Theory of music and musicology Books

Book Synopsis

Read more less

Book SynopsisTrade Review"Fred Lerdahl’s engaging new book is an example of something music theory might do more of: letting composers to talk seriously and personally about the ideas animating their music." * Music Theory Online *

Read more less

Book SynopsisRichard Taruskin's sweeping collection of essays distills a half century of professional experience, demonstrating an unparalleled insider awareness of relevant debates in all areas of music studies, including historiography and criticism, representation and aesthetics, musical and professional politics, and the sociology of taste. Cursed Questions, invoking a famous catchphrase from Russian intellectual history, grapples with questions that are never finally answered but never go away. The writings gathered here form an intellectual biography that showcases the characteristic wit, provocation, and erudition that readers have come to expect from Taruskin, making it an essential volume for anyone interested in music, politics, and the arts.Table of ContentsIntroduction 1. The History of What? 2. Did Somebody Say Censorship? 3. Haydn and the Enlightenment? 4. Is There a Baby in the Bathwater? On aesthetic autonomy 5. Shall We Change the Subject? A Music Historian Reflects 6. “Alte Musik” or “Early Music”? On pseudohistory 7. Nicht blutbefleckt? 8. What Else? On musical representation 9. Unanalyzable, Is It? 10. Essence or Context? On musical ontology 11. But Aren’t They All Invented? On tradition 12. Which Way Is Up? On the sociology of taste 13. A Walking Translation? On musicology east and west Index

Read more less

Book SynopsisTable of ContentsIntroduction 1. The History of What? 2. Did Somebody Say Censorship? 3. Haydn and the Enlightenment? 4. Is There a Baby in the Bathwater? On aesthetic autonomy 5. Shall We Change the Subject? A Music Historian Reflects 6. “Alte Musik” or “Early Music”? On pseudohistory 7. Nicht blutbefleckt? 8. What Else? On musical representation 9. Unanalyzable, Is It? 10. Essence or Context? On musical ontology 11. But Aren’t They All Invented? On tradition 12. Which Way Is Up? On the sociology of taste 13. A Walking Translation? On musicology east and west Index

Read more less

Book SynopsisFrom the BBC Proms to Bernstein's Young People's Concerts, initiatives to promote classical music have been a pervasive feature of twentieth-century musical life. The goal of these initiatives was rarely just to reach a larger and more diverse audience but to teach a particular way of listening that would help the public appreciate music. This book examines for the first time how and why music appreciation has had such a defining and long-lasting impactwell beyond its roots in late-Victorian liberalism. It traces the networks of music educators, philanthropists, policy makers, critics, composers, and musicians who, rather than resisting new mass media, sought to harness their pedagogic potential. The book explores how listening became embroiled in a nexus of modern problems around citizenship, leisure, and education. In so doing, it ultimately reveals how a new cultural milieuthe middlebrowemerged at the heart of Britain's experience of modernity.Table of ContentsList of Figures and Music Examples 1. The Art of Appreciation 2. "Audiences of the Future" The Robert Mayer Concerts for Children (1924–1939) 3. Victorians on Radio Music and the Ordinary Listener (1926–1939) 4. Music Education on FilmInstruments of the Orchestra (1946) 5. Outside the Ivory Tower Extra-Mural Music at the University of Birmingham (1948–1964) 6. The Avant-Garde Goes to SchoolO Magnum Mysterium (1960) 7. Epilogue The Middlebrow in an Age of Cultural Pluralism Notes Bibliography Index

Read more less

Book SynopsisA free open access ebook is available upon publication. Learn more at www.luminosoa.org. To produce the song sequences that are central to Indian popular cinema, singers' voices are first recorded in the studio and then played back on the set to be lip-synced and danced to by actors and actresses as the visuals are filmed. Since the 1950s, playback singers have become revered celebrities in their own right. Brought to Life by the Voice explores the distinctive aesthetics and affective power generated by this division of labor between onscreen body and offscreen voice in South Indian Tamil cinema. In Amanda Weidman's historical and ethnographic account, playback is not just a cinematic technique, but a powerful and ubiquitous element of aural public culture that has shaped the complex dynamics of postcolonial gendered subjectivity, politicized ethnolinguistic identity, and neoliberal transformation in South India.

Read more less

Book SynopsisVirginia Woolf famously claimed that, around December 1910, human character changed. Aesthetic Technologies addresses how music (especially opera), the phonograph, and film served as cultural agents facilitating the many extraordinary social, artistic, and cultural shifts that characterized the new century and much of what followed long thereafter, even to the present. Three tropes are central: the tensions and traumascultural, social, and personalassociated with modernity; changes in human subjectivity and its engagement and representation in music and film; and the more general societal impact of modern media, sound recording (the development of the phonograph in particular), and the critical role played by early-century opera recording. A principal focus of the book is the conflicted relationship in Western modernity to nature, particularly as nature is perceived in opposition to culture and articulated through music, film, and sound as agents of fundamental, sometimes shocking tranTrade Review"Richard Leppert’s book is a tour de force that marries the cultural history of opera and film with the technological history of modern media and sound technology in order to tackle fundamental questions about art in the age of modernity and our relationship to it." * Music & Letters *Table of ContentsList of IllustrationsList of Musical ExamplesAcknowledgmentsIntroductionPART I. MODERNITY AND OPERA; NATURE AND REDEMPTION1. The Civilizing Process: Music and the Aesthetics of Time-Space Relations in The Girl of the Golden West2. Opera, Aesthetic Violence, and the Imposition of Modernity: FitzcarraldoPART II. VOICING SUBJECTIVITYEXCURSUS: OPERA, MONUMENTALITY, AND LOOKING AT LOOKING3. Caruso, Phonography, and Operatic Fidelities: Regimes of Musical Listening, 1904–19294. Aesthetic Meanderings of the Sonic Psyche: Three Operas, Two Notes, and One Ending at the Boundary of the Great DividePART III. MODERNITY, NATURE, AND DYSTOPIAEXCURSUS: NATURAL BEAUTY / ART BEAUTY5. Sound, Subjectivity, and Death: Days of Heaven (promesse du bonheur)Conclusion: Acoustic Invocations of Crisis and HopeAppendix: Chapter 5 TablesNotesBibliographyIndex

Read more less

Book SynopsisA revisionist history of minimalism's transformative rise, through the voices of the musicians who created it. When composers like Philip Glass and Steve Reich began creating hypnotically repetitive music in the 1960s, it upended the world of American composition. But minimalism was more than a classical phenomenonminimalism changed everything. Its static harmonies and groovy pulses swept through the broader avant-garde landscape, informing the work of Yoko Ono and Brian Eno, John and Alice Coltrane, Pauline Oliveros and Julius Eastman, and many others. On Minimalism moves from the style's beginnings in psychedelic counterculture through its present-day influences on ambient jazz, doom metal, and electronic music. The editors look beyond the major figures to highlight crucial and diverse voicesespecially women, people of color, and LGBTQ+ musiciansthat have shaped the genre. Featuring more than a hundred rare historical sources, On Minimalism curates this history anew, documenting one of the most important musical movements of our time.Trade Review"A gust of fresh air blowing across a stage. . . . As a compilation of source texts, On Minimalism is unparalleled, containing prescient, critical writings from many commentators and participants. . . . Organized in 21 accessible chunks (not only the expected ones, but also others covering spirituality, multimedia and altered states), each headed by an introduction that synthesizes the coming information, this is a breeze to navigate and, for all its scholarly chops, relaxed in its learning." * The Wire *"An array of voices and perspectives kept from being bewildering by the editors’ clear and sensible organization. . . . . On Minimalism, with its contradictory array of opinions, assertions and recollections shows us how musicians, critics, the listening public and the larger cultural machine experienced, thought about and grappled with one of the more unlikely success stories in the American avant-garde." * Spectrum Culture *Table of ContentsContents Foreword by Joan La Barbara Introduction PART ONE 1. Improvisation and Experimentation 2. Dream Music 3. Loops and Process 4. Altered States 5. Gurus and Teachers 6. Cultural Fusion 7. Across the Arts 8. Ensembles PART TWO 9. 1976 10. The New Downtown 11. Instruments and Environments 12. Ambient and New Age 13. Canons 14. Backlash 15. Politics, Identity, and Expression 16. Postminimalists 17. Spiritual Minimalism 18. Popular Culture PART THREE 19. Histories 20. Silences 21. Futures Acknowledgments Listening Guide Notes Bibliography Index

Read more less

Book SynopsisThis expansive collection sets the stage for the next generation of Hip Hop scholarship as we approach the fiftieth anniversary of the movement's origins. Celebrating 50 years of Hip Hop cultural history, Freedom Moves travels across generations and beyond borders to understand Hip Hop's transformative power as one of the most important arts movements of our time. This book gathers critically acclaimed scholars, artists, activists, and youth organizers in a wide-ranging exploration of Hip Hop as a musical movement, a powerful catalyst for activism, and a culture that offers us new ways of thinking and doing freedom. Rooting Hip Hop in Black freedom culture, this state-of-the-art collection presents a globally diverse group of Black, Indigenous, Latinx, Asian American, Arab, European, North African, and South Asian artists, activists, and thinkers. The knowledges cultivated by Hip Hop and spoken word communities represent emerging ways of being in the world. Freedom Moves examinTrade Review"Artists, educators, and activists discuss how hip-hop goes beyond music in this prolific and illuminating book." * Library Journal, starred review *"This collection presents essays reflecting on how hip-hop music has helped communities around the world understand their histories and identities in the last half-century." * New York Times Book Review *"Alim says LGBTQ artists in hip-hop will use the revolutionary 'spirit of hip-hop culture' to challenge anti-queer stigma and expand the genre’s diversity." * USA Today *"Freedom Moves offers a groundbreaking examination of hip-hop’s effect on culture, pedagogy, and philosophy. . . . Over the years, hip-hop has been a voice for activism. This meticulous, well-researched inquiry takes scholarship to the next level, providing a well-balanced, diverse analysis of hip-hop’s importance and impact." * Choice Reviews *Table of ContentsContents Preface Shout Outs Making Freedom Move(s): Hip Hop Knowledges, Pedagogies, and Futures H. Samy Alim, Casey Philip Wong, and Jeff Chang PART I: BLACK, INDIGENOUS, AND DIASPORIC KNOWLEDGE 1. Sweat the Technique: The Politics and Poetics of Hip Hop Rakim, Chuck D, and Talib Kweli 2. Know the Ledge(s): The Meanings of Knowledge of Self in “Post”-Apartheid South Africa Shaheen Ariefdien and Emile YX? 3. “Al-shaab yurid isqat al-nitham!”: Sustaining Revolution in Palestine and Syria through Hip Hop DAM (Tamer Nafar, Suhell Nafar, and Mahmoud Jreri), Omar Off endum, and Ramzi Salti 4. “The Revolution Will Be Indigenous”: Collective Liberation, Healing, and Resistance to Settler Colonialism through Hip Hop Jessa Calderon, Gunner Jules, Lyla June, Tall Paul, and Tanaya Winder, with Casey Philip Wong 5. “Luchando Derechos” in Neoliberal Spain: Hip Hop Visions beyond Racism, Xenophobia, Islamophobia, and the Gentrifi cation of El Raval, Barcelona La Llama Rap Colectivo with H. Samy Alim PART II: HIP HOP ORGANIZING FOR ABOLITION, REPARATIONS, HEALING, AND GROWTH 6. 1Hood: Hip Hop Art, Activism, and Media Creation in Pittsburgh Jasiri X 7. “Protection from Police Who Hinder Respiratory Airways”: Hip Hop Theatre and Activism with Kuumba Lynx in Chicago Jacinda Bullie, Jaquanda Saulter-Villegas, and Leyda “Lady Sol” Garcia 8. Ripples of Hope and Healing: Sustaining Community by Creating a Social Justice Arts Ecosystem Sonya Clark-Herrera, with Measha Ferguson Smith, hodari blue fka Adorie Howard, Reagan Ross, and Casey Philip Wong 9. Beyond Trauma: Storytelling as Cultural Shift and Collective Healing Bryonn Bain, Mark Gonzales, A-lan Holt, and Michelle Lee PART III: HIP HOP AS CRITICAL, CULTURALLY RELEVANT AND CULTURALLY SUSTAINING PEDAGOGY 10. “Where the Beat Drops”: Culturally Relevant and Culturally Sustaining Hip Hop Pedagogies Gloria Ladson-Billings, Django Paris, and H. Samy Alim 11. How Hip Hop Means: Retrospect for Beats, Rhymes, and Classroom Life Marc Lamont Hill 12. The Magic behind Science Genius: How Hip Hop Can Transform Science Education Christopher Emdin and The GZA, with Bryan Brown 13. Hip Hop, Whiteness, and Critical Pedagogies in the Context of Black Lives Matter A. J. Robinson PART IV: QUEER, FEMINIST, AND DIS/ABILITY JUSTICE HIP HOP FEATURES 14. The Pleasure Principle: Articulating a Post–Hip Hop Feminist Politics of Pleasure Joan Morgan, Brittney Cooper, Treva Lindsey, Kaila Adia Story, and Esther Armah 15. “When Can Black Disabled Folks Come Home?”: The Krip-Hop Movement, Race, and Disability Justice Leroy F. Moore Jr. and Stephanie Keeney Parks 16. Queering Hip Hop Feminist Pedagogies in the New South Bettina Love, Regina N. Bradley, and Mark Anthony Neal 17. “These Are Not Sonnet Times”: Building toward Liberatory Futures Maisha T. Winn Contributor Bios Index

Read more less

Book SynopsisThis expansive collection sets the stage for the next generation of Hip Hop scholarship as we approach the fiftieth anniversary of the movement's origins. Celebrating 50 years of Hip Hop cultural history, Freedom Moves travels across generations and beyond borders to understand Hip Hop's transformative power as one of the most important arts movements of our time. This book gathers critically acclaimed scholars, artists, activists, and youth organizers in a wide-ranging exploration of Hip Hop as a musical movement, a powerful catalyst for activism, and a culture that offers us new ways of thinking and doing freedom. Rooting Hip Hop in Black freedom culture, this state-of-the-art collection presents a globally diverse group of Black, Indigenous, Latinx, Asian American, Arab, European, North African, and South Asian artists, activists, and thinkers. The knowledges cultivated by Hip Hop and spoken word communities represent emerging ways of being in the world. Freedom Moves examinTrade Review"Artists, educators, and activists discuss how hip-hop goes beyond music in this prolific and illuminating book." * Library Journal, starred review *"This collection presents essays reflecting on how hip-hop music has helped communities around the world understand their histories and identities in the last half-century." * New York Times Book Review *"Alim says LGBTQ artists in hip-hop will use the revolutionary 'spirit of hip-hop culture' to challenge anti-queer stigma and expand the genre’s diversity." * USA Today *"Freedom Moves offers a groundbreaking examination of hip-hop’s effect on culture, pedagogy, and philosophy. . . . Over the years, hip-hop has been a voice for activism. This meticulous, well-researched inquiry takes scholarship to the next level, providing a well-balanced, diverse analysis of hip-hop’s importance and impact." * Choice Reviews *Table of ContentsContents Preface Shout Outs Making Freedom Move(s): Hip Hop Knowledges, Pedagogies, and Futures H. Samy Alim, Casey Philip Wong, and Jeff Chang PART I: BLACK, INDIGENOUS, AND DIASPORIC KNOWLEDGE 1. Sweat the Technique: The Politics and Poetics of Hip Hop Rakim, Chuck D, and Talib Kweli 2. Know the Ledge(s): The Meanings of Knowledge of Self in “Post”-Apartheid South Africa Shaheen Ariefdien and Emile YX? 3. “Al-shaab yurid isqat al-nitham!”: Sustaining Revolution in Palestine and Syria through Hip Hop DAM (Tamer Nafar, Suhell Nafar, and Mahmoud Jreri), Omar Off endum, and Ramzi Salti 4. “The Revolution Will Be Indigenous”: Collective Liberation, Healing, and Resistance to Settler Colonialism through Hip Hop Jessa Calderon, Gunner Jules, Lyla June, Tall Paul, and Tanaya Winder, with Casey Philip Wong 5. “Luchando Derechos” in Neoliberal Spain: Hip Hop Visions beyond Racism, Xenophobia, Islamophobia, and the Gentrifi cation of El Raval, Barcelona La Llama Rap Colectivo with H. Samy Alim PART II: HIP HOP ORGANIZING FOR ABOLITION, REPARATIONS, HEALING, AND GROWTH 6. 1Hood: Hip Hop Art, Activism, and Media Creation in Pittsburgh Jasiri X 7. “Protection from Police Who Hinder Respiratory Airways”: Hip Hop Theatre and Activism with Kuumba Lynx in Chicago Jacinda Bullie, Jaquanda Saulter-Villegas, and Leyda “Lady Sol” Garcia 8. Ripples of Hope and Healing: Sustaining Community by Creating a Social Justice Arts Ecosystem Sonya Clark-Herrera, with Measha Ferguson Smith, hodari blue fka Adorie Howard, Reagan Ross, and Casey Philip Wong 9. Beyond Trauma: Storytelling as Cultural Shift and Collective Healing Bryonn Bain, Mark Gonzales, A-lan Holt, and Michelle Lee PART III: HIP HOP AS CRITICAL, CULTURALLY RELEVANT AND CULTURALLY SUSTAINING PEDAGOGY 10. “Where the Beat Drops”: Culturally Relevant and Culturally Sustaining Hip Hop Pedagogies Gloria Ladson-Billings, Django Paris, and H. Samy Alim 11. How Hip Hop Means: Retrospect for Beats, Rhymes, and Classroom Life Marc Lamont Hill 12. The Magic behind Science Genius: How Hip Hop Can Transform Science Education Christopher Emdin and The GZA, with Bryan Brown 13. Hip Hop, Whiteness, and Critical Pedagogies in the Context of Black Lives Matter A. J. Robinson PART IV: QUEER, FEMINIST, AND DIS/ABILITY JUSTICE HIP HOP FEATURES 14. The Pleasure Principle: Articulating a Post–Hip Hop Feminist Politics of Pleasure Joan Morgan, Brittney Cooper, Treva Lindsey, Kaila Adia Story, and Esther Armah 15. “When Can Black Disabled Folks Come Home?”: The Krip-Hop Movement, Race, and Disability Justice Leroy F. Moore Jr. and Stephanie Keeney Parks 16. Queering Hip Hop Feminist Pedagogies in the New South Bettina Love, Regina N. Bradley, and Mark Anthony Neal 17. “These Are Not Sonnet Times”: Building toward Liberatory Futures Maisha T. Winn Contributor Bios Index

Read more less

Book SynopsisWho are the folk in folk music? This book traces the musical culture of these elusive figures in Britain and the US during a crucial period of industrialization from 1870 to 1930, and beyond to the contemporary alt-right. Drawing on a broad, interdisciplinary range of scholarship, The Folk examines the political dimensions of a recurrent longing for folk culture and how it was called upon for radical and reactionary ends at the apex of empire. It follows an insistent set of disputes surrounding the practice of collecting, ideas of racial belonging, nationality, the poetics of nostalgia, and the pre-history of European fascism. Deeply researched and beautifully written, Ross Cole provides us with a biography of a people who exist only as a symptom of the modern imagination, and the archaeology of a landscape directing flows of global populism to this day.Trade Review"This is not a book about music, song, or performers. It is intellectual history of a rarefied kind. This needs to be understood if we are to appreciate Cole’s work for what it is: a quite brilliant deconstruction of the entire historiography of ‘folk’. His thesis is compelling, deceptively simple, and ultimately irrefutable. Cole’s great leap is to see, in this process, coherence, where others have seen only mess, hypocrisy, and contradiction. . . [He has produced] a convincing and definitive deconstruction of the myth of the folk, its antecedents, intentions, methods, and consequences. If there were such a thing as justice, no one would ever again speak on the subject of ‘folk music’ without having first digested this book." * Music & Letters *"Cole’s argument is something of a wake-up call. If a previous generation of song collectors and musicologists stand implicated in a process that lends itself all too easily to fascism, then contemporary ethnomusicologists would be right to infer some challenge to the ways in which we shape and exercise interpretative frames and critical practices in our own work. . . . This book, then, should fuel an important debate. Cole is a formidable wordsmith, and this very elegantly written volume will be instructive reading for musicians and musicologists who want to better understand the political context and undercurrents of the folk revival, and how its dynamics might play out today." * Ethnomusicology Forum *"Impressively wide-ranging. . . . There really are so many strands and stories to this richly informed investigation. It is the critical tension between the believers and non-believers that makes this particular study of the folk phenomenon so fascinating." * Twentieth-Century Music *Table of ContentsList of Illustrations Preface Introduction Lost Voices 1. Collecting Culture Science, Technology, & Reification 2. A Geography of the Forgotten Vernacular Music & Modernity's Discontents 3. Utopian Community Nostalgia from Marx to Morris 4. Difference and Belonging On the Songs of Black Folk 5. Soul through the Soil Cecil Sharp & the Specter of Fascism Coda Blood Sings: A Soundtrack for the Alt-Right Notes Bibliography Index

Read more less

Book SynopsisWho are the folk in folk music? This book traces the musical culture of these elusive figures in Britain and the US during a crucial period of industrialization from 1870 to 1930, and beyond to the contemporary alt-right. Drawing on a broad, interdisciplinary range of scholarship, The Folk examines the political dimensions of a recurrent longing for folk culture and how it was called upon for radical and reactionary ends at the apex of empire. It follows an insistent set of disputes surrounding the practice of collecting, ideas of racial belonging, nationality, the poetics of nostalgia, and the pre-history of European fascism. Deeply researched and beautifully written, Ross Cole provides us with a biography of a people who exist only as a symptom of the modern imagination, and the archaeology of a landscape directing flows of global populism to this day.Trade Review"This is not a book about music, song, or performers. It is intellectual history of a rarefied kind. This needs to be understood if we are to appreciate Cole’s work for what it is: a quite brilliant deconstruction of the entire historiography of ‘folk’. His thesis is compelling, deceptively simple, and ultimately irrefutable. Cole’s great leap is to see, in this process, coherence, where others have seen only mess, hypocrisy, and contradiction. . . [He has produced] a convincing and definitive deconstruction of the myth of the folk, its antecedents, intentions, methods, and consequences. If there were such a thing as justice, no one would ever again speak on the subject of ‘folk music’ without having first digested this book." * Music & Letters *"Cole’s argument is something of a wake-up call. If a previous generation of song collectors and musicologists stand implicated in a process that lends itself all too easily to fascism, then contemporary ethnomusicologists would be right to infer some challenge to the ways in which we shape and exercise interpretative frames and critical practices in our own work. . . . This book, then, should fuel an important debate. Cole is a formidable wordsmith, and this very elegantly written volume will be instructive reading for musicians and musicologists who want to better understand the political context and undercurrents of the folk revival, and how its dynamics might play out today." * Ethnomusicology Forum *"Impressively wide-ranging. . . . There really are so many strands and stories to this richly informed investigation. It is the critical tension between the believers and non-believers that makes this particular study of the folk phenomenon so fascinating." * Twentieth-Century Music *Table of ContentsList of Illustrations Preface Introduction Lost Voices 1. Collecting Culture Science, Technology, & Reification 2. A Geography of the Forgotten Vernacular Music & Modernity's Discontents 3. Utopian Community Nostalgia from Marx to Morris 4. Difference and Belonging On the Songs of Black Folk 5. Soul through the Soil Cecil Sharp & the Specter of Fascism Coda Blood Sings: A Soundtrack for the Alt-Right Notes Bibliography Index

Read more less

Book SynopsisInventors in the age of the Enlightenment created lifelike androids capable of playing music on real instruments. Music and the Forms of Lifeexamines the link between such simulated life and music, which began in the era's scientific literature and extended into a series of famous musical works by Haydn, Mozart, and Beethoven. Music invented auditory metaphors for the scientific elements of life (drive, pulse, sensibility, irritability, even metabolism), investigated the affinities and antagonisms between life and mechanism, and explored questions of whether and how mechanisms can come to life. The resulting changes in the conceptions of both life and music had wide cultural resonance at the time, and those concepts continued to evolve long after. A critical part of that evolution was a nineteenth-century shift in focus from moving androids to the projection of life in motion, culminating in the invention of cinema. Weaving together cultural and musical practices, Lawrence Kramer trTable of ContentsContents List of Musical Examples and Figures Introduction: Music and the Life of Statues 1 • From Clockwork to Pulsation I: Intensity and Drive 2 • From Clockwork to Pulsation II: Action and Feeling 3 • From Clockwork to Pulsation III: Metabolism 4 • 1812 Overtures: Wellington’s Victory and Live Action 5 • “Dear Listener” . . . : Music and the Invention of Subjectivity 6 • Waltzing Specters: Life, Perception, and Ravel’s “La Valse” 7 • The Musical Biome Epilogue: Sound and the Forms of Life Notes Index

Read more less

Book SynopsisShinichi Suzuki, of the eponymous Suzuki Method, debunked Western stereotypes about “authentic” classical performance while transforming music education globally. Yet as Eri Hotta shows, his movement was about much more than developing music skills. A committed humanist, he aspired to nurture the potential, musical or otherwise, in every child.Trade ReviewHotta is an unobtrusive narrator whose personal anecdotes are like grace notes on the larger score of Suzuki’s life. * Wall Street Journal *Hotta takes on the life story of the man who made the mini-masters…The Suzuki story turns out to be a fascinating study in the hybrid nature of human culture, tracing a remarkable cross-century triple play—European music to Japanese discipline, ending with a putout at a first base manned by mad American parental ambition. -- Adam Gopnik * New Yorker *Moving and beautifully written…Eri Hotta’s vivid account analyses the nature, therapeutic social uses and massive global influence of the ‘Suzuki Method’, which is now big business in America. But it fascinates at other levels too, bringing in some of Suzuki’s world-famous musical friends and protégés, and providing a sharply accusatory chronicle of 20th-century Japan’s bureaucratically blighted history as a backdrop. -- Michael Church * BBC Music Magazine *Suzuki will take a deserved place as the definitive account of his life, and will be a valuable resource for scholars, teachers, and music students alike. Hotta’s writing strikes a perfect balance between scholarly precision and engaging narrative…Conjures a vibrant and moving portrait of both the man and his revolutionary vision. -- Andrew Braddock * The Strad *Eri Hotta’s book does a wonderful job of bringing to life the real magic of the man and his vision while discarding the hocus-pocus in which they are often disguised. Using entertaining vignettes, concise sociohistorical surveys and reflections drawn from her experience as a Suzuki parent, she manages to reconstruct and map out the unique conditions that allowed Suzuki to see that teaching young children to play the violin together could be a wonderful way to guide them towards a society in which individuals are at peace with themselves and in harmony with each other. -- Guy Dammann * Times Literary Supplement *This well-researched, conceived, and executed book seems to be the first objective account of the man and his life. It is a revelation on many levels…[Suzuki] is about optimism, gentleness, doggedness, belief in children, humanity, and the affirmative properties of art in the face of violence and ignorance. -- David Mehegan * Arts Fuse *Eri Hotta gives us a detailed, enthusiastic biography of a multitalented educator whose name lives on but whose method is largely forgotten…Suzuki is a readable, fascinating story about the man who believed everyone has potential. * International Examiner *Hotta does not present a conventional biography as much as a history of 20th-century Japan and its relationships with the West and Russia, ingeniously weaving events from Suzuki’s long life and experiences throughout it. * Limelight *Hotta, an erstwhile Suzuki violin student and the author of an excellent book on Pearl Harbor from the Japanese perspective, is the ideal person to show how Suzuki’s 99-year life rubbed up against the rollercoaster of Japan’s 20th century…[An] arresting slice of social history. -- Iona McLaren * The Spectator *It is hard to imagine a more extensively researched account of Suzuki’s life and development of the Suzuki movement during his life. Hotta draws on a wealth of resources in both English and Japanese to paint a wonderfully detailed picture of Suzuki’s vision and the measures he took to make that vision a reality. -- Adam Symborski * International Journal of Education & the Arts *With eloquence and perception, Eri Hotta reveals how Suzuki began a musical revolution that has influenced countless young people across the world. Coming from the Method myself, I benefited greatly from many of Suzuki’s deep convictions, including his core belief that great ‘talent’ emerges from nurtured training. As Suzuki recognized, and as this wonderful book reminds us, music joins composer, performer, and audience in a powerful existential bond. -- Leila Josefowicz, MacArthur Award–winning classical violinistA terrific, groundbreaking, and engrossing study of Shinichi Suzuki, whose approach to teaching young people transformed music education in the second half of the twentieth century. His effective and popular method made serious instruction widely accessible, without limiting the aspirations of all in deference to the gifted few. Transcending the formidable barriers of politics and culture, his achievement helped pave the way for traditions of music developed in the West to be integrated, celebrated, and reinvented in Asia. Suzuki’s story is central to the flourishing of music as a vibrant international art. -- Leon Botstein, President of Bard College and Music Director and Principal Conductor of the American Symphony OrchestraWritten with a warmth echoing that of its subject, this wonderful account is at once a biography and an intimate window into Japan’s momentous twentieth century. -- Christopher Harding, author of The Japanese: A History in Twenty LivesA captivating historical perspective on a global phenomenon. Eri Hotta’s account of Suzuki’s fascinating life story unmasks the man and reveals the overall achievement of a musical hero. -- Fred Sherry, cellist and former Artistic Director of the Chamber Music Society of Lincoln Center

Read more less

Book SynopsisEdward T Cone was one of the most important and influential music critics of the twentieth century. He was also a master lecturer skilled at conveying his ideas to broad audiences. This title collects fourteen essays that Cone gave as talks in his later years. It represents the final testament of one of our most important writers on music.Trade Review"While eclectic in its subject matter, this invaluable collection of Cone's final essays offers a great deal to readers. Whether the essays arguably reflect autumnal or emerging ideas, Cone's astonishing clarity of exposition and openness, his intellectual reach, and continual self-reflexivity ... almost make his writing seem timeless in its appeal for musicians and music scholars across the disciplinary spectrum."--David Trippett, Fontes Artis MusicaeTable of ContentsList of Musical Examples ix List of Tables xi Acknowledgments xiii Introduction 1 Part I: Aesthetics 7 Essay One: The Missing Composer 11 Essay Two: The Silent Partner 16 Essay Three: The Irrelevance of Tonality? 38 Essay Four: Hearing and Knowing Music 49 Part II: Opera and Song 61 Essay Five: Mozart's Deceptions 65 Essay Six: Siegfried at the Dragon's Cave: The Motivic Language of The Ring 80 Essay Seven: Schubert's Heine Songs 106 Part III: The Composer as Critic 117 Essay Eight: The Composer as Critic 121 Essay Nine: Schubert Criticizes Schubert 135 Part IV: Analysis 149 Essay Ten: Schubert's Symphonic Poem 153 Essay Eleven: Debussy's Art of Suggestion 159 Essay Twelve: Stravinsky at the Tomb of Rimsky-Korsakov 170 Essay Thirteen: Stravinsky's Version of Pastoral 181 Essay Fourteen: Stravinsky's Sense of Form 190 Published Works of Edward T. Cone 207 Index 211

Read more less

Book SynopsisTable of ContentsRemerciementsClaude Dauphin, Le vertige des originesI. L’espace des voixCatherine Kintzler, Musique, voix, intériorité et subjectivité: Rousseau et les paradoxes de l’espaceJean-François Perrin, La musique dans les lettres selon Rousseau: une écoute du sensibleMartin Stern, Le problème de la conversion dans la pensée musicale de RousseauJean Fisette, La genèse du sens chez RousseauII. La musique éloquenteJohn T. Scott, Climate, causation and the power of music in Montesquieu and RousseauMira Morgenstern, Jean-Jacques Rousseau: music, language and politicsAlexandra Cook, Rousseau and the languages of music and botanyOurida Mostefai, Inventer un langage nouveau: Rousseau et la polémiqueDanick Trottier, L’Arménien de Venise: validation sémiologique ou ethnomusicologique?III. Entre silence et désirMichel Schmouchkovitch, La fonction du désir dans l’origine des langues selon RousseauCatherine J. Cole, From silence to society: the conflicting musical visions of Rousseau’s Discours sur l’origine de l’inégalité and Essai sur l’origine des languesJeff Black, The dupes of words: the problem and promise of language in Rousseau’s Discours sur les sciences et les artsMichel Termolle, L’éducation négative dans l’apprentissage de la musiqueJean-Paul DesPins, La dichotomie rousseauiste langue et musique, revue par la biomusicologie et la neuromusicologieIV. De la culture et du politiqueJosé Oscar de Almeida Marques, The politics of taste: a place of art music in Rousseau’s construction of the political communityStuart A. MacNiven, Politics, language and music in the unity of Rousseau’s systemChristopher Bertram, Language, music and the transparent society in Rousseau’s Essai sur l’origine des langues and the Melissa A. Butler, The quarrel between Rousseau and Rameau: evidence from contemporary psychologyJulia Simon, Music and the performance of community in RousseauV. L’opéra comme représentationPierre Saby, Accent, expression, unité de mélodie dans Le Devin du village: la théorie esthétique éclairée par l’analyse musicale?Pamela Gay-White, Rousseau and the lyric natural: the representation of Le Devin du villageGuillaume Bordry, Hector juge de Jean-Jacques: Berlioz lecteur et auditeur de RousseauJacqueline Waeber, Paysage d’avant Querelle: Rousseau continuateur de GrimmListe des œuvres citéesIndex des noms propres

Read more less

Book SynopsisCurrent philosophies of art remain sadly dominated by visions of its end and lamentations of decline. Defining the very notions of art and the aesthetic as special products of Western modernity, they suggest that postmodern challenges to traditional...Trade ReviewThe essays are lively and engaging in many ways. Not only is Shusterman informative about topics relating to mass-media arts and self-fashioning, his reflections consistently raise important philosophical issues concerning our postmodernist condition and the cultural and sociological factors fostering it. Furthermore, Shusterman's arguments are fecund and provocative, his style vigorous, and his critique of current analytical and continental philosophical approaches adroit.... We cannot but admire the skill and verve of Shusterman's attempts to bring philosophy back to its original goals of teaching us how to live more fully and wisely. -- Trevor Whittock * British Journal of Aesthetics *Shusterman's new book is a collection of mutually complementary essays which encompass a decade of writing. It represents his pragmatist aesthetics critically applied to a range of issues, theories, and methods foregrounded by recent work in both analytic and continental philosophy. Interestingly, the contemporary vitality of some of these issues is in part due to the influence of Shusterman's previous writings.... Shusterman's text is enormously sophisticated not only in the range of philosophical and cultural sources which he is able to draw upon, but also in the probing and succinct way in which these are applied. * Mind *

Read more less

Book Synopsis"My hope is that by attending to sound I have been able to open up parts of these worlds, not to get a glimpse of them but to listen in. These were worlds much more alive with sound than our own, worlds not yet disenchanted, worlds perhaps even...Trade ReviewLong before Howard Dean howled in Iowa, Quakers in East Jersey were 'tainted with the Ranting Spirit.'... Among their buttoned-up neighbors, the Puritans, these folks were considered possessed in 1675. But what's interesting, observes Richard Rath in this fascinating study, 'How Early America Sounded,' is that all sounds in those days indicated possession.... Rath connects the myriad ways in which sounds exerted social influence.... Finally, and most intriguingly, Rath says we may be living during just such a time again, as the printed transfers some of its authority to a more fluid and ephemeral cyberspace. * The Christian Science Monitor *Mr. Rath rehearses fascinating sound-details from the 17th and 18th centuries, reminding us that what we hear, and how we hear it, is no small part of experience. * The Wall Street Journal *Table of Contents"Those thunders, those roarings": the natural soundscape; from the sounds of things; no corner for the Devil to hide; on the rant; the howling wilderness; conclusions.

Read more less

Book SynopsisIs birdsong music? The most frequent answer to this question in the Middle Ages was resoundingly "no." In Sung Birds, Elizabeth Eva Leach traces postmedieval uses of birdsong within Western musical culture. She first explains why such melodious sound...Trade Review"An interesting and encouraging intersection between the 'two cultures' of science and humanities is the emergence of books and conferences on whether or not the delightful songs of birds can be considered a form of music, situated as it is in a time of fascination with questions of animal consciousness with the realization that under sexual selection, animals make choices based on signals; and birdsongs are surely signals that appeal to other birds, but even to humans but wholly aesthetic reasons. There is a surge in interest among ethologists as well as musicians as to whether we can judge the often melodic and even haunting songs of some birds as musical. Thus, Elizabeth Eva Leach's book, Sung Birds: Music, Poetry, and Nature in the Later Middle Ages is a timely contribution, in addition to its welcome fresh look at an aural relationship that has existed between the natural world and humans that stretches back to the origins of the latter. It is clear that musical scholars, even in the later Middle Ages, have been taking the measure of birdsong in cognitive, anthropocentric terms. Music was composed and appreciated in terms of a mathematically precise order: intervals separating tones were defined within a ratio system that had its origins with the Pythagoreans (3:2 for fifths, etc.). This book will be attractive to an audience beyond its target of musicologists and historians. Anyone interested in the ways the natural world affects the artist, and those naturalists interested in birds, including birdwatchers (and listeners) as well as environmentalists who enjoy music, will be rewarded by reading this book." -- Ronald R. Hoy, Cornell University"Despite the ubiquity of recorded music in contemporary society, according to Leach, music now possesses a rather watered-down existence as mere 'organized sound.' The medieval conception of music was much richer.... This is a fine book and is all the more useful for bringing the technical skills of the medieval musicologist to bear on issues important to any historian of medieval court life and the complex interplay between orality and literacy." -- Dallas G. Denery II, American Historical Review, December 2007"Elizabeth Eva Leach's Sung Birds is a refreshing examination of the late medieval fascination with the intersection of human song, bird song, animal sounds, and the words of poetry. One of the most imaginative and accomplished scholars of music and literature writing today, Leach examines the question, 'what kind of thing is music?' Her analysis is interdisciplinary in the original sense, the work of a scholar who uses her secure base of musical knowledge to illuminate a range of other subjects from mythology (the song of Sirens) to technology (the lasting changes wrought by musical notation) to the poetry of Machaut and Chaucer. Sung Birds deserves an honored place among the best work of a talented group of younger scholars in medieval studies." -- Mary Carruthers, Remarque Professor of Literature, New York University"Sung Birds is highly original and genuinely opens up a new way of reading (or hearing) much late-medieval vernacular lyric. It is representative of relatively new, potentially very exciting, directions in medieval musicology that involve reaching out to other disciplines and placing the study of music in a much broad theoretical and cultural context. Elizabeth Eva Leach covers a lot of ground and makes some complex arguments, pulling together a wide range of material in a way that is easy to follow." -- Sylvia Huot, University of Cambridge"With this intriguing book, Elizabeth Eva Leach invites us into the world of musical theory and practice of the European Middle Ages, with a particular emphasis on fourteenth-century music. Her rigorous, wide-ranging study combines examination of key theoretical texts, analysis of music and songs, and discussion of the significance of all of this for musicology today. It is a beguiling read for anyone, and although readers with musical expertise will appreciate the central chapters of musical analysis most, anyone can keep up, as Leach is careful to explain terms.... This is a dense and rich book. A particular pleasure are the very attentive readings of both individual theoretical texts and musical pieces, uncovering layers of meaning, and always embedded in the wider cultural context, and to which I have not even attempted to do justice here. Mention should also be made of the many interesting illustrations, and the useful appendices that help us trace some of Leach's close readings. Clearly aimed at musicologists too, this book is in fact a fascinating and important read for anyone with an interest in the history of ideas." -- Nicola McLelland, H-German, H-Net Reviews, September 2007

Read more less

Book SynopsisFor twenty-five years, Kathryn S. March has collected the life stories of the women of a Buddhist Tamang farming community in Nepal. In "If Each Comes Halfway", she shows the process by which she and Tamang women reached across their cultural...Trade ReviewA beautiful ethnography that especially gives younger scholars a profound insight not only into the complexity of village life but more generally into fieldwork methodology. * Anthropology Review Database *If Each Comes Halfway is a beautiful ethnography that especially gives younger scholars a profound insight not only the complexity of village life but more generally into fieldwork methodology. As the title suggests, the book requested not only the engagement of these five Tamang women but also requires an open and engaged reader. -- Stefanie Lotter, University of Heidelberg * Anthropology Review *Kathryn March's careful research has resulted in a book that captures the essence of agricultural society as seen through the eyes of its female inhabitants. The result is an original project that blends anthropological scholarship with oral history. Interestingly, the narratives are a complex compendium of song and narrative.... Interwoven throughout these themes and narratives is the emergence of song as important adjunct to storytelling. The poetry and rhythm of songs help convey meaning and inspire an audience to focus its attention on the storyteller, March writes. Her research indicates the integral role music plays in preserving Tamang history.... The author evokes an otherworldly sense of this specific culture even as she strives to record their life histories as accurately as possible. The women interviewed literally put their hearts and souls into the telling and singing of their personal stories and of the larger story of the Tamang people. -- Andrea Kleinhenz * Z Magazine Online *

Read more less

Book SynopsisTrade ReviewTouches on most of the questions the modern reader is likely to ask. Comotti tells his story well, and his version is packed with detail. Times Literary Supplement

Read more less

Book SynopsisThis is a pioneering attempt to rearticulate the relationship between music and the problem of mimesis, of presentation and re-presentation. Four "scenes" compose this book, all four of them responses to Wagner: two by French poets (Baudelaire and Mallarmé), two by German philosophers (Heidegger and Adorno).Trade Review"This is a remarkable book. Not since Theodor Adorno has a theoretical work approached music in as broad, incisive and provocative a way as does Lacoue-Labarthe's Musica Ficta. The book opens up an entirely new perspective for reinterpreting the relations between music, theater, literature, and the philosophical-aesthetical tradition that has largely governed our understanding of those media. For the first time, to my knowledge, recent analyses of representation are brought to bear on the function of music, revealing its particular affinities to theatricality. Musica Ficta breaks new ground." -- Samuel Weber * University of California, Los Angeles *"A remarkable book. Not since Theodor Adorno has a theoretical work approached music in as broad, incisive, and provocative a way. The book opens up an entirely new perspective for reinterpreting the relations between music, theater, literature, and the philosophical-aesthet ic tradition that has largely governed our understanding of those media." -- Samuel Weber * University of California, Los Angeles *"Lacoue-Labarthe's work is a thought-provoking book: the reader embarks on an intellectual journey that draws connections between music, theater, aesthetics, philosophy, and history from ancient Greece to the present. . . . Lacoue-Labarthe offers a point of departure for a new aesthetic of art, one appropriate to the philosophical problems of the 20th Century." -- Wagner NotesTable of ContentsContents 1 2 3 4

Read more less

Book SynopsisAdorno is one of this century's most influential thinkers in the areas of social theory, philosophy, aesthetics, and music. Throughout the essays in this book, all of which concern musical matters, he displays an astonishing range of cultural reference, demonstrating that music is invariably social, political, even ethical.Trade Review"The publication of the collection of musical essays in Sound Figures is particularly important for the establishment of a more sensitive reception of the rich thought of Adorno. Here we have a very good translation of Adorno's texts. . . ."—Philosophy in ReviewTable of Contents1. Some ideas on the sociology of music 2. Bourgeois opera 3. New music, interpretation, audience 4. The mastery of the maestro 5. The prehistory of serial music 6. Alban Berg 7. The orchestration of Berg's early songs 8. The orchestration of Berg's early songs 9. Anton von Webern 10. Classicism, Romanticism, New Music 10. The function of counterpoint in New Music 11. Criteria of New Music 12. Music and technique.

Read more less

Book SynopsisDrawing on decades of teaching experience and the collective wisdom of dozens of the most creative theorists in the country, Michael R. Rogers's diverse survey of music theory surveys and evaluates the teaching styles, techniques, and materials used in theory courses.

Read more less

Book SynopsisThis is a comprehensive approach to music from the point of view of anthropology. The author maintains that ethnomusicology, by definition, must not divorce the sound-analysis of music from its cultural context of people thinking, acting, and creating.Trade ReviewFor the broad perspective it provides of man as music-maker, as also for the lucid résumé of past and present appraoches to this subject which it presents, Merriam's new book should, I think, be treated as essential reading both within the social sciences and the humanities." —Man"With great thoroughness, Merriam has pointed out to anthropologists how much they can contribute to our general knowledge of music as human experience." —American Anthropologist"...Merriam's book, seen from the viewpoint of anthropology, is deserving of the highest respect." —Ethnomusicology"With great thoroughness, Merriam has pointed out to anthropologists how much they can contribute to our general knowledge of music as human experience." —David P. McAllester, Wesleyan University American Anthropologist 1965-04-15

Read more less

Book SynopsisPhonographic Memories is the first book-length analysis of Caribbean popular music in the Caribbean novel. Tracing a region-wide poetics that attends to the centrality of Caribbean music in retrieving and replaying personal and cultural memories, Hamilton offers a fresh perspective on musical nationalism and nostalgic memory in the era of globalization.Trade Review“Njelle Hamilton’s Phonographic Memories explores how a set of Caribbean novelists has foregrounded music as a locus for memory, nostalgia, and selfhood. Her study attests to the importance of music in the region in both personal and national senses of identity and suggests original ways of interpreting its representation in fiction.” -- Peter Manuel * author of Caribbean Currents: Caribbean Music from Rumba to Reggae *“Njelle W. Hamilton’s Phonographic Memories is a resonant and remarkable contribution to the fields of Caribbean studies and literary sound studies. Her substantive interdisciplinary work interweaves critical insights from neuropsychology, ethnomusicology, and literary studies with meticulous close-reading and close-listening analyses of musical styles, performance genres, and recording technologies in a multiplicity of Caribbean contexts. In harmony with the practice of liyannaj that Hamilton relates in her analysis, this important and impactful work will appeal to audiophiles and bibliophiles alike." -- Julie Huntington * author of Sounding Off: Rhythm, Music, and Identity in West African and Caribbean Francophone Novels *Table of ContentsPreface and Acknowledgments..... vii Introduction.....1 1. Phonographic Memory: Tracing the Calypsonian’s Work in Lawrence Scott’s Night Calypso .....35 2. “Record Your Memories”: The Bolero Aesthetic in Oscar Hijuelos’ The Mambo Kings Play Songs of Love…..80 3. Re-Membering “Body and Soul”: Gender, Gwoka, and Jazz in Daniel Maximin’s Lone Sun.....128 4. Roots, Romance, Reggae: (Dis)Placing Memory in Colin Channer’s Waiting in Vain .....182 5. Memory as Mixtape: The Dub Aesthetic in Ramabai Espinet’s The Swinging Bridge.....236 Coda.....283 Notes .....296 Works Cited .....TK

Read more less

Book SynopsisPhonographic Memories is the first book-length analysis of Caribbean popular music in the Caribbean novel. Tracing a region-wide poetics that attends to the centrality of Caribbean music in retrieving and replaying personal and cultural memories, Hamilton offers a fresh perspective on musical nationalism and nostalgic memory in the era of globalization.Trade Review“Njelle Hamilton’s Phonographic Memories explores how a set of Caribbean novelists has foregrounded music as a locus for memory, nostalgia, and selfhood. Her study attests to the importance of music in the region in both personal and national senses of identity and suggests original ways of interpreting its representation in fiction.” -- Peter Manuel * author of Caribbean Currents: Caribbean Music from Rumba to Reggae *“Njelle W. Hamilton’s Phonographic Memories is a resonant and remarkable contribution to the fields of Caribbean studies and literary sound studies. Her substantive interdisciplinary work interweaves critical insights from neuropsychology, ethnomusicology, and literary studies with meticulous close-reading and close-listening analyses of musical styles, performance genres, and recording technologies in a multiplicity of Caribbean contexts. In harmony with the practice of liyannaj that Hamilton relates in her analysis, this important and impactful work will appeal to audiophiles and bibliophiles alike." -- Julie Huntington * author of Sounding Off: Rhythm, Music, and Identity in West African and Caribbean Francophone Novels *Table of ContentsPreface and Acknowledgments..... vii Introduction.....1 1. Phonographic Memory: Tracing the Calypsonian’s Work in Lawrence Scott’s Night Calypso .....35 2. “Record Your Memories”: The Bolero Aesthetic in Oscar Hijuelos’ The Mambo Kings Play Songs of Love…..80 3. Re-Membering “Body and Soul”: Gender, Gwoka, and Jazz in Daniel Maximin’s Lone Sun.....128 4. Roots, Romance, Reggae: (Dis)Placing Memory in Colin Channer’s Waiting in Vain .....182 5. Memory as Mixtape: The Dub Aesthetic in Ramabai Espinet’s The Swinging Bridge.....236 Coda.....283 Notes .....296 Works Cited .....TK

Read more less

Book SynopsisSpeech and Song at the Margins of Global Health tells the story of a unique Zulu gospel choir comprised of people living with HIV in South Africa, and how they maintained healthy, productive lives amid globalized inequality, international aid, and the stigma that often comes with having HIV.Trade ReviewIn a bold move that crosses analytic divides between medical anthropology, linguistic anthropology, and ethnomusicology, Steven Black explores connections between HIV/AIDS, medicine, music, faith and activism in South Africa. The analytic scope of Speech and Song at the Margins of Global Health is matched by its inspiring ethnographic depth. -- Charles Briggs * co-author of Making Health Public *This ethnographically rich volume explores the remarkable case of a South African Zulu choir in Durban consisting of HIV sufferers who, as activists, negotiate social stigma and medical organizations through song, faith, comradeship and traditional language. Black’s concepts of ‘bio-speech community’ and medical-semiotic ‘transposition’ provide an innovative theoretical framework. -- David Parkin * author of Anthropology Situated in the Contemporary World *Table of Contents1. Introduction 2. Conducting Ethnographic Fieldwork Amid Globalized Inequities and Stigma 3. The Embodied Reflexivity of a Bio-Speech Community 4. The Power of Global Health Audiences 5. HIV Transposition Amid the Multiple Explanatory Models of Science, Faith, and Tradition 6. The Linguistic Anthropology of Stigma 7. Performance and the Transposition of Global Health Ethics of Disclosure 8. Conclusion 9. Acknowledgements References

Read more less

Book SynopsisTells the story of a unique Zulu gospel choir comprised of people living with HIV in South Africa, and how they maintained healthy, productive lives amid globalized inequality, international aid, and the stigma that often comes with having HIV.Trade ReviewThis ethnographically rich volume explores the remarkable case of a South African Zulu choir in Durban consisting of HIV sufferers who, as activists, negotiate social stigma and medical organizations through song, faith, comradeship and traditional language. Black’s concepts of ‘bio-speech community’ and medical-semiotic ‘transposition’ provide an innovative theoretical framework. — David Parkin, author of Anthropology Situated in the Contemporary World In a bold move that crosses analytic divides between medical anthropology, linguistic anthropology, and ethnomusicology, Steven Black explores connections between HIV/AIDS, medicine, music, faith and activism in South Africa. The analytic scope of Speech and Song at the Margins of Global Health is matched by its inspiring ethnographic depth. — Charles Briggs, co-author of Making Health PublicTable of Contents1. Introduction 2. Conducting Ethnographic Fieldwork Amid Globalized Inequities and Stigma 3. The Embodied Reflexivity of a Bio-Speech Community 4. The Power of Global Health Audiences 5. HIV Transposition Amid the Multiple Explanatory Models of Science, Faith, and Tradition 6. The Linguistic Anthropology of Stigma 7. Performance and the Transposition of Global Health Ethics of Disclosure 8. Conclusion 9. Acknowledgements References

Read more less

Book SynopsisTrade Review“Gracyk addresses a difficult and too-long-overlooked subject—that is, defining a comprehensible rock aesthetic—with consistent intelligence, depth, and insight. His knowledge of aesthetics, musicology, and the history of rock & roll is up to the ambitious task he sets himself.”—Anthony DeCurtis, author of Rocking My Life AwayTable of ContentsPreface vii 1. That Wild, Thin Mercury Sound: Ontology 1 2. I'll Be Your Mirror: Recording and Representing 37 3. Record Consciousness 69 4. Pump Up the Volume 99 5. Jungle Rhythms and the Big Beat 125 6. Adorno, Jazz, and the Reception of Popular Music 149 7. Romanticizing Rock Music 175 8. Sign O' the Times: Ideology and Aesthetics 207 Notes 227 Selected Bibliography 261 Index 265

Read more less

Book SynopsisAudible Empire's contributors rethink the mechanisms of empire, showing how musical practice has been important to its spread around the globe. The volume's fifteen interdisciplinary essays cover large swaths of genre, time, politics, and geography to put forth music as a means of comprehending empire as an audible formation.Trade Review"'Empire,' for most of these authors, is not restrained to political empires. Instead, it entails a broad understanding of declining national sovereignty, modern capitalism, and multinational enterprises, all reflected by and in sound. That gaze alone makes this a dynamic and interesting book for historians to consult." -- Jessica Gienow-Hecht * Canadian Journal of History *"Audible Empire is a project admirably conceived and executed, consistent in its compelling, well-written, and timely scholarship." -- Ruth E. Rosenberg * Notes *"Audible Empire . . . offers a complex, far-reaching, and sophisticated set of perspectives for considering various constructions of empire and a wide range of sonic acts that have been and continue to be interconnected." -- Sindhumathi Revuluri * Music and Letters *"A welcome publication, adding the subjectivity and fluidity of music, sound, and listening to an already complex network of scholarly explorations about processes of empire formation. . . . This volume brings to the foreground more than an array of perspectives on the audible aspects of empire formation; it highlights the many tensions that are involved in writing history and thinking historically, about empires and about music making in general." -- Cristina Magaldi * Journal of the Society for American Music *Table of ContentsAcknowledgments ix Introduction. Hearing Empire—Imperial Listening / Ronald Radano and Tejumola Olaniyan 1 Part I. Technologies of Circulation 1. Decolonizing the Ear: The Transcolonial Reverberations of Vernacular Phonograph Music / Michael Denning 25 2. Smoking Hot: Cigarettes, Jazz, and the Production of Global Imaginaries in Interwar Shanghai / Nan Enstad 45 3. Circuit Listening: Grace Chang and the Dawn of the Chinese 1960s / Andrew F. Jones 66 Part II. Audible Displacements 4. The Aesthetics of Allá: Listening Like a Sonidero / Josh Kun 95 5. Sound Legacy: Elsie Houston / Micol Seigel 116 6. Imperial Aurality: Jazz, the Archive, and U.S. Empire / Jairo Moreno 135 7. Where They Came From: Reracializing Music in the Empire of Silence / Philip V. Bohlman 161 Part III. Cultural Policies and Politics in the Sound Market 8. Di Eagle and di Bear: Who Gets to Tell the Story of the Cold War? / Penny Von Eschen 187 9. Currents of Revolutionary Confluence: A View from Cuba's Hip Hop Festival / Marc Perry 209 10. Tango as Intangible Cultural Heritage: Development, Diversity, and the Values of Music in Buenos Aires / Morgan James Luker 225 11. Musical Economies of the Elusive Metropolis / Gavin Steingo 246 Part IV. Anticolonialism 12. The Sound of Anticolonialism / Brent Hayes Edwards 269 13. Rap, Race, Revolution: Post-9/11 Brown and a Hip Hop Critique of Empire / Nitasha Sharma 292 14. Echo and Anthem: Representing Sound, Music, and Difference in Two Colonial Modern Novels / Amanda Weidman 314 15. Tonality as a Colonizing Force in Africa / Kofi Agawu 334 Discography 357 Bibliography 361 Contributors 391 Index 397

Read more less

Book SynopsisLouise Meintjes traces the history and the political and aesthetic significance of ngoma, a competitive form of dance and music that emerged out of the legacies of colonialism and apartheid in South Africa, showing how it embodies Zulu masculinity and the expanse of South Africa's violent history.Trade Review"Studies of African performance remain far too few; this one sets a very high bar. Essential." -- A. F. Roberts * Choice *"Crackling with energy and erudition, Dust of the Zulu now vivifies ngoma for the academy." -- Benedict Carton * Journal of Modern African Studies *"Louis Meintjes's Dust of the Zulu leaps out at the reader with the same energy and passion as the Ngoma dancers themselves. It is uncanny how deftly Meintjes captures the vibrancy and rhythm of the performers and performances in her writing, and T.J. Lemon’s photos are the perfect complement to the descriptions of harmonized bodies and voices." -- Aran Mackinnon * African Studies Quarterly *"Meintjes’s fluid ethnographic writing melds analytical precision with a depth of cultural insight gained through long immersion. The book’s dialectical force is sustained by the richness and intimacy of Meintjes’s collaborations. Zulu voices saturate the book’s textures. . . . The prose itself is beautifully wrought. . . . Replete with revelations that are by turns tremendously moving, frightening, disconcerting, and inspiring." -- Thomas M. Pooley * Anthropos *"We travel with Meintjes as she recounts individual narratives of Zulu men maintaining dignity amidst wavering stability in wage-labor, health, and the inconsistent machinations of the international music industry. The humanity, fragility, and mutual constitution of strength through aesthetics is expertly handled in this new classic in the genre of performative ethnography." -- Elizabeth Perrill * International Journal of African Historical Studies *"Louise Meintjes’s book provides a captivating introduction to the vibrant and dramatic spirit of this Southern African art form. . . . Dust of the Zulu contributes to the ever-growing literature on indigenous African theatre and performance; its strength is the author’s captivating descriptions of the dance and the drama of the competitions." -- Osita Okagbue * Theatre Research International *"Dust of the Zulu is a significant contribution to the scholarship of South African music and Zulu ngoma more specifically. The book will be very useful for students and scholars in the fields of ethnomusicology, anthropology, cultural studies, and African studies. It demonstrates the author’s deep and wide knowledge of Zulu ngoma and her mastery of the art of ethnography writing and is strongly recommended for anyone interested in learning this art. Indeed, whereas Meintjes praises Clegg for successfully translating ngoma into terms that are intelligible within the global popular-music circles, she and the photographer T. J. Lemon should be praised for magnificently translating ngoma in terms that are legible within music and cultural scholarly circles." -- Imani Sanga * Notes *"Visceral and immediate. . . . [Meintjes] makes us hear an alternative to mainstream ethnography by leaving it unspoken. She’s dancing in the scholar’s world." -- Barbara Titus * Ethnomusicology *Table of ContentsPreface ix Acknowledgments xi Introduction. The Politics of Participation in Ngoma Song and Dance 1 1. Turning to Be Kissed: Praise, Flirtation, and the Work of Men 28 2. The Unwavering Voice: Affect, Eloquence, and the Moral Anger of Men 62 3. Feet of the Centipede: Military Aesthetics and the Politics of Reconciliation 94 4. To Quell the Dancer's Dust: Singing Violence during South Africa's Transition 124 5. The Crossing: World Music and Ngoma at Home 151 6. Dancing Around Disease: Silence, Ambiguity, and Brotherhood 182 7. The Digital Homestead: Having a Voice and the Sound of Marginalization 210 8. Brokering the Body: Culture, Heritage, and the Pleasure of Participation 240 Closing. Ngoma's Masculinity, South Africa's Struggle 266 Notes 273 References 307 Index 329

Read more less

Book SynopsisLouise Meintjes traces the history and the political and aesthetic significance of ngoma, a competitive form of dance and music that emerged out of the legacies of colonialism and apartheid in South Africa, showing how it embodies Zulu masculinity and the expanse of South Africa's violent history.Trade Review"Studies of African performance remain far too few; this one sets a very high bar. Essential." -- A. F. Roberts * Choice *"Crackling with energy and erudition, Dust of the Zulu now vivifies ngoma for the academy." -- Benedict Carton * Journal of Modern African Studies *"Louis Meintjes's Dust of the Zulu leaps out at the reader with the same energy and passion as the Ngoma dancers themselves. It is uncanny how deftly Meintjes captures the vibrancy and rhythm of the performers and performances in her writing, and T.J. Lemon’s photos are the perfect complement to the descriptions of harmonized bodies and voices." -- Aran Mackinnon * African Studies Quarterly *"Meintjes’s fluid ethnographic writing melds analytical precision with a depth of cultural insight gained through long immersion. The book’s dialectical force is sustained by the richness and intimacy of Meintjes’s collaborations. Zulu voices saturate the book’s textures. . . . The prose itself is beautifully wrought. . . . Replete with revelations that are by turns tremendously moving, frightening, disconcerting, and inspiring." -- Thomas M. Pooley * Anthropos *"We travel with Meintjes as she recounts individual narratives of Zulu men maintaining dignity amidst wavering stability in wage-labor, health, and the inconsistent machinations of the international music industry. The humanity, fragility, and mutual constitution of strength through aesthetics is expertly handled in this new classic in the genre of performative ethnography." -- Elizabeth Perrill * International Journal of African Historical Studies *"Louise Meintjes’s book provides a captivating introduction to the vibrant and dramatic spirit of this Southern African art form. . . . Dust of the Zulu contributes to the ever-growing literature on indigenous African theatre and performance; its strength is the author’s captivating descriptions of the dance and the drama of the competitions." -- Osita Okagbue * Theatre Research International *"Dust of the Zulu is a significant contribution to the scholarship of South African music and Zulu ngoma more specifically. The book will be very useful for students and scholars in the fields of ethnomusicology, anthropology, cultural studies, and African studies. It demonstrates the author’s deep and wide knowledge of Zulu ngoma and her mastery of the art of ethnography writing and is strongly recommended for anyone interested in learning this art. Indeed, whereas Meintjes praises Clegg for successfully translating ngoma into terms that are intelligible within the global popular-music circles, she and the photographer T. J. Lemon should be praised for magnificently translating ngoma in terms that are legible within music and cultural scholarly circles." -- Imani Sanga * Notes *"Visceral and immediate. . . . [Meintjes] makes us hear an alternative to mainstream ethnography by leaving it unspoken. She’s dancing in the scholar’s world." -- Barbara Titus * Ethnomusicology *Table of ContentsPreface ix Acknowledgments xi Introduction. The Politics of Participation in Ngoma Song and Dance 1 1. Turning to Be Kissed: Praise, Flirtation, and the Work of Men 28 2. The Unwavering Voice: Affect, Eloquence, and the Moral Anger of Men 62 3. Feet of the Centipede: Military Aesthetics and the Politics of Reconciliation 94 4. To Quell the Dancer's Dust: Singing Violence during South Africa's Transition 124 5. The Crossing: World Music and Ngoma at Home 151 6. Dancing Around Disease: Silence, Ambiguity, and Brotherhood 182 7. The Digital Homestead: Having a Voice and the Sound of Marginalization 210 8. Brokering the Body: Culture, Heritage, and the Pleasure of Participation 240 Closing. Ngoma's Masculinity, South Africa's Struggle 266 Notes 273 References 307 Index 329

Read more less

Book SynopsisIn The Race of Sound Nina Sun Eidsheim traces the ways in which sonic attributes that might seem natural, such as the voice and its qualities, are socially produced. Eidsheim illustrates how listeners measure race through sound and locate racial subjectivities in vocal timbre—the color or tone of a voice. Eidsheim examines singers Marian Anderson, Billie Holiday, and Jimmy Scott as well as the vocal synthesis technology Vocaloid to show how listeners carry a series of assumptions about the nature of the voice and to whom it belongs. Outlining how the voice is linked to ideas of racial essentialism and authenticity, Eidsheim untangles the relationship between race, gender, vocal technique, and timbre while addressing an undertheorized space of racial and ethnic performance. In so doing, she advances our knowledge of the cultural-historical formation of the timbral politics of difference and the ways that comprehending voice remains central to understanding human experiTrade Review"Should be required reading in music education—and no doubt it will become required reading in many academic disciplines that touch on voice studies." -- Marit MacArthur * Yale Review *"An important read within sound studies and race studies." -- Jeff Donison * Journal of Radio & Audio Media *"The Race of Sound is brimming with insight and originality. Not every chapter contributes new knowledge (e.g., Eidsheim is not the first to note that black classical singers were constrained by listener expectations), but in tandem they constitute a groundbreaking argument that should inform all listeners and be part of all music courses. If enough readers take Eidsheim’s work to heart, we can begin to counter the effect of institutions that create and perpetuate the racialized voice." -- Sandra Jean Graham * ARSC Journal *“Eidsheim demonstrates an impressive ability to weave together different critical modes and diverse topics without faltering in her project…. New and established scholars interested in the study of race, gender, voice, and/or African American musics will find much to engage with in Eidsheim’s push toward nonessentializing listening.” -- Alex C. Valin * Women and Music *"Like Eidsheim’s earlier work, The Race of Sound presents meticulously researched, compelling, and detailed accounts of reception, race, and voice throughout the careers of important historical figures. The author provides ample evidence to support her groundbreaking arguments that will give readers a new understanding of how we construct voice, race, and identity every time we engage in the act of listening." -- Victoria Malawey * MUSICultures *“The Race of Sound is ... an insightful addition to the growing body of work on the voice.... We continue to live in a time in which Black voices struggle to be heard. The Race of Sound contributes to this struggle in recognition and joins the record of activist scholarship that centres and respects Black humanity.” -- Natalie Hyacinth * Feminist Review *“This book should be required reading for faculty members everywhere. . . . By asking listeners to reflect on their assumptions . . . The Race of Sound seeks greater freedom for Black musicians and people, opening the door to new possibilities for us all.” -- Loren Kajikawa * Journal of the American Musicology Society *“The Race of Sound allows us to rethink our understanding of identities through voice and thus better understand the social construction of race and gender. Brilliantly written, as approachable as it is accurate, The Race of Sound goes beyond the framework of musicology alone to embrace all cultural studies.” (Translated from French) -- Jean-René Larue * Volume *“Eidsheim provides an elaborate and powerful addition to music scholarship and sound studies as well as to humanities disciplines more broadly. . . . In exposing the plethora of mechanisms that build cultural lenses though which we hear voice, her work serves to puncture even the most trained musical ear or the deepest listener.” -- Kira Dralle * Notes *Table of ContentsAcknowledgments xi Introduction. The Acousmatic Question: Who Is This? 1 1. Formal and Informal Pedagogies: Believing in Race, Teaching Race, Hearing Race 39 2. Phantom Genealogy: Sonic Blackness and the American Operatic Timbre 61 3. Familiarity as Strangeness: Jimmy Scott and the Question of Black Timbral Masculinity 91 4. Race as Zeros and Ones: Vocaloid Refused, Reimagined, and Repurposed 115 5. Bifurcated Listening: The Inimitable, Imitated Billie Holiday 151 6. Widening Rings of Being: The Singer as Stylist and Technician 177 Appendix 201 Notes 205 Bibliography 243 Index 259

Read more less

Book SynopsisFocusing on the hemispheric circulation of South American musical cultures, Kirstie A. Dorr examines the spatiality of sound and the ways in which the sonic is bound to perceptions and constructions of geographic space, showing how people can use music and sound to challenge and transform dominant conceptions of place.Trade Review"Dorr’s intricately interwoven case studies offer important methodological and substantive insights for the study of Latin American music." -- Nancy Sue Love * Ethnic and Racial Studies *"On Site, In Sound is a rare and invaluable book that brings into critical colloquy the fields of ethnomusicology, critical geography, ethnic studies, performance studies, and gender studies. . . . The book is a great read of undoubtedly great use for scholars in the aforementioned fields of study, or to any student who wants to learn about the spatially transformative powers of sound and music, or more about Peruvian culture in general, although a degree of familiarity with either Latin American cultural studies or critical geography is recommended." -- Nathan Siu-Fung Cheung * Antipode *"Dorr explodes the discussion of sound’s emplacement across epochs and musical genres." -- Anthony W. Rasmussen * Sound Studies *"Dorr aims to make critical interventions into a number of cutting-edge academic discussions regarding race, gender, sexuality, nation, and diaspora. She does so with a remarkable cogency that demands and rewards multiple re-readings. ... When she [...] describe[s] the vocal sounds of Sumac, Wendy Sulca, Susana Baca, and others, she does so beautifully, and turns her readers into more deeply attuned listeners." -- John Gennari * The Americas *"Dorr offers a profoundly compelling and layered analysis of this musical phenomena, and the narratives of space and power that operate beneath the act of artistic identification. ... Built from a solid theoretical framework and with creative uses of the archive, On Site, In Sound is an excellent contribution that will be helpful to Latin Americanists who work on performance studies, sound studies, cultural studies, and the intersections of space, ethnicity, and gender." -- Juan Suárez Ontaneda * The Latin Americanist *“Rigorously theorized, On Site, in Sound encourages interdisciplinary dialogues between ethnic, area, feminist, and queer studies; cultural, performance, and sound studies; and political and cultural geography. . . . Dorr’s analysis of Black women performing in Peru illuminate[s] how women use performative platforms to contest gendered restrictions on their participation in public discourse.” -- Elizabeth Schwall * Latin American Research Review *Table of ContentsAcknowledgments vii Introduction. Thinking Site in Sound 1 1. Sounding Place Over Time: On the Sonic Transits of "El Cóndor Pasa" 25 2. Putumayo and Its Discontents: The Andean Music Industry as a World Music Geography 64 3. (Inter)national Stages, Mujeres Bravas, and the Spatial Politics of Diaspora 95 4. "You Can't Have a Revolution without Songs: Neighborhood Soundscapes and Multiscalar Activism in La Misión 145 Epilogue. Musical Pirates, Sonic Debts, and Future Geographies of Transit 175 Notes 189 Bibliography 217 Index 236

Read more less

Book SynopsisA collection of essays that address the ways that writers, musicians, philosophers, politicians, critics, and scholars speak of music from varying standpoints and in varying ways. An introduction to the volume identifies common themes and issues.Trade Review"A rare, useful, and rich book, destined to attract musicologists, philosophers, theorists of all sorts, and philosophers of language." -- -Pierre Saint-Amand Brown University "Throughout the book there are imaginative insights and unique perspectives that challenge preconceptions and give new directions for further investigation." -- -Kenneth Gloag Cardiff UniversityTable of ContentsList of Illustrations Acknowledgments Speaking of Music: A View across Disciplines and a Lexicon of Topoi Keith Chapin and Andrew H. Clark Speaking of Music Lawrence Kramer Waiting for the Death Knell: Speaking of Music (So to Speak) Laura Odello Mattheson's Words, Bach's Silence: Humanist and Professional Ways of Speaking of Music Keith Chapin Making Music Speak Andrew H. Clark Rousseau: Music, Language, and Politics Tracy B. Strong Listening to Music Lawrence M. Zbikowski Mi manca la voce: How Balzac Talks Music-or How Music Takes Place-in Massimilla Doni John T. Hamilton Speaking of Music in the Romantic Era: Dynamic and Resistant Aspects of Musical Genre Matthew Gelbart Weather Reports: Discourse and Musical Cognition Per Aage Brandt Messiaen, Deleuze, and the Birds of Proclamation Sander van Maas Parole, parole: Tautegory and the Musicology of the (Pop) Song Peter Szendy Speaking of Microsound: The Bodies of Henri Chopin Kiene Brillenburg Wurth On the Ethics of the Unspeakable Jairo Moreno Recit Recitation Recitative Jean-Luc Nancy Notes List of Contributors Index

Read more less

Book SynopsisA collection of essays that address the ways that writers, musicians, philosophers, politicians, critics, and scholars speak of music from varying standpoints and in varying ways. An introduction to the volume identifies common themes and issues.Trade Review"A rare, useful, and rich book, destined to attract musicologists, philosophers, theorists of all sorts, and philosophers of language." -- -Pierre Saint-Amand Brown University "Throughout the book there are imaginative insights and unique perspectives that challenge preconceptions and give new directions for further investigation." -- -Kenneth Gloag Cardiff UniversityTable of ContentsList of Illustrations Acknowledgments Speaking of Music: A View across Disciplines and a Lexicon of Topoi Keith Chapin and Andrew H. Clark Speaking of Music Lawrence Kramer Waiting for the Death Knell: Speaking of Music (So to Speak) Laura Odello Mattheson's Words, Bach's Silence: Humanist and Professional Ways of Speaking of Music Keith Chapin Making Music Speak Andrew H. Clark Rousseau: Music, Language, and Politics Tracy B. Strong Listening to Music Lawrence M. Zbikowski Mi manca la voce: How Balzac Talks Music-or How Music Takes Place-in Massimilla Doni John T. Hamilton Speaking of Music in the Romantic Era: Dynamic and Resistant Aspects of Musical Genre Matthew Gelbart Weather Reports: Discourse and Musical Cognition Per Aage Brandt Messiaen, Deleuze, and the Birds of Proclamation Sander van Maas Parole, parole: Tautegory and the Musicology of the (Pop) Song Peter Szendy Speaking of Microsound: The Bodies of Henri Chopin Kiene Brillenburg Wurth On the Ethics of the Unspeakable Jairo Moreno Recit Recitation Recitative Jean-Luc Nancy Notes List of Contributors Index

Read more less

Book SynopsisDuring the turbulent decades of the 1970s and 1980s, Papua New Guinea gained political independence. It was an exciting time for a diverse group of pioneering musicians who formed a band they named âœSangumaâ. Australian ethnomusicologist Denis Crowdy argues that the Sanguma bandâs music was a vital form of cultural expression in sync with sociopolitical change then taking place in PNG.

Read more less

Book SynopsisExplores music as constitutive of Uyghur cultural and social life where subaltern experiences of ethnicity, race, and nationhood are indexed. Drawing on extensive fieldwork in the Uyghur homeland in the far Chinese northwest, Chuen-Fung Wong focuses on aspects of Uyghur music making as it faces the state’s management of minority art expressions.Trade Review“The book is the result of successful combination of fieldwork (no longer possible recently), sound understanding of world music, and profound studies on music traditions relevant to Central Asia. Not only is the book important for the studies of Uyghur music, but also in the merging of studies in various closely related but distinct traditions (Turkic, Persian and Arabic), against the predominant backdrop of Han-Chinese music and its Westernization. The book would be of interest to ethnomusicologists, certainly a must-read item for those who are interested in Central Asian music, Uyghur music, Xinjiang, musical instruments, and particularly relevant to political scientists.” - Yu Siu Wah, The Chinese University of Hong Kong“This is beautifully written, engaging, and richly detailed ethnography of Uyghur musical practices in Northwest China. The reader comes away with a nuanced understanding of musical change in Xinjiang through the last century, as musical modernism and the complexities of being an ethnic minority in China collide. Wong carefully dissects his own positioning as an ethnomusicologist from Hong Kong and writes with vulnerability about his ethnographic process. As careful as Wong is with his interlocutors’ voices, one can get a feel for the lives of the Uyghur musicians Wong works with. The stories, scenes of life in different parts of Xinjiang, and the descriptions of the music come through with vivid detail.” - Margarethe Adams, Stony Brook University“In Even in the Rain Wong combines a fine grasp of theoretical approaches in ethnomusicology, relevant literature in Uyghur, Chinese and English, good ethnographic research, and sure-footed musical transcription and analysis. His analysis brings original material, careful research, and an authoritative voice to the topics of popular music and voice, and musical instruments and modernity. The book picks up the approaches of earlier scholarship and extends it into the twentieth-first century, bringing together engagement with Uyghur national canons and staged performance, popular and folk music.” - Rachel Harris, SOAS, University of London“Chuen-Fung Wong’s Even in the Rain offers a compelling examination of the dynamic interplay between tradition and modernity, national identity and global influences, and musical innovation and cultural preservation in the context of Uyghur music. With his insightful analysis, extensive fieldwork, and expertise in the Uyghur language and culture, Wong delivers a must-read book for anyone seeking a deeper understanding of the complex relationship between music, society, and identity in contemporary inner Asia.” - Gülnar Eziz, Harvard University

Read more less

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

Read more less

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

Read more less

Book SynopsisTable of ContentsI. Monday, 29 July to Tuesday, 30 July 2001A Garland of SoundII. Wednesday, 31 July 2002The RainmakersIII. Thursday, 1 August 2002Hither I Carry My Heart Once MoreIV. Thursday, 1 August 2002The Emperor of DhrupadV. Friday, 2 August 2002Flight through DarknessVI. Saturday, 3 August 2002Do These Clowns Have Anything to Do with You?VII. Sunday, 4 August 2002The Mallik Family TreeGlossarySelect Discography

Read more less

Book Synopsis

Read more less

Book SynopsisThe first comprehensive selection of Szymanowski's writings to be published in English, containing all the most important of the composer's essays and interviews.Karol Szymanowski [1882-1937] is now widely acknowledged to be the most important Polish composer since Chopin. He was also a considerable thinker on musical topics: the role of music in society, the goal of musical education, thepurpose of criticism, the nature of Romanticism, the hallmarks of national identity - indeed, he was passionately concerned with the emergence of the Polish voice in music, and the role of Chopin in particular. Szymanowski on Music is the first comprehensive selection of his writings to be published in English. It contains all the most important of the composer's essays and interviews, throws light on the trying conditions under which he was obliged to work in the 1920s and '30s, especially in education, and gives perceptive assessments of the work of some of the major composers of the nineteenth and early twentieth centuries - Wagner, Strauss, Stravinsky, Ravel, Satie and others - and the trends they embodied. A number of pieces of a more biographical nature are also included. Overall it provides, in the words of the translator Alistair Wightman, `abundant evidence of the breadth and depthof Szymanowski's personal culture, and at the same time a telling demonstration of his search for an all-embracing humanistic synthesis'. Dr Wightman faces his pioneering translations from Szymanowski's Polish originals with an extensive introductory essay that places his literary activities in the context of his life and career. This book will be a vital element in the rediscovery of the music of one of the twentieth century's most appealing composers.

Read more less

Book SynopsisOut of Bounds examines Kay Kaufman Shelemay’s impact as a pioneer of musical diaspora studies on a generation of scholars. The wide-ranging essays treat such diverse topics as cantorial life in America, gender and fertility among Ethiopians in Israel, transnational performance itineraries of griots and Korean drummers, and video games.

Read more less

Book SynopsisIn his timely book Music, Style, and Aging, cultural sociologist Andy Bennett explains how people move on from youth and effectively grow older with popular music.Trade Review"The interviews are freewheeling and often very frank...[A]n important--and enjoyable--contribution to the scholarly literature on popular culture and aging."--Library Journal, 15th February 2013 "Fifty-something Bennett's sparkling short study dispenses with nostalgia and looking your age and extends our understanding of youth music subcultures beyond youth. No future? Of course there is!" - Times Higher EducationTable of ContentsAcknowledgments Introduction: A Life-Changing Thing I Contextualizing Popular Music and Aging 1 Popular Music and the Aging Audience 2 Individual and Collective Lifestyles of Aging Popular Music Audiences II Case Studies 3 Toning Down the Mohawk: Music, Style, and Aging 4 Career Opportunities: Work, Leisure, and the Aging Popular Music Fan 5 "This Is 'Dad House'": Continuity and Conflict among Multigenerational Music Audiences 6 Still "Changing the World"? Music, Aging, and Politics Conclusion: Too Old to Rock and Roll? Appendix: A Note on Methodology Bibliography Index

Read more less