Global or regional music styles Books

Book SynopsisTrade Review"Clendinning has flipped the script. Rather than describing Balinese performers as if ‘they’ come to ‘us’, she shows how their far-flung pedagogical networks reshaped US-based music programs in higher education from the inside out. Her intimate portraits of three generations of Balinese teachers reveal them as the makers of transnational music communities. This book is both fascinating and moving. I am convinced all over again that these almost utopian third spaces are sorely needed."--Deborah Wong, University of California, Riverside"An ambitious work that can really spark scholarship that intersects ethnomusicology, performance studies, and the scholarship on teaching and learning. Clendinning discusses the positive aspects of world music ensembles, but is also open about the ethical issues involved in running a gamelan in an institution of higher education."--Eric Hung, Music of Asian America Research CenterTable of ContentsAcknowledgments 1 Interlocking Sounds, Interlocking Communities 2 Early Encounters in Bimusicality 3 From Bali to America: Teachers and Transitions 4 Creating and Conceptualizing a Balinese American Gamelan Community 5 Teaching, Learning, Representing 6 Americans Learning Gamelan in Bali 7 Kembali: To Return or Change 8 Bimusicality and Beyond 9 Sustainability and the Academic World Music Ensemble 10 Cultivating New Flowers Glossary Notes References Index

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Book SynopsisTrade Review"In A Respectable Spell, prominent Brazilian ethnomusicologist Carlos Sandroni contributes important perspectives by detailing the musical transformation of samba from the first recording in 1917 to its codification as a genre, circa 1930." --Journal of Folklore Research Reviews "At long last, we can celebrate the publication of this groundbreaking study in English. Carlos Sandroni's brilliant ‘historical ethnomusicology’ of samba laid the foundations for many subsequent studies, and continues to set a standard in the field. Sandroni is equally adept at fine-grained musical analysis, rich social-historical contextualization, and crisp, clear explanation. Michael Iyanaga's sensitive and graceful translation makes this accessible to a broad international audience for the first time. This book is fundamental for all those interested in samba's emergence and evolution."--Bryan McCann, author of Hard Times in the Marvelous City: From Dictatorship to Democracy in the Favelas of Rio de JaneiroTable of ContentsCoverTitle PageCopyrightContentsTranslator’s Foreword: The Decolonial Spark of a Translated SpellAcknowledgmentsIntroduction to the English TranslationOriginal IntroductionMusical PremisesPart One: From Lundu to SambaChapter 1. “Sweet Lundus, for Massa to Dream”Chapter 2. Maxixe and Its AntecedentsChapter 3. From Bahia to RioChapter 4. From the Dining Room to the Drawing RoomChapter 5. “Pelo telefone”Part Two: From One Samba to the OtherChapter 6. When Did Samba Become Samba?Chapter 7. Birds and CommoditiesChapter 8. From Malandro to ComposerChapter 9. A Respectable SpellChapter 10. On the GramophoneConclusionGlossaryNotesWorks CitedIndexBack cover

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Book SynopsisA Choice Outstanding Academic Title for 2022 China's Cultural Revolution (1966-1976) produced propaganda music that still stirs unease and, at times, evokes nostalgia. Lei X. Ouyang uses selections from revolutionary songbooks to untangle the complex interactions between memory, trauma, and generational imprinting among those who survived the period of extremes. Interviews combine with ethnographic fieldwork and surveys to explore both the Cultural Revolution's effect on those who lived through it as children and contemporary remembrance of the music created to serve the Maoist regime. As Ouyang shows, the weaponization of music served an ideological revolution but also revolutionized the senses. She examines essential questions raised by this phenomenon, including: What did the revolutionization look, sound, and feel like? What does it take for individuals and groups to engage with such music? And what is the impact of such an experience over time? Perceptive and provocative, Music Trade Review"This book opens a new window to events during the Mao era; it undermines our preconceived bias about the events of that phase and is full of musical pieces of the period, providing a distinct picture of the society at that time. . . . Scholars trying to understand Chinese culture and East Asian Studies should go through this book, as the multidisciplinary approach of Lei would lead them to explore something new and fresh in the field." --International Institute for Asian Studies "Music as Mao's Weapon is well-written and comes with detailed background information, photographs, music examples and song lists, which makes it attractive also to the non-China expert. It exposes strategies of revolutionary music composition and investigates its effects on the individual in the highly politicized and violent context of the Cultural Revolution. . . . Ouyang's book offers stimulating insight into why, how, and to whom this musical heritage is still meaningful today." --The China Quarterly "Highly recommended." --ChoiceTable of ContentsList of Illustrations ix Acknowledgments xiii Notes on Pinyin, Surnames, Transliteration, and Translation xvii 1 Researching the Battlefield 1 2 Music and Politics 23 Memories of the Battlefield: “It’s in Your Bones, It’s in Your Blood” 71 3 Music and Childhood 76 Memories of the Battlefield: “Learning Music to Avoid Going ‘Up to the Mountains and Down to the Countryside’” 103 4 Music and Memory 109 Memories of the Battlefield: “You Hear These Songs and You Are Inspired” 131 5 Conclusions 138 Appendix A Brief Historical Context of the Cultural Revolution 155 Appendix B Sixty-Five Children’s Songs in New Songs of the Battlefield 159 Chinese Character Glossary 163 Notes 169 Bibliography 177 Index 191

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Book SynopsisGamelan and American academic institutions have maintained their close association for more than sixty years. Elizabeth A. Clendinning illuminates what it means to devote one's life to world music ensemble education by examining the career and community surrounding the Balinese-American performer and teacher I Made Lasmawan. Weaving together stories of Indonesian and American practitioners, colleagues, and friends, Clendinning shows the impact of academic world music ensembles on the local and transnational communities devoted to education and the performing arts. While arguing for the importance of such ensembles, Clendinning also spotlights how performers and educators use them to create stable and rewarding artistic communities. Cross-cultural ensemble education emerges as a worthy goal for students and teachers alike, particularly at a time when people around the world express more enthusiasm about raising walls to keep others out rather than building bridges to invite them in.Trade Review"Clendinning has flipped the script. Rather than describing Balinese performers as if ‘they’ come to ‘us’, she shows how their far-flung pedagogical networks reshaped US-based music programs in higher education from the inside out. Her intimate portraits of three generations of Balinese teachers reveal them as the makers of transnational music communities. This book is both fascinating and moving. I am convinced all over again that these almost utopian third spaces are sorely needed."--Deborah Wong, University of California, Riverside"An ambitious work that can really spark scholarship that intersects ethnomusicology, performance studies, and the scholarship on teaching and learning. Clendinning discusses the positive aspects of world music ensembles, but is also open about the ethical issues involved in running a gamelan in an institution of higher education."--Eric Hung, Music of Asian America Research CenterTable of ContentsAcknowledgments 1 Interlocking Sounds, Interlocking Communities 2 Early Encounters in Bimusicality 3 From Bali to America: Teachers and Transitions 4 Creating and Conceptualizing a Balinese American Gamelan Community 5 Teaching, Learning, Representing 6 Americans Learning Gamelan in Bali 7 Kembali: To Return or Change 8 Bimusicality and Beyond 9 Sustainability and the Academic World Music Ensemble 10 Cultivating New Flowers Glossary Notes References Index

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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 SynopsisExplores urban music and youth culture in AfricaTrade ReviewHip Hop Africa is recommended for scholars and students with an interest in contemporary African popular culture and urbanism. Given the breadth of its content, it will be a particularly useful resource for graduate and undergraduate courses on global hip hop, African popular music, and urban African culture. * Research in African Literatures *Hip Hop Africa is a welcome addition to the literature on popular culture and music in Africa. * Journal of African Cultural Studies *[R]eaders interested in contemporary African culture, hip-hop, world music, globalization, and youth cultural identities in the twenty-first century should find Charry's Hip Hop Africa to be a useful addition to their libraries. * Black Camera *Readers with interests in African hip hop and urban youth cultures will find this book indispensable. * African Studies Review *[Eric Charry] has assembled remarkable essays by experts who offer deep historical and cultural connections showing how Africans shape rap to fit their local circumstances. * Africa Today *Impressively details hip hop's evolution throughout Africa . . . [and] presents important arguments in African hip hop scholarship, including discussions on African hip hop's linkages with US hip hop, and debates over authenticity and imitation. . . . . The authors in the volume provide extensive background information on hip hop's evolution throughout Africa . . . much of the volume's strength lies in its examination of local hip hop scenes . . . a good look urban music in Africa . . . a solid contribution to scholarship on African hip hop.2013 * African Studies Quarterly *Table of ContentsPrefaceAfrican Rap: A Capsule History Eric CharryPart I. Rap Stories (Ghana and South Africa)1. The Birth of Ghanaian Hiplife: Urban Style, Black Thought, Proverbial Speech Jesse Weaver Shipley2. A Genre Coming of Age: Transformation in the Rap Music and Hip Hop Culture of South Africa Lee WatkinsPart II. Griots and Messengers (Senegal, Côte d'Ivoire, and Malawi)3. The Rapper as Modern Griot: Reclaiming Ancient Traditions Patricia Tang4. Promises of the Chameleon: Reggae Artist Tiken Jah Fakoly's Intertextual Contestation of Power in Côte d'Ivoire Daniel Reed5. Style, Message, and Meaning in Malawian Youth Rap and Ragga Performance John FennPart III. Identity and Hybridity (Mali and Nigeria)6. Mapping Cosmopolitan Identities: Rap Music and Male Youth Culture in Mali Dorothea E. Schulz7. Nigerian Hip Hop: Exploring a Black World Hybrid Stephanie ShonekanPart IV. East Coast (Kenya and Tanzania)8. The Local and Global in Kenyan Rap and Hip Hop Culture Jean Ngoya Kidula9. Infinite Flavors: Imitation and Innovation in the Music, Dress, and Camps of Tanzanian Youth Alex PerulloPart V. Popular Music Panoramas (Ghana and Malawi)10. Contemporary Ghanaian Popular Music Since the 1980s John Collins11. Popular Music and Young Male Audiences in Contemporary Malawi Jochen SeebodePart VI. Drumming (Mali)12. Urban Drumming: Traditional Celebration Music in a West African City (Bamako) Rainer PolakMusic for an African 21st-Century Eric CharryBibliographyDiscographyVideographyWebographyList of ContributorsIndex

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Book SynopsisMusic in Arabiaextends and challenges existing narratives of the region's distinctive but understudied music to reveal diverse and dynamic music cultures rooted in centuries-old heritage. Contributors to Music in Arabia bring a critical eye and ear to the contemporary soundscape, musical life, and expressive culture in the Gulf region. Including work by leading scholars and local authorities, this collection presents fresh perspectives and new research addressing why musical expression is fundamental to the area's diverse, transnational communities. The volume also examines music circulation as a commodity, such as with the production of early recordings, the transnational music industry, the context of the Arab Spring, and the region's popular music markets. As a bonus, readers can access a linked website containing audiovisual examples of the music, dance, and expressive culture introduced throughout the book. With the work of resident scholars and heritage practitioners in conversTrade ReviewMusic in Arabia is a well put together book, offering an intergenerational, multivocal arrangement of short essays that put up many signposts for future research. . . . This anthology breaks new ground in content and form, and the music traditions discussed coexist and co-resist reformatting or the compression needed to fit neatly together. It is an important contribution. -- Amy Horowitz * Journal of Folklore Research *Music in Arabia is a welcome addition to the growing corpus of studies of culture and heritage in the Arabian Peninsula and Gulf region. . . . In conjunction with emerging scholarship on culture in and around the Arabian Peninsula and Gulf, this valuable work should also open up new avenues of critical scholarship on the Indian Ocean region—a zone of circulation and contact par excellence—akin to recent advances in Mediterranean studies. -- Jonathan H. Shannon * Journal of Anthropological Research *Table of ContentsPrefaceNote on TransliterationNote on Accompanying Website1. Introduction, by Virginia Danielson2. Aspects of the Musical Traditions in the Arabian Peninsula: Distinctive Features, Institutional Preservation, Patrimonial Negotiation, by Scheherazade Hassan3. The Oil Economy and the Perpetuation of Musical Heritage in Abu Dhabi, by Virginia Danielson4. (Re)Patriating the Business of Music in Oman: Examples of the Tangible and Intangible in an Omani Arts Economy, by Anne K. Rasmussen5. Kuwaiti Pearl Diving Music and The Mayouf Mejally Folkloric Ensemble: Beyond an Authorized Heritage Discourse, by Ghazi Al Mulaifi6. Which Lute was Played in the Sawt of the Gulf before the 20th Century?, by Jean Lambert7. The Recordings of 'AbdullaIf al-Kuwaiti: 1927-1947, by Ahmad AlSalhi8. Līwa: A Tale of Adaptation, Survival, and Sustainability, by Aisha Bilkhair9. The Art of the Tambūra in Qatar: African Identity Reimagined, by Issa Boulos and Yassine Ayari10. Beyond Aesthetics: Political Diplomacy and Cultural Policy in the Musics of the Sultanate of Oman, by Majid H. al-Harthy11. Songstresses of Saudi Arabia, by Kay Hardy Campbell12. Wedding Music: An Ethnography of Male Songs and Dances at Traditional Weddings in the United Arab Emirates, by Khalid Albudoor and Issa Boulos13. Gender and Genres of Arab Music in the Collection of Christiaan Snouck Hurgronje (1857–1936), by Anne van Oostrum14. The Oman Center for Traditional Music: 1983-2016, by Musallam al-Kathiri and Majid H. al-Harthy15. Baloch Cultural Circuits in the Context of the Musical Ethnography of the Gulf Region, by George Mürer16. Reimagining Protest, Reform, and the Public Sphere in Bahraini Hip-Hop and Heavy Metal, by David A. McDonald17. Afterword, by Ruth M. StoneGlossaryIndex

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Book SynopsisTrade ReviewMusic in Arabia is a well put together book, offering an intergenerational, multivocal arrangement of short essays that put up many signposts for future research. . . . This anthology breaks new ground in content and form, and the music traditions discussed coexist and co-resist reformatting or the compression needed to fit neatly together. It is an important contribution. -- Amy Horowitz * Journal of Folklore Research *Music in Arabia is a welcome addition to the growing corpus of studies of culture and heritage in the Arabian Peninsula and Gulf region. . . . In conjunction with emerging scholarship on culture in and around the Arabian Peninsula and Gulf, this valuable work should also open up new avenues of critical scholarship on the Indian Ocean region—a zone of circulation and contact par excellence—akin to recent advances in Mediterranean studies. -- Jonathan H. Shannon * Journal of Anthropological Research *Table of ContentsPrefaceNote on TransliterationNote on Accompanying Website1. Introduction, by Virginia Danielson2. Aspects of the Musical Traditions in the Arabian Peninsula: Distinctive Features, Institutional Preservation, Patrimonial Negotiation, by Scheherazade Hassan3. The Oil Economy and the Perpetuation of Musical Heritage in Abu Dhabi, by Virginia Danielson4. (Re)Patriating the Business of Music in Oman: Examples of the Tangible and Intangible in an Omani Arts Economy, by Anne K. Rasmussen5. Kuwaiti Pearl Diving Music and The Mayouf Mejally Folkloric Ensemble: Beyond an Authorized Heritage Discourse, by Ghazi Al Mulaifi6. Which Lute was Played in the Sawt of the Gulf before the 20th Century?, by Jean Lambert7. The Recordings of 'AbdullaIf al-Kuwaiti: 1927-1947, by Ahmad AlSalhi8. Līwa: A Tale of Adaptation, Survival, and Sustainability, by Aisha Bilkhair9. The Art of the Tambūra in Qatar: African Identity Reimagined, by Issa Boulos and Yassine Ayari10. Beyond Aesthetics: Political Diplomacy and Cultural Policy in the Musics of the Sultanate of Oman, by Majid H. al-Harthy11. Songstresses of Saudi Arabia, by Kay Hardy Campbell12. Wedding Music: An Ethnography of Male Songs and Dances at Traditional Weddings in the United Arab Emirates, by Khalid Albudoor and Issa Boulos13. Gender and Genres of Arab Music in the Collection of Christiaan Snouck Hurgronje (1857–1936), by Anne van Oostrum14. The Oman Center for Traditional Music: 1983-2016, by Musallam al-Kathiri and Majid H. al-Harthy15. Baloch Cultural Circuits in the Context of the Musical Ethnography of the Gulf Region, by George Mürer16. Reimagining Protest, Reform, and the Public Sphere in Bahraini Hip-Hop and Heavy Metal, by David A. McDonald17. Afterword, by Ruth M. StoneGlossaryIndex

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Book SynopsisTrade Review"Moving beyond applied ethnomusicology into what the author describes as 'critical activist ethnomusicology' the study describes and critiques the diverse ways that different players in the refugee camps engage music and related arts to display layers of power dynamics."—Jean Kidula, author of Music in Kenyan Christianity: Logooli Religious Song

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Book SynopsisTrade Review"Moving beyond applied ethnomusicology into what the author describes as 'critical activist ethnomusicology' the study describes and critiques the diverse ways that different players in the refugee camps engage music and related arts to display layers of power dynamics."—Jean Kidula, author of Music in Kenyan Christianity: Logooli Religious Song

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Book SynopsisIntroduces art song literature and composers from Latin AmericaTrade ReviewMezzo-soprano Hoover (Univ. of Hawai'i at Mānoa; board member, Latin American Art Song Alliance), along with six supporting contributors (including the founder of LAASA), has constructed this guide to 20th-century Latin American art songs. Designed for singers and voice teachers wishing to investigate this literature, the main body of the work is 22 chapters, one for each of the 22 Latin American countries surveyed. Each chapter has a 'brief introduction to the region... followed by an annotated catalog of compositions organized alphabetically by composer.' Over half of these pages are taken up by the chapters on Argentina and Brazil. Several countries have just over a page of introduction and a handful of songs; a few have just one song. The volume includes a preface, introduction, bibliography, indexes, appendixes, and notes. The 'List of Publishers' might prove useful in locating the songs. Hoover states that this is a 'representative' rather than a 'definitive' book--a starting point for investigating the literature. No similar work exists, and most general Latin American music guides are years, even decades old. Summing Up: Recommended. Practitioners and collections serving vocal music programs; lower-level undergraduates and above. --Choice J. L. Patterson, University of Wisconsin--Eau Claire, December 2010"Hoover, along with six supporting contributors (including the founder of LAASA), has constructed this guide to 20th-century Latin American art songs.... No similar work exists, and most general Latin American music guides are years, even decades old.... Recommended." —Choice"[Hoover] has made an important contribution to the study and performance of Latin American art song—and indeed, to art song in general—with this publication. Singers who are interested in exploring new repertoire should investigate this book, and teachers who are looking for new song literature will find the volume useful as well." —Journal of Singing, Vol. 67 No. 2, 2010"This reference work is a tremendous resource for anyone interested in the Latin American art song repertoire. The fact that it lists so many composers and compositions, how to obtain them, along with voice ranges and types, truly makes this book practical and necessary for research discovery and planning in the academic music disciplines." —Reference Reviews, Vol. 25, No. 1, 2011"Maya Hoover’s guide to the Latin American art song repertoire will be a welcome addition to any music library reference collection or to the voice teacher’s bookshelf. The only resource of its kind, the volume introduces the reader to a wealth of contemporary classical vocal repertoire from twenty-two Latin American countries." —Music Reference Services QuarterlyTable of ContentsPrefaceAcknowledgmentsIntroduction1. Argentina / Allison Weiss2. Bolivia3. Brazil / Stela M. Brandão4. Chile5. Colombia / Ellie Anne Duque6. Costa Rica7. Cuba8. Dominican Republic9. Ecuador10. El Salvador11. Guatemala12. Haiti / Jean-Ronald LaFond13. Honduras14. Jamaica15. Mexico16. Nicaragua17. Panama18. Paraguay19. Peru / José-Luis Maúrtua20. Puerto Rico21. Uruguay22. Venezuela / Kathleen L. WilsonAppendix A: List of Countries and Regions in Latin AmericaAppendix B: Statistics by Geographic RegionAppendix C: List of PublishersAppendix D: List of Suggested RepertoireNotesBibliographyList of ContributorsIndex

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Book SynopsisWith its innovative multimodal approach, Music on the Move invites readers to listen and engage with many different types of music as they read. The text introduces a variety of concepts related to music's travels - with or without its makers - including colonialism, migration, diaspora, mediation, propaganda, copyright, and hybridity.

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Book SynopsisTrade Review"Nahid Siamdoust's beautiful writing paints a vivid portrait of the struggles over popular music in the Islamic Republic and brings to life some of the most unique and colorful characters in Iranian society today. An instant classic that will launch conversations on Iran and contemporary popular music globally." -- Mark LeVine * author of Heavy Metal Islam *"Nahid Siamdoust's Soundtrack of the Revolution is a groundbreaking study of a potent cultural register in post-revolutionary Iran. For both the casual reader and the aficionado, Siamdoust's pioneering insights are revelatory." -- Hamid Dabashi * author of Iran: A People Interrupted *"Music is the language of liberation. Nahid Siamdoust, who knows all the players and has taken personal risks to tell this story, has written a lovely tribute to the courage and creativity of Iran's musicians. This is a book that, like Iran itself, is filled with hope and sadness—and the universal human desire for freedom." -- Joe Klein * Time Magazine *"Siamdoust manages to capture valuable qualities about the practice of popular music in Iran in depth, while also covering a broad period. This is a premium resource for students and researchers at the intersection of popular music and politics. Overall, it is an eye-opening and enjoyable work." -- Amin Hashemi * Middle East Journal of Culture and Communication *Table of ContentsContents and Abstracts1The Politics of Music chapter abstractThis chapter provides the historical and political context for an understanding of the issue of music in post-revolutionary Iran. It narrates the process of the Islamization of Iranian politics after the revolution and the problematic of music within Islamic tradition, and posits music as an alternative public sphere. It also provides short overviews of the history of Persian music, music education in Iran, as well as government regulations on music and female musicians, in particular. 2The Nightingale Rebels chapter abstractChapter Two offers insight into the status of music in the immediate years before the revolution and goes on to highlight the trajectory of Iran's preeminent vocalist of Persian classical music, Mohammad Reza Shajarian. It delves into discussions about Persian art music versus popular music, pop music in Shah-era Iran, evolving forms of poetic protest in twentieth-century Iran, and the important role of radio both for Persian classical music as well as for the making of Shajarian. 3The Musical Guide: Mohammad Reza Shajarian chapter abstractThis chapter follows Mohammad Reza Shajarian's trajectory from a "revolutionary" singer and one of the most prominent voices of the Chavosh group—at the onset of the 1979 revolution—to a vocalist whose "popular" politics are increasingly at odds with those of the new state. It provides the necessary background for an understanding of evolutions in state policy and media technology before returning to a closer look at Shajarian's carefully charted repertoire of resistance. As he breaks into open opposition to state policy following the 2009 Green Uprising, he is increasingly portrayed as a lowly entertainer and traitor by hardline state media. 4Revolution and Ruptures chapter abstractChapter Four examines the approach of the new state and its leader Ayatollah Ruhollah Khomeini to music, and to cultural policymaking more generally. Initially Khomeini had pronounced music forbidden, but what did he mean by "music," and how did "music" come to be permitted eventually? What Islamic traditions have Islamic Republic officials abided by for their understanding of music's permissibility? This chapter also examines the musical fare on state media during the revolution's first decade, and provides an in-depth look at the official structures that regulate music in the Islamic Republic. 5Opening the Floodgates to Pop Music: Alireza Assar chapter abstractThis chapter tells the as yet untold story of the creation of state-approved pop music in Islamic Iran, as shared by the officials and musicians at the center of its making. Pop music, once banned because the new state perceived it as representing the cultural promiscuity of Shah-era Iran, was greenlighted and broadcast from within conservative state media toward the end of the 1990s, following President Akbar Hashemi Rafsanjani's reconstruction period. This chapter presents the musicians that spearheaded this process. It highlights the work of one of the most popular stars among post-revolutionary Iran's first generation of pop singers, Alireza Assar, and argues that his projection of an alternative religiosity in contradistinction to the state's dogmatic Islam attracted Iran's post-1980–88 war youth. 6The Rebirth of Independent Music chapter abstractChapter Six examines the rebirth of independent music in post-revolutionary Iran, which flourished during the terms of reformist President Mohammad Khatami and his government's more liberal music policy. The chapter narrates the beginnings of rock and fusion music starting in the late 1980s and onward to Iran's "first" semi-public underground rock concert, as well as the importance of the webzine Tehranavenue in bringing to light Iran's active underground music scene. The chapter follows the trajectory of the musician Mohsen Namjoo in delineating these processes. 7Purposefully Fālsh: Mohsen Namjoo chapter abstractThis chapter is a study of the coming of age of the alternative musician Mohsen Namjoo, and his struggles to emerge as a musician under politically repressive circumstances. It narrates his cultivation of a discourse of absurdist nihilism, which finds great resonance with a community of post-ideological cynics, as well as his rhetorical and musical iconoclasm. It traces his arc from a student struggling to make it as a musician in Iran to his emigration and self-stated decision to break his "self-censorship" following the 2009 unrest. 8Going Underground chapter abstractChapter Eight proceeds in the book's chronological treatment of music in post-revolutionary Iran to discuss the changes in cultural policy from the more liberal government of Mohammad Khatami to that of Mahmoud Ahmadinejad. This transition coincided with a period of great technological transformation around 2005, when the impact of new media was changing the face of music production, distribution, and consumption in Iran. It then goes on to describe discussions of the category of underground music, how it is defined and categorized internally, and the government's reckoning with this new reality. 9Rap-e Farsi: Hichkas chapter abstractThis chapter delves deeper into the underground music scene by foregrounding one of its best-known performers, Soroush Lashkary, aka Hichkas. It discusses categorizations of Rap-e Farsi and the coming of age of Hichkas, the "Godfather of Rap-e Farsi," from a middle-class kid in Tehran to a household name. The chapter also analyzes the generational differences between Namjoo and Hichkas, and how these differences are reflected in their music. It further explores the music of Hichkas, which draws on an old Iranian honor ethic to find traction with its listeners. 10The Music of Politics chapter abstractChapter Ten narrates developments in music during the 2009 Green Uprising, and draws comparisons to musical trajectories at the time of the 1979 revolution, as discussed in Chapters One and Two. It also discusses the election of President Hassan Rouhani as a continuation of the political sentiments of the Green Movement, and proceeds to narrate more recent musical developments. The chapter then offers some conclusions on the bigger questions in the book about expressions of joy, freedom, and political repression.

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Book SynopsisBotkin has compiled and analyzed plays, novels, and folklore about Three-Fingered Jack in order to show how the story of this hero-villain has evolved as it traveled from the Caribbean to England and the United States, returning to Jamaica as a tale of heroic resistance.Trade Review"Finally, the study of Obi for which we’ve been waiting: one that moves across not just historical periods but also language, culture, and media. In Thieving Three-Fingered Jack, Frances Botkin gives us an extraordinary study for understanding transatlantic literary relations. Few figures possess the necessary power to illuminate a region or an era, but Jack Mansong — especially in Professor Botkin’s hands — proves such a vehicle." -- Michael Gamer * associate professor of English, University of Pennsylvania *"With its seamless blending of disciplinary methods, Thieving Three-Fingered Jack explains how a fugitive slave became a transatlantic legend. Botkin moves transhistorically and transnationally to describe how Jack became a fictional and theatrical icon. In the process, she highlights the many insights made possible when folklore and literary studies converge." -- Daphne Lamothe * author of Inventing the New Negro: Narrative, Culture, and Ethnography *"[Thieving Three-Fingered Jack: Transatlantic Tales of a Jamaican Outlaw] discusses plays and songs written about Jack Mansong, an escaped slave turned bandit who came to be revered as a freedom fighter in Jamaica for his attacks on colonial planters." * Chronicle *Forthcoming African American Studies Titles, 2018: A list of the latest and soon-to-be-released publications through October 2018. * Choice *Table of ContentsIntroduction: Representing Three-Fingered Jack 1. Divide and Conquer: Three-Fingered Jack and the Maroons 2. "Jack Is a MAN" Prose Obis, 1800-1870 3. Staging Obi: Three-Fingered Jack in London and New York 4. Being Jack Mansong: Ira Aldridge and Three-Fingered Jack 5. After Emancipatio: Masquerade and Miscegenation 6. Mansong: No Longer "Nearly Everybody Wite" Epilogue: "The Baddest Man Around" Acknowledgments Notes Works Cited Index

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Book SynopsisBotkin has compiled and analyzed plays, novels, and folklore about Three-Fingered Jack in order to show how the story of this hero-villain has evolved as it traveled from the Caribbean to England and the United States, returning to Jamaica as a tale of heroic resistance.Trade Review"Finally, the study of Obi for which we’ve been waiting: one that moves across not just historical periods but also language, culture, and media. In Thieving Three-Fingered Jack, Frances Botkin gives us an extraordinary study for understanding transatlantic literary relations. Few figures possess the necessary power to illuminate a region or an era, but Jack Mansong — especially in Professor Botkin’s hands — proves such a vehicle." -- Michael Gamer * associate professor of English, University of Pennsylvania *"With its seamless blending of disciplinary methods, Thieving Three-Fingered Jack explains how a fugitive slave became a transatlantic legend. Botkin moves transhistorically and transnationally to describe how Jack became a fictional and theatrical icon. In the process, she highlights the many insights made possible when folklore and literary studies converge." -- Daphne Lamothe * author of Inventing the New Negro: Narrative, Culture, and Ethnography *"[Thieving Three-Fingered Jack: Transatlantic Tales of a Jamaican Outlaw] discusses plays and songs written about Jack Mansong, an escaped slave turned bandit who came to be revered as a freedom fighter in Jamaica for his attacks on colonial planters." * Chronicle *Forthcoming African American Studies Titles, 2018: A list of the latest and soon-to-be-released publications through October 2018. * Choice *Table of ContentsIntroduction: Representing Three-Fingered Jack 1. Divide and Conquer: Three-Fingered Jack and the Maroons 2. "Jack Is a MAN" Prose Obis, 1800-1870 3. Staging Obi: Three-Fingered Jack in London and New York 4. Being Jack Mansong: Ira Aldridge and Three-Fingered Jack 5. After Emancipatio: Masquerade and Miscegenation 6. Mansong: No Longer "Nearly Everybody Wite" Epilogue: "The Baddest Man Around" Acknowledgments Notes Works Cited Index

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Book SynopsisMusic and Social Change in South Africa looks at contemporary maskanda-a folk musical genre distinguished by fast guitar picking and blues-style vocal intonation-against the backdrop of South Africa's history. A performance practice that emerged in the early decades of the twentieth century among Zulu migrant workers, maskanda is strongly associated with young Zulu men's experiences of repression and dislocation during imperial and, more particularly, apartheid rule. Working closely with translated song lyrics and musical notation-and applying musical and socio-political analysis to this music and its cultural context-Olsen argues that maskanda offers insight into how the post-apartheid ideal of social transformation is experienced by those who were marginalized for most of the twentieth century. Drawing on a decade of research, Olsen strives to demystify the Zulu part of contemporary experience in South Africa and to reveal some of the complexities of the social, economic, and poTable of Contents Contents Acknowledgments Prologue 1 | Maskanda Researched: The Parallax View 2 | Maskanda’s Early Years 3 | Maskanda as Commodified Tradition 4 | Men Making Maskanda in Post-apartheid South Africa 5 | Women Playing Maskanda 6 | Experiencing Transformation Notes References Index

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Book SynopsisInside the global music industry and the racialized and gendered assumptions we make about what we hear Fearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early songcatchers were white women of comfortable class standing, similar to the female consumers targeted by the music industry as the gramophone became increasingly present in bourgeois homes. Through these simultaneous movements, listening became constructed as a feminized practice, one that craved exotic sounds and mythologized the other' that made them.In Modernity's Ear, Roshanak Kheshti examines the ways in which racialized and gendered sounds became fetishized and, in turn, capitalized on by an emergent American world music industry through the promotion of an economy of desire. Taking a mixed-methods approach that draws on anthropology and sound studies, KheshtTrade ReviewEngaging an impressive range of methodologies,Modernitys Earoffers an astute look into the world music culture industry through the lens of ethnographic entrapment and phonographic subjectivity. With sharp insight, Kheshti explores the nexus between bodies and sounds at the intersection of racial and gender identities to make a crucial point about phonographic listening as an important venue for performative and philosophical reflection. -- Alexander Weheliye,author of Phonographies: Grooves in Sonic Afro-ModernityRich in ethnographic fieldwork,Modernitys Earis a thunderous unsettling of the gendered and racialized assumptions we make about sound and listening. Innovatively pushing the limits of queer studies and critical race studies, Kheshti stretches the listening ear and retunes theoretical approaches to consider not only the way race sounds but how it is configured as sensually & other. A field-changing book for queer studies and sound studies alike. -- Deborah R. Vargas,author of Dissonant Divas in Chicana Music: The Limits of La OndaIn this tightly structured book, Kheshti offers not only an aesthetic and stylistic history of world music but also an analysis of race and gender in the & world music culture industry. * Choice *Table of ContentsAcknowledgments ix Preface: Playing by Ear xv Introduction 1 1. The Female Sound Collector and Her Talking Machine 15 2. Listen, Inc.: Aural Modernity and Incorporation 39 3. Losing the Listening Self in the Aural Other 65 4. Racial Noise, Hybridity, and Miscegenation in World Music 82 5. The World Music Culture of Incorporation 108 Epilogue: Modernity's Radical Ear and the Sonic Infidelity of Zora Neale Hurston's Recordings 125 Notes 143 References 165 Index 173 About the Author

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Book SynopsisInside the global music industry and the racialized and gendered assumptions we make about what we hear Fearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early songcatchers were white women of comfortable class standing, similar to the female consumers targeted by the music industry as the gramophone became increasingly present in bourgeois homes. Through these simultaneous movements, listening became constructed as a feminized practice, one that craved exotic sounds and mythologized the other' that made them.In Modernity's Ear, Roshanak Kheshti examines the ways in which racialized and gendered sounds became fetishized and, in turn, capitalized on by an emergent American world music industry through the promotion of an economy of desire. Taking a mixed-methods approach that draws on anthropology and sound studies, KheshtTrade ReviewEngaging an impressive range of methodologies,Modernitys Earoffers an astute look into the world music culture industry through the lens of ethnographic entrapment and phonographic subjectivity. With sharp insight, Kheshti explores the nexus between bodies and sounds at the intersection of racial and gender identities to make a crucial point about phonographic listening as an important venue for performative and philosophical reflection. -- Alexander Weheliye,author of Phonographies: Grooves in Sonic Afro-ModernityRich in ethnographic fieldwork,Modernitys Earis a thunderous unsettling of the gendered and racialized assumptions we make about sound and listening. Innovatively pushing the limits of queer studies and critical race studies, Kheshti stretches the listening ear and retunes theoretical approaches to consider not only the way race sounds but how it is configured as sensually & other. A field-changing book for queer studies and sound studies alike. -- Deborah R. Vargas,author of Dissonant Divas in Chicana Music: The Limits of La OndaIn this tightly structured book, Kheshti offers not only an aesthetic and stylistic history of world music but also an analysis of race and gender in the & world music culture industry. * Choice *Table of ContentsAcknowledgments ix Preface: Playing by Ear xv Introduction 1 1. The Female Sound Collector and Her Talking Machine 15 2. Listen, Inc.: Aural Modernity and Incorporation 39 3. Losing the Listening Self in the Aural Other 65 4. Racial Noise, Hybridity, and Miscegenation in World Music 82 5. The World Music Culture of Incorporation 108 Epilogue: Modernity's Radical Ear and the Sonic Infidelity of Zora Neale Hurston's Recordings 125 Notes 143 References 165 Index 173 About the Author

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Book SynopsisK-pop (Korean popular music) reigns as one of the most popular music genres in the world today, a phenomenon that appeals to listeners of all ages and nationalities. In Soul in Seoul: African American Popular Music and K-pop, Crystal S. Anderson examines the most important and often overlooked aspect of K-pop: the music itself. She demonstrates how contemporary K-pop references and incorporates musical and performative elements of African American popular music culture as well as the ways that fans outside of Korea understand these references.K-pop emerged in the 1990s with immediate global aspirations, combining musical elements from Korean and foreign cultures, particularly rhythm and blues genres of black American popular music. Korean solo artists and groups borrow from and cite instrumentation and vocals of R&B genres, especially hip hop. They also enhance the R&B tradition by utilizing Korean musical strategies. These musical citational practices are deemed authentic by

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Book SynopsisProvides a contemporary guide to understanding and exploring Cantometrics, the system developed by Lomax and Victor Grauer for analysing the formal elements of music related to human geography and sociocultural patterning.

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Book SynopsisThe anthology Global Popular Music features readings that examine the commonalities and differences among different popular music traditions in the Americas, Africa, Asia, and Europe. The text explores the ways in which each tradition developed, evolved, eventually disseminated, and how they gained global reach.The book begins with an introduction to global and popular music and answers the all-important question: what is pop? The readings that follow include both material evidence and historical narrative to provide students with greater awareness of how popular music has evolved throughout different cultures. The selections explore various musical traditions, including the blues, samba-reggae, mariachi, afro-pop, bhangra, K-pop, and rap, among other styles of music, all written by renowned and revered musicologists in the field.Compelling and complex in nature, Global Popular Music is an excellent supplementary resource for courses in world music, as well as any course that examines popular music in a global context.

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Book SynopsisRare Birds is a collection of conversations with world-class jazz musicians and classical composers, featuring luminaries Philip Glass, Charles Lloyd, Abdullah Ibrahim, Steve Reich, Eugene Friesen, and Sathima Bea Benjamin. These in-depth, candid interviews focus not only on the music but also on the artists. The six interviews, conducted by poet and author Thomas Rain Crowe and musician Nan Watkins, delve into the creative process, individual as well as global perspectives on the arts, the human condition, and various personal issues that are addressed in the music itself. These cutting-edge artists have singular ideas about what it means to be a composer and musician.An important addition to the documentation of modern jazz musicians and composers, Rare Birds will appeal to anyone who is interested in jazz music or the contemporary classical canon.

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Book SynopsisThe Brazilian berimbau, a musical bow, is most commonly associated with the energetic martial art/dance/game of capoeira. This study explores the berimbau's stature from the 1950s to the present in diverse musical genres including bossa nova, samba-reggae, MPB (Popular Brazilian Music), electronic dance music, Brazilian art music, and more. Berimbau music spans oral and recorded historical traditions, connects Latin America to Africa, juxtaposes the sacred and profane, and unites nationally constructed notions of Brazilian identity across seemingly impenetrable barriers.The Berimbau: Soul of Brazilian Music is the first work that considers the berimbau beyond the context of capoeira, and explores the bow's emergence as a national symbol. Throughout, this book engages and analyzes intersections of musical traditions in the Black Atlantic, North American popular music, and the rise of global jazz. This book is an accessible introduction to Brazilian music for musicians, Latin American scholars, capoeira practitioners, and other people who are interested in Brazil's music and culture.

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Book SynopsisThe Music of the Netherlands Antilles: Why Eleven Antilleans Knelt before Chopin's Heart is not your usual musical scholarship. In October 1999, eleven Antilleans attended the service held to commemorate the 150th anniversary of Frédéric Chopin's death. This service, held in the Warsaw church where the composer's heart is kept in an urn, was an opportunity for these Antilleans to express their debt of gratitude to Chopin, whose influence is central to Antillean music history. Press coverage of this event caused Dutch novelist and author Jan Brokken (b. 1949) to start writing this book, based on notes he took while living on Curaçao from 1993 to 2002.Anyone hoping to discover an overlooked chapter of Caribbean music and music history will be amply rewarded with this Dutch-Caribbean perspective on the pan-Caribbean process of creolization. On Curaçao, the history and legacy of slavery shaped culture and music, affecting all the New World. Brokken's portraits of prominent Dutch Antillean composers are interspersed with cultural and music history. He puts the Dutch Caribbean's contributions into a broader context by also examining the nineteenth-century works by pianist Louis Moreau Gottschalk from New Orleans and Manuel Saumell from Cuba. Brokken explores the African component of Dutch Antillean music--examining the history of the rhythm and music known as tambú as well as American jazz pianist Chick Corea's fascination with the tumba rhythm from Curaçao. The book ends with a discussion of how recent Dutch Caribbean adaptations of European dance forms have shifted from a classical approach to contemporary forms of Latin jazz.

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Book SynopsisChronicles the work of Norberto Tavares, a Cabo Verdean musician and humanitarian who served as the conscience of his island nation during the transition from Portuguese colony to democratic republic. Based on twenty years of collaborative fieldwork, Songs for Cabo Verde: Norberto Tavares's Musical Visions for a New Republic focuses on the musician Norberto Tavares but also tells a larger story about postcolonial nation building, musical activism, and diaspora life within the Lusophone sphere. It follows the parallel trajectories of Cabo Verdean independence and Tavares's musical career over four decades (1975-2010). Tavares lived and worked in Cabo Verde, Portugal, and the United States, where he died in New Bedford, Massachusetts at age fifty-four. Tavares's music serves as a lens through which we can view Cabo Verde's transition from a Portuguese colony to an independent, democratic nation, one that was shaped in part through the musician's persistent humanitarian messages.Table of ContentsIntroduction Son of Santa Catarina: Norberto Tavares's Early Years (1956-1973) Cabo Verde and Its Traditions in Context Revolutions and Transformations (1973-1975) Volta Pa Fonti: A Return to the Source for Musical Inspiration and Grounding (1976-1979) Starting Again in American (1979-1988) Playing My Culture. (1988-) Opening the Door to Democracy: Norberto Tavares Goes Home (1990) Changing Scenes in New England (1991-1999) The Final Years (2000-2010) Epilogue: The Legacy of Norberto Tavares

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Book SynopsisBrazilian Jive uncovers the genius of Brazilian song, both as a sophisticated, articulate art form crafted out of the dialogue between music and language and as a powerfully eloquent expression of the country's social and political history.

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Book SynopsisThe works of twenty composers from the golden age of English romantic song, major figures - Parry, Stanford, Vaughan Williams, Quilter, Ireland, Gurney, Warlock and Finzi - studied alongside the lesser-known. Constantly illuminating. JOHN STEANE, GRAMOPHONE The composers in this book represent the outstanding songwriters from what we can now see as the golden age of English romantic song. As well as the major figures - Parry, Stanford, Vaughan Williams, Quilter, Ireland, Gurney, Warlock and Finzi - there are chapters on lesser-known composers, such as Denis Browne and Charles Orr. Detailed consideration is given to three songwriters who have sufferedunaccountable neglect, Arthur Somervell, Armstrong Gibbs and Herbert Howells, and there are chapters on Elgar, Delius and Holst, whose reputations were made in other fields but whose contribution to English song is nevertheless important. Also taking their rightful places in the book are Frank Bridge, Arnold Bax, George Butterworth and E.J. Moeran. Each chapter begins with a discussion of its composer's song-output and of the poets and poetry he sets, and goes on to give an account of the influences on him and the hallmarks of his style; the songs are then discussed in detail, focusing on the major works. The text is illustrated with musical examples and there is a comprehensive bibliography and index. TREVOR HOLD was a composer and poet who wrote extensively on English song. His setting of Laurie Lee's 'Day of these Days' won the English Poetry and Song Society/English Music Society 2002 GoldenJubilee Song Competition. He died in January 2004.Trade ReviewHold brings a composer's sensibility to his task, notably in his analytical discussion, and fully understands the nature of the marriage effected, and the difficulties involved, in the song-composer's art of blending poetry with music. He is a real companion on his reader's journey of discovery... The text [is] unfailingly readable and astute in judgement. * JOHN TALBOT, BRITISH MUSIC SOCIETY NEWSLETTER *First-class...one of the most important treatises on the subject yet written...[Hold] writes superbly, urbanely and - more important - carefully...Highly recommended. * THE SINGER *Constantly illuminating. * JOHN STEANE, GRAMOPHONE *This deeply considered, beautifully produced book...will be the standard work on the subject for the foreseeable future. * MUSIC & VISION *

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Trade Review"A Different Voice, A Different Song is valuable for how it reveals a complex set of circumstances and motivations...This is one of the very few publications that deal exclusively with singing in all its complexity and beauty. Scholars of musicology, social studies, and cultural anthropology will find this book a provocative account of singing practice, and an inspiration for further research into music making, political action and aesthetic sensibility."--Yearbook for Traditional MusicTable of ContentsContents ; List of illustrations ; About the companion website ; List of illustrations on the companion website ; List of video tracks on the companion website ; Acknowledgements ; Introduction ; 1 The Natural Voice, Community Choirs and World Song: Setting the Scene ; Singing for Water ; The Bigger Picture: Definitions and Perspectives ; Singing in the Spotlight ; Research Contexts: Surveying the Literature ; Voice and Voicework ; Singing and Choirs ; Community Music and Community Music Therapy ; Ethnomusicology and World Musics in Education ; Musical Tourism ; Digging Deeper: Themes, Issues and Concepts ; Networks, Scenes and Movements ; Global Flows, Cosmopolitan Cultures and Transnational Connections ; World Music, Cultural Appropriation and Intercultural Engagement ; The Politics of Participation and the Art of Celebration ; Dancing in the Streets ; 2 In Search of the Natural Voice ; The Original Instrument ; Frankie Armstrong and the Natural Voice Practitioners' Network ; The NVPN Philosophy and Concepts of Music in Society ; The Giving Voice Project, Theatrical Roots and the Natural Voice in Performance ; Kristin Linklater and Michele George ; Alfred Wolfsohn and Roy Hart ; Jerzy Grotowski and W?odzimierz Staniewski ; Giving Voice as Culture and Community ; A Meeting of Worlds: Giving Voice and the Natural Voice Network ; The Natural Voice in Perspective ; 3 Natural Voice Practitioners and their Journeys: Histories and Connections ; A Gathering of the Natural Voice Clan ; The Roads that Lead to the Natural Voice ; Frankie's Singing Journey ; Meetings with Voice Practitioners: Contexts and Continuities ; Musical Lives ; The Folk Connection ; The Political Connection ; The Theatre Connection ; The Classical Connection ; The Community Music Connection ; The Therapy Connection ; The Circle Dance, Summer Camp and Alternative Community Connection ; The World Music Connection ; The NVPN as Community of Practice ; 4 From Principles to Practice: The Culture of Natural Voice Choirs and Workshops ; If You Can Talk, You Can Sing ; Working with the Voice ; Preparing to Sing: The Function of Warm-up Exercises ; Arriving and Tuning In ; Voice, Body, Breath, Mind ; Paving the Way for Singing in Style ; How Times Have Changed ; The Aural Method: Teaching and Learning by Ear ; Repertoire: Songs from the Oral Tradition ; Resources for Teachers ; Expanding Horizons ; Of Learning and Living ; 5 Singing the Songs of Others ; A World of Song ; The Attraction of Songs from Elsewhere ; Entering New Sound Worlds ; Entering the Lives of Others ; Deeper Resonances: Lost Pasts and Present Yearnings ; The Politics of Unintelligibility ; Songs from Taize ; Text and Meaning in the Vernacular ; Vocables in Georgian Song ; Ours or Theirs? Of Boundaries and Crossings ; 6 Performing the Other: Appropriations and Transformations ; Framing Intercultural Encounters ; The African American Continuum and Gospel's Global Journeys ; Back to Africa ; Songs and Dances from South Africa ; Songs of the Aka and Baka ; Balkan Bridges ; Gifts from Georgia ; Authenticity, Alterity and Possession ; 7 Singing Communities: The World of Community Choirs ; Singing in the Streets ; Choirs, Choirs Everywhere ; Choirs in the British Media ; Amateur Choirs in Britain: Social and Political Legacies ; International Perspectives: Building Bridges through Song ; Locating the Community Choir: Worlds within Worlds ; The Choir in the Community and the Community in the Choir ; Singing, Health and Happiness ; The Place of Performance ; Opening Doors ; 8 Scenes from the Global Village: Singing Camps and Travels ; The Singing Village ; Reclaiming Paradise: Of Fields, Festivals and Foreign Shores ; Tapping into the Festival Current ; Theorising Travel and Tourism ; A Village in a Field: The Unicorn Natural Voice Camp ; The Unicorn Experience ; The Unicorn Repertoire ; The Unicorn Community ; Choirs on the Move ; The Village on the Move: Village Harmony's Overseas Camps ; Village Harmony in Corsica ; Village Harmony in Bosnia ; Village Harmony and other Travels in Georgia ; Of Refashioning Identities and Living Differently ; 9 The Voice of the Future ; Gathering the Threads ; Fallacies and Other Truths ; A Quiet Revolution ; A River of Music ; Appendix: NVPN Philosophy and Working Principles ; References ; Index

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

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

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

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

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Book SynopsisOne of the defining aspects of music is that it exists in time. From clapping to dancing, toe-tapping to head-nodding, the responses of musicians and listeners alike capture the immediacy and significance of the musical beat. This Companion explores the richness of musical time through a variety of perspectives, surveying influential writings on the topic, incorporating the perspectives of listeners, analysts, composers, and performers, and considering the subject across a range of genres and cultures. It includes chapters on music perception, visualizing rhythmic notation, composers'' writings on rhythm, rhythm in jazz, rock, and hip-hop. Taking a global approach, chapters also explore rhythmic styles in the music of India, Africa, Bali, Latin America and the Caribbean, and Indigenous music of North and South America. Readers will gain an understanding of musicians'' approaches to performing complex rhythms of contemporary music, and revealing insights into the likely future of rhythTrade Review'The importance of this collection for music scholarship lies not only in the subject matter - rhythm has long been ignored by traditional music studies - but in the fact that fully half the volume is devoted to music other than the Western European classical canon … Summing Up: Recommended. Upper-division undergraduates through faculty; professionals.' M. Dineen, ChoiceTable of ContentsIntroduction Russell Hartenberger and Ryan McClelland; I. Overview of rhythm: 1. Rhythm in Western music: Concepts and literature Ryan McClelland; 2. Perception of rhythm Daniel Cameron and Jessica Grahn; II. Performing rhythm: 3. Visualizing the rhythms of performance Alan Dodson; 4. A percussionist understands rhythm Steven Schick; 5. A different kind of virtuosity Russell Hartenberger; 6. Conducting rhythm David Robertson; III. Composing with rhythm: 7. Expressive rhythm and meter in the German Lied Harald Krebs; 8. Rhythm in post-tonal music: a modernist primer Gretchen Horlacher; 9. The concept of rhythm: composers in their own words Adam Sliwinski; IV. Rhythm in jazz and popular music: 10. Jazz rhythm: the challenge of “swing” Matthew W. Butterfield; 11. Rhythmic influence in the rock revolution Trevor de Clercq; 12. Rhythm in contemporary rap music Mitchell Ohriner; V. Rhythm in global musics: 13. The musical rhythm of Agbadza songs David Locke; 14. Rhythmic thought and practice in the Indian subcontinent James Kippen; 15. The draw of Balinese rhythm Leslie Tilley; 16. Rhythmic structures in Latin American and Caribbean music Peter Manuel; 17. Indigenous rhythm and dance in North and South America Kristina F. Nielsen; VI. Epilogue: 18. The future of rhythm Nick Collins; Select bibliography; Index.

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Book SynopsisIntroduces Korean drumming and dance to the English-speaking world. This title offers detailed descriptions of its instrumentation, dance formations, costuming, actors, teaching lineages, and the complexities of training. It is suitable for those interested in ethnomusicology, world music, anthropology, sociology, and Asian studies.

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Book SynopsisThis work focuses on the development of a unique style of music - combining the electric guitar with indigenous Shona music - that emerged in Zimbabwe during the 1980s. Turino examines this emergence of cosmopolitan culture among the black middle classes, and how it influenced politics.

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Book SynopsisLooks at Brazilian music from the 1920s to the 1950s. Whether he's talking with samba musicians, watching classic movie musicals, or listening to recordings made more than half a century ago, the author explores how the historical forces of race, class, and gender colluded in the development and export of Afro-Brazilian culture.Trade Review"A thoughtful and lucid book original and unique. Davis underscores the celebration of Afro-Brazilian music by whites and the complex and asymmetric interactions in musical production between blacks and whites in Brazil. - Jonas Zoninsein, James Madison College at Michigan State University"

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Book SynopsisThis collection explores Chicano, Mexican, and Cuban musical forms and styles and their transformation in the United States. Employing musical, historical, and sociocultural analyses, Loza addresses issues such as marginality, identity, intercultural conflict and aesthetics, reinterpretation, postnationalism, and mestizajethe mixing of race and culturein the production and reception of Chicano/Latino music. Barrio Harmonics opens with a comprehensive overview that begins with music in the US Southwest in the seventeenth century and ends with the Grammy Awards for Latin American music in the first decade of the twenty-first century. In the following chapters, Loza discusses artists whose music ranges from sones, rancheros, and corridos to Latin jazz, R & B, and rock and roll. Among those he considers in depth are Pancho Sánchez, Lalo Guerrero, Tito Puente, and Los Lobos. He also surveys the contributions of scores of other individuals and groups who have shaped the current contour of Ch

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Book SynopsisMore than simply a paragon of Brazilian samba, Dona (Lady) Ivone Lara's 1981 Sorriso Negro (translated to Black Smile) is an album deeply embedded in the political and social tensions of its time. Released less than two years after the Brazilian military dictatorship approved the Lei de Anistia (the Opening that put Brazil on a path toward democratic governance), Sorriso Negro reflects the seminal shifts occurring within Brazilian society as former exiles reinforced notions of civil rights and feminist thought in a nation under the iron hand of a military dictatorship that had been in place since 1964. By looking at one of the most important samba albums ever recorded (and one that also happened to be authored by a black woman), Mila Burns explores the pathbreaking career of Dona Ivone Lara, tracing the ways in which she navigated the tense gender and race relations of the samba universe to ultimately conquer the masculine world of samba composers.33 1/3 Global<Table of ContentsAcknowledgements Introduction Part 1 Women and Samba A Sereia Guiomar De Braços Com a Felicidade Alguém Me Avisou Homemade Samba Meu Fim de Carnaval Não Foi Ruim and Nunca Mais First Steps The Rise of Feminism Part 2 Faces Names Os Cinco Bailes da História do Rio Adeus de um Poeta Me Deixa Ficar Unhas Tendência Part 3 Sorriso Negro One Smile for Two Samba and Dictatorship Silencing a Movement The Black Movement of the 1970s Axé de Ianga Afterword Notes Bibliography Index

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