counting Patterns in Tal The Tabla Kayda: Tihai: Other Drumming Traditions Conclusion 5. Song and Performance Composition and Improvisation What is a Raga? Raga in Performance The On-the-spot Development of the Composition Bara khyal Vistar Tan Khyal and Instrumental Styles Song Texts in Classical Styles Other Song Genres Conclusion 6. Instruments, Melodic and Rhythmic Drone Instruments Melody Instruments The Rise of Instrumental Music: The Sitar and the Sarod Other Melody Instruments Ensembles Conclusion 7. The Old World Joins the New The Postcolonial Era The Effect of the New Democracy on Music Electronics: Preserving and Spreading the Traditions Glossary: Resources: Index:

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Book SynopsisThis work examines the musical influences of a Malaysia's Portuguese community, whose roots lie in the conquest of Malacca in 1511 by the Portuguese seafarer Afonse D'Albuquerque.

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Book SynopsisA combination of button accordion and bajo sexto, conjunto originated in the Texas-Mexico borderlands as a popular dance music and became a powerful form of regional identity. Today, listeners and musicians around the world have embraced the genre and the work of conjunto masters like Flaco Jiménez and Mingo Saldívar. Erin E. Bauer follows conjunto from its local origins through three processes of globalization--migration via media, hybridization, and appropriation--that boosted the music’s reach. As Bauer shows, conjunto’s encounter with globalizing forces raises fundamental questions. What is conjunto stylistically and socioculturally? Does context change how we categorize it? Do we consider the music to be conjunto based on its musical characteristics or due to its performance by Jiménez and other regional players? How do similar local genres like Tejano and norteño relate to ideas of categorization? A rare look at a fascinatTable of ContentsAcknowledgements Introduction: The Globalization of Conjunto Part I: The Migration of Conjunto 1. “We love you, Flaco!”: Chicken Skin Music, “Mingomania,” and the Inter/national Presentation of Conjunto 2. “Ladies and gentlemen, Dodge presents Flaco Jiménez!”: Arhoolie Records, KEDA Radio Jalapeño, and the Mediated Dispersal of Conjunto 3. “From Texas to Washington and across to Michigan and Illinois…”: Los Cuatro Vientos, Los Texmaniacs, Los Lobos, and the U.S American Spread of Conjunto Part II: The Hybridization of Conjunto 4. “You have to mix it up!”: “Seguro Que Hell Yes,” the Texas Tornados, Los Super Seven, and the Cultural Hybridity of Flaco Jiménez 5. “I play the jazz accordion!”: “Rueda de Fuego (Ring of Fire),” “My Toot Toot,” and the Country/Zydeco Influences of Mingo Saldívar and Steve Jordan 6. “It’s jealousy…”: Eva Ybarra and the Hybrid Offerings of Women in Conjunto Part III: The Appropriation of Conjunto 7. “That’s my music!”: Kenji Katsube, Dwayne Verheyden, and the Worldwide Participation in Conjunto 8. “¡Esto es globalización!”: Rowwen Hèze, the Rolling Stones, and the Commercialized Appropriation of Conjunto Conclusion Notes Discography Works Cited Index

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Book Synopsis

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