Theory of music and musicology Books
Temple University Press,U.S. Music and Social Change in South Africa
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
£48.60
Temple University Press,U.S. Caribbean Currents
Book SynopsisFirst published in 1995, Caribbean Currents has become the definitive guide to the distinctive musics of this region of the world. This third edition of the award-winning book is substantially updated and expanded, featuring thorough coverage of new developments, such as the global spread of reggaeton and bachata, the advent of music videos, the restructuring of the music industry, and the emergence of new dance styles. It also includes many new illustrations and links to accompanying video footage. The authors succinctly and perceptively situate the musical styles and developments in the context of themes of gender and racial dynamics, sociopolitical background, and diasporic dimensions. Caribbean Currents showcases the rich and diverse musics of Cuba, Puerto Rico, the Dominican Republic, Jamaica, Trinidad, the French Caribbean, the lesser Antilles, and their transnational communities in the United States and elsewhere to provide an engaging panorama of
£69.70
MP-NCA Uni of North Carolina I Dont Like the Blues Race Place and the
Book SynopsisIn this illuminating work, B. Brian Foster takes us where not many blues writers and scholars have gone: into the homes, memories, speculative visions, and lifeworlds of black folks in contemporary Mississippi to hear what they have to say about the blues and all that has come about since their forebears first sang them.Trade ReviewFoster's thoughtful and well-researched look at race and the blues via an exploration of a distressed and declining Southern rural town will be useful to music and sociology academics." —Library Journal
£73.50
The University of North Carolina Press Blind Joe Deaths America
Book SynopsisFor over sixty years, American guitarist John Fahey (1939-2001) has been a storied figure, first within the folk and blues revival of the long 1960s, later for fans of alternative music. In this book, George Henderson mines Fahey's parallel careers as essayist, notorious liner note stylist, musicologist, and fabulist for the first time.
£23.21
The University of North Carolina Press Wayfaring Strangers The Musical Voyage from
Book SynopsisFrom the seventeenth through the nineteenth centuries, a steady stream of Scots migrated to Ulster and eventually onward across the Atlantic to resettle in the US. Their enduring legacy of music flows today from Appalachia back to Ireland and Scotland and around the globe. Ritchie and Orr guide readers on a musical voyage across oceans.Trade Review“Songs can take us on extraordinary journeys. They respect neither border nor time, and by following them, we can chart the movement of generations of people. In Wayfaring Strangers, Fiona Ritchie and Doug Orr take a long look at this story using Scottish songs as their compass. It’s a fascinating and often surprising ride.” - Cerys Matthews, Welsh folksinger, author, and broadcaster “The story of the Scots-Irish 'carrying stream' of music that found its way to Appalachia is also the story of the Cash family. William Cash emigrated from Scotland in the mid-17th century, and the next generation drifted down to Virginia. The songs that went with them were captured, in part, a couple of centuries later by my stepmother's family, The Carter Family. My own musical DNA is bound with these songs - the narrative ballads, the melancholy rhymes, the ancient stories retold in melody again and again. Except for my family, there is nothing I love more than being a part of the 'living tradition' captured in this book." - Rosanne Cash“[Ritchie and Orr] strike all the right chords in this pleasantly tuneful survey of the history of the evolution of Scottish music in Appalachia.” - Publishers Weekly“Non-musicians will have no trouble appreciating this work’s context, and even those well versed in the subject will find new insights here.” - Library Journal“Filled with maps, woodcuts, paintings, and photographs of impossibly picturesque Scottish and Irish locales, the book is a treasure trove of imagery and information. Music lovers, prepare to be transported.” - BookPage“A readable and epic tale tracing the flow of Scottish music. . . . [Ritchie and Orr] tell a story remarkable for its breadth and depth, conveying the drama of Scottish emigration via Ulster to Appalachia, by a people who clung to the music and song they held dear, and bequeathed it to America.” - Scottish Life Magazine"Exploring the historic ties between Scotland, Ireland, and Appalachia through music, Fiona Ritchie and Doug Orr weave together the story of migration through the lyrics of ballads and other music that reflects on this history. Wayfaring Strangers will touch a powerful chord in the lives of readers who appreciate the music of Scotland and Appalachia, as well as those whose families have ties to this rich historical journey." - William Ferris, author of The Storied South: Voices of Writers and Artists"In summary, I thoroughly enjoyed this book and suggest that it should be on an essential read list for anyone with an interest in songs and traditions. It will inform and resonate with them and add colour to their enjoyment when singing or listening to these songs. It is deep enough for the serious scholar yet light enough to be absorbed by anyone and guaranteed to fill gaps in the average person’s knowledge. It breathes life in the subject; a solid read yet particularly easy to pick up and explore in parts. The book is beautifully illustrated throughout and for around the price of a couple of CDs, it is remarkable value for a lavish book with over 330 pages and a 20 track CD. This book couldn’t have been written by anyone without a lifetime of experience and love of the subject and has set a new standard for projects of this nature." - Pete Heywood, Living Tradition “Represents an extraordinary feat of research, together with copious interview material. . . . a joy to read from cover to cover, it also rewards just dipping in and out.” - fRoots“[Doug] Orr, along with friend Fiona Ritchie, host of the "Thistle & Shamrock" radio show, has set out the history and lore of the music that came with the Scots-Irish immigrants in a landmark book Wayfaring Strangers.” - Asheville Citizen-Times“This handsome volume is both a story of a musical evolution and a time capsule that preserves a nearly forgotten era of mountain life.” - WNC Magazine“A must to any fan of folk or bluegrass.” - Wilmington Star-News“Who better to write this book than Fiona Ritchie and Doug Orr? They have each spent a lifetime intensely interested in the same thread of music from opposite sides of the ocean. The music connected them with each other, I suspect, long before they ever met, just as it connects all of us across miles and time, through generations and immigrations, anchoring us to the story of our ancestors and, ultimately, ourselves. These two are the perfect authors to trace the journey this music has made and to paint the picture of the living, breathing stream that it is.” - Kathy Mattea, singer-songwriter and teacher“Wayfaring Strangers will touch a powerful chord in lives of readers who appreciate the music of Scotland and Appalachia.” - William Ferris, author of The Storied South: Voices of Writers and Artists and Give My Poor Ease: Voices of the Mississippi Blues “In telling the story of the Scottish diaspora in Appalachia through music, Fiona Ritchie and Doug Orr have captured a process of adaptation and change that has created a traditional culture that continues to flourish.” - Ron Pen, author of I Wonder as I Wander: The Life of John Jacob Niles“History’s a strange beast. In the absence of illumination by the lives of real men and women, it can on occasion be reduced to the prosaic. When that happens, often the gaps are filled with kitsch, with a sentimental mire of misunderstanding that does more harm than good. This book isn’t like that. It’s full of hard fact that’s been turned into the best kind of history by even harder poetry and honest melody. Nothing more is needed. To tie several centuries of peoples’ lives together, across oceans and mountains, to make sense of their experiences and aspirations by the tenacious strands of their own music and song—that is a real achievement.” - Brian McNeill, Scottish singer-songwriter, producer, and novelist"Wayfaring Strangers is a wonderful book. Everything about it, from its beautiful production and lavish illustration, to the 20-track CD that comes with it, to the foreword by none other than Dolly Parton and the testimonials by such luminaries as Cerys Matthews and Roseanne Cash, say that this is both a work of scholarship and a highly entertaining read. For anyone interested in how music crosses continents and shapes identities, Wayfaring Strangers is a treasury of stories and information, not to mention a treasure to own." - Jamie Jauncey, writer, musician
£25.46
The University of North Carolina Press May We Forever Stand A History of the Black
Book SynopsisIn this rich, poignant, and readable work, Imani Perry tells the story of the Black National Anthem as it traveled from South to North, from civil rights to black power, and from countless family reunions to Carnegie Hall and the Oval Office.Trade ReviewExcellently researched and sourced."" - Michigan Historical Review""As a concise look at twentieth-century black activism through the lens of one composition, the book works exceedingly well. . . . Perry's book is a timely reminder of histories forgotten and voices unremembered."" - Journal of American History""Perry has masterfully researched and written an accessible and captivating cultural history of a transformative and uplifting song adorned with lyrics that have encouraged black people while mirroring their evolution over the past hundred years."" - Journal of African American History""Imani Perry has done a great service to the field of African American history in tracking this often-cited song through hundreds of black organizations, plays, and works of literature during the twentieth century. In the process, she has made clear that, at least during the age of segregation, a black nation was made in part through singing 'Lift Every Voice and Sing.'"" - Journal of Southern History""Perry provides exegesis and exhortation in explaining how a song captured a culture, and in turn became a cultural captive held fast by emotional ties of a diverse people; hers is a work for adolescents and academics, indeed for any readers interested in at least glimpsing a sense of a pulsing, resilient black consciousness. Highly recommended."" - Library Journal, starred review""Through extensive research and eloquent writing, Perry. . . expertly sifts through the layers of black civic, social and cultural history that are inextricably linked to 'Lift Every Voice and Sing.'"" - San Francisco Chronicle""May We Forever Stand is meticulously researched and innovative in its engagement of aspects of Black culture once seen as too disparate to interrogate in one setting. A signpost for future directions in historical studies of Black life, Perry provides a valuable methodological framework for historicizing the imagination."" - Journal of North Carolina Association of Historians
£17.95
MP-NCA Uni of North Carolina The Slave Sublime The Language of Violence in
Book SynopsisIn this interdisciplinary work, Stacy Lettman explores real and imagined violence as depicted in Caribbean and Jamaican text and music, how that violence repeats itself in both art and in the actions of the state, and what that means for Caribbean cultural identity.
£30.36
The University of North Carolina Press Step It Up and Go
Book SynopsisOffers a love letter to the artists, scenes, and sounds defining North Carolina's extraordinary contributions to American popular music. Spanning a century of history, and with sidebars and photos that help reveal the many-splendored glory of North Carolina's sonic landscape, this is a must-read for every music lover.
£20.40
The University of North Carolina Press Magic City
Book SynopsisTells the story of one of American music's essential unsung places: Birmingham, Alabama, birthplace of a distinctive and influential jazz heritage. In a telling replete with iconic artists, and unheralded masters, Burgin Mathews reveals how Birmingham was the training ground for luminaries and a long list of sidemen, soloists, and arrangers.Trade ReviewFascinating and rewarding."—Jazz Journal
£22.46
Duke University Press Remapping Sound Studies
Book SynopsisExploring a wide range of sonic practices, from birdsong in the Marshall Islands to Zulu ululation, the contributors reorient the field of sound studies toward the global South in order to rethink and decolonize modes of understanding and listening to sound.Table of ContentsAcknowledgments vii Introduction. Remapping Sound Studies in the Global South / Gavin Steingo and Jim Sykes 1 Part I. The Technology Problematic 1. Another Resonance: Africa and the Sound of Study / Gavin Steingo 39 2. Ululation / Louise Meintjes 61 3. How the Sea Is Sounded: Remapping Indigenous Soundings in the Marshallese Diaspora / Jessica A. Schwartz 77 Part II. Multiple Liminologies 4. Antenatal Aurality in Pacific Afro-Colombia Midwifery / Jairo Moreno 109 5. Loudness, Excess, Power: A Political Liminology of a Global City of the South / Michael Birenbaum Quintero 135 6. The Spoiled and the Salvaged: Modulations of Auditory Value in Bangalore and Bangkok / Michele Friedner and Benjamin Tausig 156 7. Remapping the Voice through Transgender-Hijra Performance / Jeff Roy 173 Part III. The Politics of Sound 8. Banlieue Sounds, or, The Right to Exist / Hervé Tchumkam 185 9. Sound Studies, Difference, and Global Concept History / Jim Sykes 203 10. "Faking It": Moans and Groans of Loving and Living in Govindpuri Slums / Tripta Chandola 228 11. Disorienting Sounds: A Sensory Ethnography of Syrian Dance Music / Shayna Silverstein 241 12. Afterword. Sonic Cartographies / Ana María Ochoa Gautier 261 Contributors 275 Index 277
£98.60
Duke University Press Remapping Sound Studies
Book SynopsisThe contributors to Remapping Sound Studies intervene in current trends and practices in sound studies by reorienting the field toward the global South. Attending to disparate aspects of sound in Africa, South and Southeast Asia, Latin America, the Middle East, Micronesia, and a Southern outpost in the global North, this volume broadens the scope of sound studies and challenges some of the field''s central presuppositions. The contributors show how approaches to and uses of technology across the global South complicate narratives of technological modernity and how sound-making and listening in diverse global settings unsettle familiar binaries of sacred/secular, private/public, human/nonhuman, male/female, and nature/culture. Exploring a wide range of sonic phenomena and practices, from birdsong in the Marshall Islands to Zulu ululation, the contributors offer diverse ways to remap and decolonize modes of thinking about and listening to sound. ContributorsTable of ContentsAcknowledgments vii Introduction. Remapping Sound Studies in the Global South / Gavin Steingo and Jim Sykes 1 Part I. The Technology Problematic 1. Another Resonance: Africa and the Sound of Study / Gavin Steingo 39 2. Ululation / Louise Meintjes 61 3. How the Sea Is Sounded: Remapping Indigenous Soundings in the Marshallese Diaspora / Jessica A. Schwartz 77 Part II. Multiple Liminologies 4. Antenatal Aurality in Pacific Afro-Colombia Midwifery / Jairo Moreno 109 5. Loudness, Excess, Power: A Political Liminology of a Global City of the South / Michael Birenbaum Quintero 135 6. The Spoiled and the Salvaged: Modulations of Auditory Value in Bangalore and Bangkok / Michele Friedner and Benjamin Tausig 156 7. Remapping the Voice through Transgender-Hijra Performance / Jeff Roy 173 Part III. The Politics of Sound 8. Banlieue Sounds, or, The Right to Exist / Hervé Tchumkam 185 9. Sound Studies, Difference, and Global Concept History / Jim Sykes 203 10. "Faking It": Moans and Groans of Loving and Living in Govindpuri Slums / Tripta Chandola 228 11. Disorienting Sounds: A Sensory Ethnography of Syrian Dance Music / Shayna Silverstein 241 12. Afterword. Sonic Cartographies / Ana María Ochoa Gautier 261 Contributors 275 Index 277
£25.19
Duke University Press Sounds of Vacation
Book SynopsisThe contributors to Sounds of Vacation examine the commodification of music and sound at popular vacation destinations throughout the Caribbean in order to tease out the relationships between political economy, hospitality, and the legacies of slavery and colonialism. Drawing on case studies from Barbados, the Bahamas, Guadeloupe, Saint Martin, and Saint Lucia, the contributors point to the myriad ways live performances, programmed music, and the sonic environment heighten tourists' pleasurable vacation experience. They explore, among other topics, issues of authenticity in Bahamian music; efforts to give tourists in Barbados peace and quiet at a former site of colonial violence; and how resort soundscapes extend beyond music to encompass the speech accents of local residents. Through interviews with resort managers, musicians, and hospitality workers, the contributors also outline the social, political, and economic pressures and interests that affect musical labor and the social encoTrade Review“Illuminating the ways that the sonic environment of inclusive resorts inform tourists' experiences of pleasure, postcolonial spaces, and colonial histories, Sounds of Vacation represents an exciting new approach to studying tourism, the politics of sound and listening, and the sonic and musical construction of space and fantasy.” -- Colleen Ballerino Cohen, author of * Take Me to My Paradise: Tourism and Nationalism in the British Virgin Islands *“Sounds of Vacation takes Caribbean music studies, and music and tourism studies more broadly, to the next level. Jocelyne Guilbault and Timothy Rommen’s learned and comprehensive introduction paves the way for fresh and compelling case studies by leading scholars from a variety of fields who show us how vacations work in a world increasingly disfigured by neoliberal capitalism.” -- Timothy D. Taylor, author of * Music in the World: Selected Essays *“The book achieves its central goal of offering new perspectives on musical performances in the Caribbean region while also calling for further studies on the political economy of music within the tourism industry.… Sounds of Vacation presents a range of voices from scholars with a diversity of perspectives that will help the book speak to audiences interested in ethnomusicology, anthropology, and sound studies beyond the Caribbean.” -- Jessica C. Hajek * Ethnomusicology Forum *“Clearly, mass tourism has become ubiquitous throughout the Caribbean (and beyond), and ethnographers of sound and music should pay serious attention to the ways in which this phenomenon influences musico-cultural production—a project for which this book wonderfully lays the groundwork…. This trailblazing book provides many starting points for exciting research to come.” -- Amalia C. Mora * MUSICultures *“This volume makes a convincing case for the value of listening methodologies to provide insights into understanding the relationship between capital and cultural practises. I found this volume insightful, stimulating, and highly quotable.” -- Carlo A. Cubero * Anthropos *“Sounds of Vacation is an important contribution to studies of Caribbean musics and sounds.... Through the focus on labor and economy in these all-inclusive hotels, the authors offer some excellent starting points for further studies.” -- Ruth Hellier-Tinoco * Latin American Music Review *Table of ContentsAcknowledgments vii Prologue / Steven Feld 1 Introduction. The Political Economy of Music and Sound: Case Studies in the Caribbean Tourism Industry / Jocelyne Guilbault and Timothy Rommen 9 1. It Sounds Better in the Bahamas: Musicians, Management, and the Markets in Nassau's All-Inclusive Hotels / Timothy Rommen 41 2. Touristic Rhythms: The Club Remix / Jerome Camal 77 3. Listening for Noise: Seeking Disturbing Sounds in Tourist Spaces / Susan Harewood 107 4. All-Inclusive Resorts in Sint Maarten and Our Common Decolonial State: On Butterflies That Are Caterpillars Still in Chrysalis / Francio Guadeloupe and Jordi Halfman 134 5. Sound Management: Listening to Sandals Halcyon in Saint Lucia / Jocelyne Guilbault 161 Epilogue. The Political Economy of Music and Sound / Percy C. Hintzen 193 References 207 Contributors 227 Index 229
£90.10
Duke University Press Sounds of Vacation
Book SynopsisThe contributors to Sounds of Vacation examine the commodification of music and sound at popular vacation destinations throughout the Caribbean in order to tease out the relationships between political economy, hospitality, and the legacies of slavery and colonialism. Drawing on case studies from Barbados, the Bahamas, Guadeloupe, Saint Martin, and Saint Lucia, the contributors point to the myriad ways live performances, programmed music, and the sonic environment heighten tourists' pleasurable vacation experience. They explore, among other topics, issues of authenticity in Bahamian music; efforts to give tourists in Barbados peace and quiet at a former site of colonial violence; and how resort soundscapes extend beyond music to encompass the speech accents of local residents. Through interviews with resort managers, musicians, and hospitality workers, the contributors also outline the social, political, and economic pressures and interests that affect musical labor and the social encoTrade Review“Illuminating the ways that the sonic environment of inclusive resorts inform tourists' experiences of pleasure, postcolonial spaces, and colonial histories, Sounds of Vacation represents an exciting new approach to studying tourism, the politics of sound and listening, and the sonic and musical construction of space and fantasy.” -- Colleen Ballerino Cohen, author of * Take Me to My Paradise: Tourism and Nationalism in the British Virgin Islands *“Sounds of Vacation takes Caribbean music studies, and music and tourism studies more broadly, to the next level. Jocelyne Guilbault and Timothy Rommen’s learned and comprehensive introduction paves the way for fresh and compelling case studies by leading scholars from a variety of fields who show us how vacations work in a world increasingly disfigured by neoliberal capitalism.” -- Timothy D. Taylor, author of * Music in the World: Selected Essays *“The book achieves its central goal of offering new perspectives on musical performances in the Caribbean region while also calling for further studies on the political economy of music within the tourism industry.… Sounds of Vacation presents a range of voices from scholars with a diversity of perspectives that will help the book speak to audiences interested in ethnomusicology, anthropology, and sound studies beyond the Caribbean.” -- Jessica C. Hajek * Ethnomusicology Forum *“Clearly, mass tourism has become ubiquitous throughout the Caribbean (and beyond), and ethnographers of sound and music should pay serious attention to the ways in which this phenomenon influences musico-cultural production—a project for which this book wonderfully lays the groundwork…. This trailblazing book provides many starting points for exciting research to come.” -- Amalia C. Mora * MUSICultures *“This volume makes a convincing case for the value of listening methodologies to provide insights into understanding the relationship between capital and cultural practises. I found this volume insightful, stimulating, and highly quotable.” -- Carlo A. Cubero * Anthropos *“Sounds of Vacation is an important contribution to studies of Caribbean musics and sounds.... Through the focus on labor and economy in these all-inclusive hotels, the authors offer some excellent starting points for further studies.” -- Ruth Hellier-Tinoco * Latin American Music Review *Table of ContentsAcknowledgments vii Prologue / Steven Feld 1 Introduction. The Political Economy of Music and Sound: Case Studies in the Caribbean Tourism Industry / Jocelyne Guilbault and Timothy Rommen 9 1. It Sounds Better in the Bahamas: Musicians, Management, and the Markets in Nassau's All-Inclusive Hotels / Timothy Rommen 41 2. Touristic Rhythms: The Club Remix / Jerome Camal 77 3. Listening for Noise: Seeking Disturbing Sounds in Tourist Spaces / Susan Harewood 107 4. All-Inclusive Resorts in Sint Maarten and Our Common Decolonial State: On Butterflies That Are Caterpillars Still in Chrysalis / Francio Guadeloupe and Jordi Halfman 134 5. Sound Management: Listening to Sandals Halcyon in Saint Lucia / Jocelyne Guilbault 161 Epilogue. The Political Economy of Music and Sound / Percy C. Hintzen 193 References 207 Contributors 227 Index 229
£22.49
Duke University Press The Sonic Episteme
Book SynopsisRobin James examines how twenty-first-century conceptions of sound as acoustic resonance shape notions of the social world, personhood, and materiality in ways that support white supremacist capitalist patriarchy.Trade Review“Through skillful and perceptive negotiations among diverse theoretical paradigms and material practices, Robin James articulates a bold thesis about the shift from the visual character of modernity articulated by Foucault to the sonic episteme characteristic of twenty-first-century biopolitical neoliberalism. In James’s hands, the sonic episteme becomes a diagnostic tool as well as an all-embracing metaphor of the way the new regime of neoliberal biopower works, its modes of governmentality, and its production of excluded groups. An outstanding book.” -- Ewa Plonowska Ziarek, author of * Feminist Aesthetics and the Politics of Modernism *“The Sonic Episteme is a fascinating exploration of the problems of neoliberalism and the biopolitical that attends to the ways sound has come to be an object of study. Robin James asks readers to refuse the privileging of any one sense experience by examining the ways what she calls the sonic episteme is a part of neoliberal thought, not a break from it. The Sonic Episteme is about the practice of alternatives to the social order in thought and its epistemological possibilities rather than the search for alternatives emerging from the already given epistemological horizon and thrust of Western thought. As such, James offers a way to think sound studies, race, and material cultures together.” -- Ashon T. Crawley, author of * Blackpentecostal Breath: The Aesthetics of Possibility *"James is an insightful philosopher and sharp cultural critic drawing comparisons between musical phenomena such as compression and the loudness wars, and the damages wreaked by neoliberal market economics." -- Karen D. Tregaskin * The Wire *"What makes The Sonic Episteme an impressive accomplishment is its academically acceptable reliance on Philosophy combined with a crucial gesture, beyond Philosophy’s purview, to commercially successful pop music, which has the potential to present a crucial something else." -- Jeff Heinzl * Spectrum Culture *"This extensive assemblage of source texts generates unexpected and often striking conclusions. Most valuably, James organises crucial texts at the intersection of sound studies and critical race studies, proffering their diverse methodologies as alternatives to the techniques of post-democratic perceptual coding. For those interested in the consequences of frequency modeling and the broader project of approaching philosophy through sound, The Sonic Episteme presents a bold . . . foray into the rich territory of neoliberal sonic representation." -- Madeline Collier * Sound Studies *“Robin James’s The Sonic Episteme is an incredibly provocative, well-argued, well-written, and necessary study of popular music and neoliberalism. It will surely be of interest to those in philosophy, popular music studies, sound studies, cultural studies, and Black studies.” -- Elliot H. Powell * Journal of Aesthetics and Art Criticism *“With The Sonic Episteme, James intervenes upon sound by asking us to think more critically, inclusively, and ethically with and about it.... [Its] topical and methodological breadth makes it a productive and useful addition to the field of popular music studies.” -- Kate Galloway * Journal of Popular Music Studies *“Robin James’ latest book is a compelling and rewarding showcase of her ability to use music and sound as a means to interrogate an array of contemporary philosophical, political, cultural and scientific perspectives.... By aggregating vernacular and non-elite ways of knowing, as expressed through a range of music and sound practices, she has succeeded in developing credible and coherent alternatives.” -- Matthew Lovett * Popular Music *"The Sonic Episteme promises to be an important addition to graduate syllabi and should push music scholars and practitioners to see how our ideas about the nature of sound might hamper our efforts to reshape the places, settings, and institutions where we make music." -- Alexandra M. Apolloni * Journal of the Society of American Music *Table of ContentsAcknowledgments vii Introduction 1 1. Neoliberal Noise and the Biopolitics of (Un)Cool: Acoustic Resonance as Political Economy 23 2. Universal Envoicement: Acoustic Resonance as Political Ontology 51 3. Vibration and Diffraction: Acoustic Resonance as Materialist Ontology 87 4. Neoliberal Sophrosyne: Acoustic Resonance as Subjectivity and Personhood 126 5. Social Physics and Quantum Physics: Acoustic Resonance as the Model for a "Harmonious" World 158 Conclusion 181 Notes 185 Bibliography 227 Index 239
£98.60
Duke University Press Kwaito Bodies
Book SynopsisIn Kwaito Bodies Xavier Livermon examines the cultural politics of the youthful black body in South Africa through the performance, representation, and consumption of kwaito, a style of electronic dance music that emerged following the end of apartheid. Drawing on fieldwork in Johannesburg''s nightclubs and analyses of musical performances and recordings, Livermon applies a black queer and black feminist studies framework to kwaito. He shows how kwaito culture operates as an alternative politics that challenges the dominant constructions of gender and sexuality. Artists such as Lebo Mathosa and Mandoza rescripted notions of acceptable femininity and masculinity, while groups like Boom Shaka enunciated an Afrodiasporic politics. In these ways, kwaito culture recontextualizes practices and notions of freedom within the social constraints that the legacies of colonialism, apartheid, and economic inequality place on young South Africans. At the same time, kwaito speaks to the ways iTrade Review“Kwaito Bodies is a much-needed corrective to the history of popular culture in South Africa. With the deft insight of a seasoned ethnographer and through legible prose that suffers nothing by way of sophisticated analytics, Xavier Livermon renders a complicated narrative about how the musical form kwaito holds promise for a whole generation of sexual dissidents in post-apartheid South Africa. This book is a game-changer for African sexuality studies.” -- E. Patrick Johnson, author of * Honeypot: Black Southern Women Who Love Women *“Xavier Livermon celebrates the often maligned affect of South African youth by noticing their creative play and their insistence on finding pleasure in the fraught everyday of post-apartheid urban life. His nuanced recognition of kwaito bodies lends insight into the social disjunctures and political failures of the post-apartheid state as well as into the struggles and creative improvisations of black bodies within Afrodiasporic space. Written with appreciation and curiosity, this book leaves the reader with a sense of possibility and hope and a reminder of why we need to party.” -- Louise Meintjes, author of * Dust of the Zulu: Ngoma Aesthetics after Apartheid *“Livermon makes an important contribution to existing studies of kwaito by paying particular attention to embodiment.... Livermon addresses a scope of contradictory, shifting, and misrecognized political tactics that articulate radical self-and world-making possibilities.” -- AB Brown * GLQ *"Livermon successfully ties together twenty years of musical growth with politics and shows how the body itself remains political within the South African framework." -- Debjyoti Ghosh * E3W Review of Books *“In Kwaito Bodies, Xavier Livermon provides a novel perspective on kwaito music and the youth culture it spawned. . . . Livermon skillfully uses kwaito-related incidents, artists, performances, and venues to reveal their larger meaning and significance as black South African youth negotiate their place in the postapartheid social order.” -- Graeme Reid * Journal of African History *“An important contribution in a time when the Black body has (re)gained significant attention across the world, [Kwaito Bodies] provides a visceral investigation into Black youth culture in postapartheid South Africa.” -- William Fourie * Transposition *Table of ContentsAcknowledgments ix Introduction. Waar Was Jy? Yeoville circa 1996 1 1. Afrodiasporic Space: Refiguring Africa in Diaspora Analytics 29 2. Jozi Nights: The Post-Apartheid City, Encounter, and Mobility 57 3. "Si-Ghetto Fabulous": Self-Fashioning, Consumption, and Pleasure in Kwaito 92 4. The Kwaito Feminine: Lebo Mathosa as a "Dangerous Woman" 122 5. The Black Masculine in Kwaito: Mandoza and the Limits of Hypermasculine Performance 155 6. Mafikizolo and Youth Day Parties: (Melancholic) Conviviality and the Queering of Utopian Memory 188 Coda. Kwaito Futures, Remastered Freedoms 224 Notes 235 Glossary 239 References 243 Index 259
£98.60
Duke University Press Listen but Dont Ask Question
Book SynopsisKevin Fellezs traces the ways in which slack key guitar—a traditional Hawaiian musical style played on an acoustic steel-string guitar—is a site for the articulation of the complex histories, affiliations, and connotations of Hawaiian belonging.Trade Review“In addition to telling Hawaiian slack key guitar's remarkable history, Kevin Fellezs provides an excellent introduction to the political, social, and economic challenges endured by Hawaiians who live in a homeland dominated by people who have even appropriated the word ‘aloha’ to expedite material and cultural plunder. This book is a wonderful achievement and a significant intellectual feat.” -- John W. Troutman, author of * Kika Kila: How the Hawaiian Steel Guitar Changed the Sound of Modern Music *“Listen but Don't Ask Question theorizes a ‘polycultural transPacific’ to highlight Kanaka Maoli (Native Hawaiians) as central participants in the cultural production of slack key guitar music while attending to the multiple lineages tradition. Kevin Fellezs illuminates the complications of cultural and material stewardship as they are bound up in the performance and perpetuation of the musical form, Hawaiian principles of reciprocity, cultural revival and the music industry, community and belonging, and aesthetics. This is bold, rich, and important work that is well researched, robustly conceptualized, and finely written.” -- J. Kehaulani Kauanui, author of * Paradoxes of Hawaiian Sovereignty *“With Listen but Don’t Ask Question, Fellezs adroitly weaves together the many cultural, political, and social crosscurrents that have shaped a beautiful and enduring musical tradition. While slack key has been carried to lands far and wide, Fellezs convincingly demonstrates that in the right hands and with the right heart, this polycultural transPacific tradition is never far from the shore of its original āina.” -- Chad S. Hamill * Native American and Indigenous Studies *“During a time when questions of cultural appropriation, authenticity, ownership, and the ongoing repercussions of settler colonialism are at the forefront of discussions within music scholarship—and academia in general—Fellezs provides a thoughtful and personal reflection on the sometime elegant, sometimes messy ways Kanaka Maoli have negotiated these issues.” -- James Revell Carr * Notes *Table of ContentsAcknowledgments ix A Note on the Use of Hawaiian and Japanese Terms xv Introduction: Mapping the Polycultural TransPacific 1 1. Getting the "Right Hawaiian Feeling" 37 2. Taking Kuleana 70 3. The Aloha Affect 108 4. Sounding Out the Second Hawaiian Renaissance 145 5. 'Ohana and the Longing to Belong 183 6. Pono, A Balancing Act 219 Notes 253 Glossary 269 References 273 Index 311
£75.65
Duke University Press Kwaito Bodies
Book SynopsisXavier Livermon examines the cultural politics of the youthful black body in South Africa through the performance, representation, and consumption of Kwaitoa style of electronic dance music that emerged following the end of apartheid.Trade Review“Kwaito Bodies is a much-needed corrective to the history of popular culture in South Africa. With the deft insight of a seasoned ethnographer and through legible prose that suffers nothing by way of sophisticated analytics, Xavier Livermon renders a complicated narrative about how the musical form kwaito holds promise for a whole generation of sexual dissidents in post-apartheid South Africa. This book is a game-changer for African sexuality studies.” -- E. Patrick Johnson, author of * Honeypot: Black Southern Women Who Love Women *“Xavier Livermon celebrates the often maligned affect of South African youth by noticing their creative play and their insistence on finding pleasure in the fraught everyday of post-apartheid urban life. His nuanced recognition of kwaito bodies lends insight into the social disjunctures and political failures of the post-apartheid state as well as into the struggles and creative improvisations of black bodies within Afrodiasporic space. Written with appreciation and curiosity, this book leaves the reader with a sense of possibility and hope and a reminder of why we need to party.” -- Louise Meintjes, author of * Dust of the Zulu: Ngoma Aesthetics after Apartheid *“Livermon makes an important contribution to existing studies of kwaito by paying particular attention to embodiment.... Livermon addresses a scope of contradictory, shifting, and misrecognized political tactics that articulate radical self-and world-making possibilities.” -- AB Brown * GLQ *"Livermon successfully ties together twenty years of musical growth with politics and shows how the body itself remains political within the South African framework." -- Debjyoti Ghosh * E3W Review of Books *“In Kwaito Bodies, Xavier Livermon provides a novel perspective on kwaito music and the youth culture it spawned. . . . Livermon skillfully uses kwaito-related incidents, artists, performances, and venues to reveal their larger meaning and significance as black South African youth negotiate their place in the postapartheid social order.” -- Graeme Reid * Journal of African History *“An important contribution in a time when the Black body has (re)gained significant attention across the world, [Kwaito Bodies] provides a visceral investigation into Black youth culture in postapartheid South Africa.” -- William Fourie * Transposition *Table of ContentsAcknowledgments ix Introduction. Waar Was Jy? Yeoville circa 1996 1 1. Afrodiasporic Space: Refiguring Africa in Diaspora Analytics 29 2. Jozi Nights: The Post-Apartheid City, Encounter, and Mobility 57 3. "Si-Ghetto Fabulous": Self-Fashioning, Consumption, and Pleasure in Kwaito 92 4. The Kwaito Feminine: Lebo Mathosa as a "Dangerous Woman" 122 5. The Black Masculine in Kwaito: Mandoza and the Limits of Hypermasculine Performance 155 6. Mafikizolo and Youth Day Parties: (Melancholic) Conviviality and the Queering of Utopian Memory 188 Coda. Kwaito Futures, Remastered Freedoms 224 Notes 235 Glossary 239 References 243 Index 259
£25.19
Duke University Press Listen but Dont Ask Question
Book SynopsisKevin Fellezs traces the ways in which slack key guitar—a traditional Hawaiian musical style played on an acoustic steel-string guitar—is a site for the articulation of the complex histories, affiliations, and connotations of Hawaiian belonging.Trade Review“In addition to telling Hawaiian slack key guitar's remarkable history, Kevin Fellezs provides an excellent introduction to the political, social, and economic challenges endured by Hawaiians who live in a homeland dominated by people who have even appropriated the word ‘aloha’ to expedite material and cultural plunder. This book is a wonderful achievement and a significant intellectual feat.” -- John W. Troutman, author of * Kika Kila: How the Hawaiian Steel Guitar Changed the Sound of Modern Music *“Listen but Don't Ask Question theorizes a ‘polycultural transPacific’ to highlight Kanaka Maoli (Native Hawaiians) as central participants in the cultural production of slack key guitar music while attending to the multiple lineages tradition. Kevin Fellezs illuminates the complications of cultural and material stewardship as they are bound up in the performance and perpetuation of the musical form, Hawaiian principles of reciprocity, cultural revival and the music industry, community and belonging, and aesthetics. This is bold, rich, and important work that is well researched, robustly conceptualized, and finely written.” -- J. Kehaulani Kauanui, author of * Paradoxes of Hawaiian Sovereignty *“With Listen but Don’t Ask Question, Fellezs adroitly weaves together the many cultural, political, and social crosscurrents that have shaped a beautiful and enduring musical tradition. While slack key has been carried to lands far and wide, Fellezs convincingly demonstrates that in the right hands and with the right heart, this polycultural transPacific tradition is never far from the shore of its original āina.” -- Chad S. Hamill * Native American and Indigenous Studies *“During a time when questions of cultural appropriation, authenticity, ownership, and the ongoing repercussions of settler colonialism are at the forefront of discussions within music scholarship—and academia in general—Fellezs provides a thoughtful and personal reflection on the sometime elegant, sometimes messy ways Kanaka Maoli have negotiated these issues.” -- James Revell Carr * Notes *Table of ContentsAcknowledgments ix A Note on the Use of Hawaiian and Japanese Terms xv Introduction: Mapping the Polycultural TransPacific 1 1. Getting the "Right Hawaiian Feeling" 37 2. Taking Kuleana 70 3. The Aloha Affect 108 4. Sounding Out the Second Hawaiian Renaissance 145 5. 'Ohana and the Longing to Belong 183 6. Pono, A Balancing Act 219 Notes 253 Glossary 269 References 273 Index 311
£20.69
Duke University Press Musicophilia in Mumbai
Book SynopsisTejaswini Niranjana traces the place of Hindustani classical music in Mumbai throughout the long twentieth century, showing how the widespread love of music throughout the city created a culture of collective listening and social subjects who embodied new forms of modernity.Trade Review“Tejaswini Niranjana's beautifully written book gives us a glimpse into the ways in which Hindustani classical music enables distinct performances of modernity in a postcolonial context. She takes us on a fascinating journey across performative spaces while powerfully and subtly portraying the lives and struggles of musicians and showing how gender, caste, class, and religious identity refract their subjectivities. I greatly appreciate and am moved by the material she presents in this book.” -- Purnima Mankekar, author of * Unsettling India: Affect, Temporality, Transnationality *“In her highly accessible, enjoyable, and immensely informative book, Tejaswini Niranjana—an astute and sympathetic cultural theorist—weaves musical genealogies and musician biographies into rich descriptions of the lives, emotions, and lived spaces of musicians and their audiences. Her centering of enjoyment, pleasure, and love in the study of Hindustani music is refreshing. Beautifully written, Musicophilia in Mumbai will set the standard for new waves of scholarship on Hindustani music and India's other classical traditions.” -- Anna Morcom, author of * Illicit Worlds of Indian Dance: Cultures of Exclusion *"A fascinating journey across the city… Musicophilia in Mumbai will, undoubtedly, set the standard for more scholarship on Hindustani music as also India's other gharanas. Even if the study is deeply localized and empirically distinct, similar patterns can be traced elsewhere in South Asia. The book suggests that the relationship between cultural practice and the formation of the social subject can be expressed in many ways and many contexts—especially in the 'non-west.'" -- Bhaskar Parichha * KITAAB *"For the discerning consumer, the current proliferation of texts on and about Hindustani Classical Music is a munificence worth exploring. Tejaswini Niranjana's Musicophilia in Mumbai ought to occupy a prominent position within this largesse, thanks to its combination of excellent scholarship, accessible language, and sagacious approach." -- S.D. Chaudhuri * Telegraph India *"An important text for anthropologists, ethnomusicologists, and historians seeking to understand modernity in urban India. Moreover, Niranjana's careful attention to the ways that actual people construe urban sociality, produce subjectivity, and construct modernity should recommend it to a wider audience interested in global cities." -- David Strohl * Ethnic and Racial Studies *"Musicophilia in Mumbai will likely be most interesting to scholars in the fields of South Asian studies, performance studies, and ethnomusicology. It will also be useful to those seeking to understand how the organization of urban space impacts social relations through musical performance.… Grounded in historical and ethnographic research, Niranjana's book is a multilayered resource connecting the past and present of this dynamic art form." -- Rehanna Kheshgi * Journal of Asian Studies *“The remembered and physical worlds of musical life in Bombay city over the long 20th century are well portrayed. . . . I recommend [Musicophilia in Mumbai] highly for those who love Indian music.” -- Andrew Alter * Asian Studies Review *Table of ContentsAcknowledgments ix Introduction. On Not Being Able to Learn Music 1 1. "Yaa Nagari Mein Lakh Darwaza": Musicophilia and the Lingua Musica in Mumbai 19 2. Mehfil (Performance): The Spaces of Music 46 3. Deewaana (The Mad One): The Lover of Music 86 4. Taleem: Pedagogy and the Performing Subject 128 5. Nearness as Distance, or Distance as Nearness 162 Afterword 181 Glossary 199 Notes 205 Selected Bibliography 227 Index 235
£98.60
Duke University Press Tehrangeles Dreaming
Book SynopsisFarzaneh Hemmasi draws on ethnographic fieldwork in Los Angeles and musical and textual analysis to examine how the pop music, music videos, and television made by Iranian expatriates express modes of Iranianness not possible in Iran.Trade Review“In this important book Farzaneh Hemmasi offers a novel reading of Iranian exilic pop music, raising insightful conceptual questions about the notion and significance of pop culture and diasporic imagination. By taking pop music seriously, she opens up a space for conversations about transnational networks of artistic production, the construction of nationhood and nationalism, and the politics of identity.” -- Behrooz Ghamari-Tabrizi, author of * Foucault in Iran: Islamic Revolution after the Enlightenment *“Tehrangeles Dreaming deftly analyzes what circulates and translates around and across this most complex and refractive of diasporic spaces. It is a subtle book, a model of how to weave popular music and dance into a field still largely dominated by film and literature. And a real pleasure to read. That shesh-o-hasht groove can be felt on every page.” -- Martin Stokes, author of * The Republic of Love: Cultural Intimacy in Turkish Popular Music *“Farzaneh Hemmasi’s book is a deft and insightful analysis of Tehrangeles, viewed as a geography, a music scene, a pop industry, a transnational cultural production field, and a post-revolutionary diasporic cultural formation…. Conceptually rich, theoretically nuanced, with its lucid demonstrations of the mobilization of affect, Hemmasi’s Tehrangeles Dreaming makes a valuable contribution to a wide range of scholarship.” -- Mehdi Semati * Cultural Studies *“Tehrangeles Dreaming offers a compellingly argued and accessibly written ethnography of exile, cultural production, and the politics of identity in the Iranian context. It no doubt will be useful for those in ethnomusicology, anthropology, cultural studies, and Middle East Studies...” -- Amy Malek * International Journal of Middle East Studies *“[Tehrangeles Dreaming] is an invaluable contribution to the study of Iranian popular culture.... Hemmasi is a truly powerful narrator in her ethnographic work and she provides a profoundly deep and pointed analysis....” -- Siavash Rokni * Lateral *“[Tehrangeles Dreaming] is particularly interesting when it discusses the impact of Tehrangeles pop on Iranians within, in political, social and moral terms.... The writing is engaging, filled with stories about fieldwork and encounters.” -- Laetitia Nanquette * Abstracta Iranica *“Tehrangeles Dreaming makes significant contributions to the scholarship on both American musical multiculturalism and the music of the Islamic world. . . . Farzaneh Hemmesi is to be commended for her clear and captivating first book.” -- Anna K. Rasmussen * Journal of Anthropological Research *Table of ContentsAcknowledgments ix Introduction 1 1. The Capital of 6/8 38 2. Iranian Popular Music and History: Views from Tehrangeles 67 3. Expatriate Erotics, Homeland Moralities 98 4. Iran as a Singing Woman 122 5. A Nation in Recovery 153 Conclusion: Forty Years 186 Notes 201 References 223 Index 235
£98.60
Duke University Press Sound Alignments
Book SynopsisThe contributors to Sound Alignments explore the myriad forms of popular music in Asia during the Cold War, showing how it took on new meanings and significance as it traveled across the region and forged and challenged alliances, revolutions, and countercultures.Trade Review“With this vital addition to the growing literature in global music studies, the contributors to Sound Alignments reveal the vernacular cosmopolitanism of Asian popular music as a crucial dimension of Cold War cultural politics, nationalist policies, and internationalist rhetorics. An essential mapping of sonic history and musical mediation.” -- David Novak, author of * Japanoise: Music at the Edge of Circulation *“Giving readers a happily cacophonous remapping of the sounds of the Cold War, Sound Alignments is an intellectually stimulating and multidimensional contribution to the study of twentieth-century popular music and the global culture of the Cold War.” -- Andrew F. Jones, author of * Circuit Listening: Chinese Popular Music in the Global 1960s *"Sound Alignments deserves recognition for tackling the 'mutually entangled structures' produced by the 'processes of imperialization, colonization, and the cold war' that have shaped an imaginary Asia (p. 212). . . . Recommended. Upper-division undergraduates through faculty." -- T. S. Yamada * Choice *“[Sound Alignments] is a highly informative and intellectually stimulating book.” -- CedarBough T. Saeji * Pacific Affairs *Table of ContentsAcknowledgments vii Introduction / Michael Bourdaghs, Paola Iovene, and Kaley Mason 1 Part I. Routes 1. Musical Travels of the Coconut Isles and the Socialist Popular / Jennifer Lindsay 43 2. Vehicles of Progress: The Kerala Rikshawala at the Intersection of Communism and Social Realism / Nisha Kommattam 69 3. East Asian Pop Music and an Incomplete Regional Contemporary / C.J. W.-L. Wee 93 Part II. Covers 4. Searching for Youth, the People (Minjung), and "Another" West While Living Through Anti-Communist Cold War Politics: South Korean "Folk Song" in the 1970s / Hyunjoon Shin 131 5. Cosmopolitanism, Vernacular Cosmopolitanism, and Sound Alignments: Covers and Cantonese Cover Songs in 1960s Hong Kong / Hon-Lun Yang 153 Part III. Fronts 6. Sonic Imaginaries of Okinawa: Daiku Tetsuhiro's Cosmopolitan "Paradise" / Marié Abe 173 7. Cosmaharaja: Popular Songs of Socialist Cosmopolitanism in Cold War India / Anna Schultz 201 8. Yellow Music Criticism during China's Anti-Rightest Campaign / Qian Zhang 231 Afterword: Asia's Soundings of the Cold War / Christine R. Yano 249 Bibliography 263 Contributors 285 Index 289
£75.65
Duke University Press Sound Alignments
Book SynopsisThe contributors to Sound Alignments explore the myriad forms of popular music in Asia during the Cold War, showing how it took on new meanings and significance as it traveled across the region and forged and challenged alliances, revolutions, and countercultures.Trade Review“With this vital addition to the growing literature in global music studies, the contributors to Sound Alignments reveal the vernacular cosmopolitanism of Asian popular music as a crucial dimension of Cold War cultural politics, nationalist policies, and internationalist rhetorics. An essential mapping of sonic history and musical mediation.” -- David Novak, author of * Japanoise: Music at the Edge of Circulation *“Giving readers a happily cacophonous remapping of the sounds of the Cold War, Sound Alignments is an intellectually stimulating and multidimensional contribution to the study of twentieth-century popular music and the global culture of the Cold War.” -- Andrew F. Jones, author of * Circuit Listening: Chinese Popular Music in the Global 1960s *"Sound Alignments deserves recognition for tackling the 'mutually entangled structures' produced by the 'processes of imperialization, colonization, and the cold war' that have shaped an imaginary Asia (p. 212). . . . Recommended. Upper-division undergraduates through faculty." -- T. S. Yamada * Choice *“[Sound Alignments] is a highly informative and intellectually stimulating book.” -- CedarBough T. Saeji * Pacific Affairs *Table of ContentsAcknowledgments vii Introduction / Michael Bourdaghs, Paola Iovene, and Kaley Mason 1 Part I. Routes 1. Musical Travels of the Coconut Isles and the Socialist Popular / Jennifer Lindsay 43 2. Vehicles of Progress: The Kerala Rikshawala at the Intersection of Communism and Social Realism / Nisha Kommattam 69 3. East Asian Pop Music and an Incomplete Regional Contemporary / C.J. W.-L. Wee 93 Part II. Covers 4. Searching for Youth, the People (Minjung), and "Another" West While Living Through Anti-Communist Cold War Politics: South Korean "Folk Song" in the 1970s / Hyunjoon Shin 131 5. Cosmopolitanism, Vernacular Cosmopolitanism, and Sound Alignments: Covers and Cantonese Cover Songs in 1960s Hong Kong / Hon-Lun Yang 153 Part III. Fronts 6. Sonic Imaginaries of Okinawa: Daiku Tetsuhiro's Cosmopolitan "Paradise" / Marié Abe 173 7. Cosmaharaja: Popular Songs of Socialist Cosmopolitanism in Cold War India / Anna Schultz 201 8. Yellow Music Criticism during China's Anti-Rightest Campaign / Qian Zhang 231 Afterword: Asia's Soundings of the Cold War / Christine R. Yano 249 Bibliography 263 Contributors 285 Index 289
£20.69
Duke University Press Radiation Sounds
Book SynopsisJessica A. Schwartz examines the seventy-five years of Marshallese music developed in response to the United States’ nuclear weapons testing on their homeland, showing how Marshallese singing practices make heard the harmful effects of US nuclear violence.Trade Review“In this fascinating ethnography of singing as a sonic politics of Indigenous postcolonial identity, Jessica A. Schwartz reveals the intimate historical relations between aurality and nuclear war. Ambitious and unique, Radiation Sounds brings the sensory materialities of ‘the bomb’ home to the lives lived and songs sung in its shadow.” -- David Novak, author of * Japanoise: Music at the Edge of Circulation *"This is a very sophisticated and well-researched book, enriched by the sharing of personal experience and observations that illuminate the research relationships that form its foundation. . . . This book will be of interest to a wide range of scholars: historians, political scientists, anthropologists, Pacific studies, gender studies, and disaster studies scholars, in addition to ethnomusicologists and dance ethnologists. In teaching, it would be a good resource for graduate students." -- Kirsty Gillespie * Yearbook for Traditional Music *Table of ContentsAcknowledgments ix Introduction: "It Was the Sound That Terrified Us" 1 1. Radioactive Citizenship: Voices of the Nation 41 2. Precarious Harmonies 83 3. MORIBA: "Everything Is in God's Hands" 131 4. Uwaañañ (Spirited Noise) 170 5. Anemkwōj 211 Notes 253 Bibliography 273 Index 287
£75.65
Duke University Press The Dancers Voice
Book SynopsisRumya Sree Putcha uses the figure of the Indian classical dancer to explore the complex dynamics of contemporary transnational Indian womanhood.Trade Review"What is unique about Putcha’s book is that it centres the desires and agency of the women dancers, rather than the cultural gatekeepers or the institutions that seek to control the art form. Her book also follows the figure of the dancer beyond the formal classical dance arenas to give us a more comprehensive idea of who the dancer becomes for multiple audiences. This is not an easy book to read, but it is an intriguing one." -- Tapoja Chaudhuri * International Examiner *Table of ContentsNote on Transliteration and Language ix Prologue xi Introduction 1 1. Womanhood 21 2. Caste 43 3. Citizenship 67 4. Silence 89 Epilogue 115 Acknowledgments 123 Glossary 129 Notes 133 Filmography 151 References 163 Index 181
£67.15
Duke University Press Lions Share
Book SynopsisVeit Erlmann examines the role of copyright law in post-apartheid South Africa and its impact on the South African music industry, showing how copyright is inextricably entwined with race, popular music, postcolonial governance, indigenous rights, and the struggle to create a more equitable society.Table of ContentsAcknowledgments ix Introduction. “We Do Not Speak the Same Language” 1 1. Aspirations and Apprehensions: Toward an Anthropology in Law 16 2. The Past in the Present: Copyright, Colonialism, and “The Lion Sleeps Tonight” 62 3. Assembling Tradition, Representing Indigeneity: The Making of the Intellectual Property Laws Amendment Act 28 of 2013 109 4. Circulating Evidence: The Truth about Piracy 174 5. Which Collective? The Infrastructure of Royalties 232 Conclusion. How to Speak the Same Language, or at Least Try To 301 Appendix. Southern African Copyright: The Basics 309 Notes 315 Bibliography 345 Index 371
£21.59
Duke University Press Together Somehow
Book SynopsisDrawing on fieldwork in the minimal techno and house music sub-scenes in Chicago, Paris, and Berlin, Luis Manuel Garcia-Mispireta shows that people get along and share the dancefloor by an intimacy and belonging rooted in affect.Trade Review“Together, Somehow takes readers past the velvet rope and onto the dancefloors, into the backrooms and bathrooms, and up to the DJ booths at legendary clubs like Berghain and one-off raves in the Midwest. It is one of those joyous books where passion meets erudition on every page, presenting a compelling portrait of the contemporary electronic dance music scene. Giving us in many ways the prehistory of the racial and gender reckoning that nightlife is going through right now, Together, Somehow will stand as one of the essential works on EDM.” -- Tavia Nyong’o, author of * Afro-Fabulations: The Queer Drama of Black Life *“Luis Manuel Garcia-Mispireta serves us a much-anticipated, technicolor musicological response to the enveloping, multisensory experiences on the dancefloor that queer studies and performance theorists of color have dominated in analysis for quite some time. From start to finish, Garcia-Mispireta gives us rigorous analysis we can feel in the oft-neglected research on the dynamics of affective connection among electronic dance music enthusiasts both as everyday listeners and music researchers. Undoubtedly, readers will find themselves reclaiming previously contested sonic world utopias.” -- Alisha Lola Jones, author of * Flaming?: The Peculiar Theopolitics of Fire and Desire in Black Male Gospel Performance *Table of ContentsPreface ix Introduction 1 1. Touch and Intimacy on the Dancefloor 37 2. Sonic Tactility 65 3. Liquidarity 91 4. Thickening Something 124 5. The Sweetness of Coming Undone 151 6. Bouncers, Door Policies, and Embedded Diversity 183 Epilogue 216 Notes 235 Bibliography 267 Index 291
£75.65
Duke University Press Making Value
Book SynopsisTimothy D. Taylor theorizes music's economic and noneconomic forms of value to examine how people's conceptions of value inform and shape their production and consumption of music.
£76.50
Duke University Press P FKN R
£81.60
Duke University Press Making Value
Book SynopsisIn Making Value, Timothy D. Taylor examines how people’s conceptions of value inform and shape their production and consumption of music. Drawing on anthropological value theory, Taylor theorizes music’s economic and noneconomic forms of value both ethnographically and historically. He covers the creation and exchange of value in a wide range of contexts: indie rock scenes, an Irish traditional music session, the work of music managers, how supply chains function to create various forms of value, how trendspotters seek out and create value, and how musical performances act as media of value. Taylor shows that to focus on value is to attend to what is meaningful to people as they move through their worlds. Ultimately, Taylor demonstrates that theorizing value aids us in moving beyond the music itself toward understanding how musicians, workers in the music business, and audiences struggle to make and maintain what they value.
£18.89
New York University Press Hip Hop Heresies
Book SynopsisWinner of the 2022-2023 New York City Book Awards!SPECIAL MENTION, 2023 IASPM Book Prize, given by the International Association for the Study of Popular MusicSHORTLISTED, 2023 Ralph J. Gleason Book Award, given by the Rock N Roll Hall of Fame/Clive Davis InstituteUnearths the queer aesthetic origins of NYC hip hopHip Hop Heresies centers New York City as a space where vibrant queer, Black, and hip hop worlds collide and bond in dance clubs, schools, roller rinks, basketball courts, subways, and movie houses. Using this cultural nexus as the stage, Shanté Paradigm Smalls attends to the ways that hip hop cultural production in New York City from the 1970s through the early twenty-first century produced film, visual art, and music that offer queer articulations of race, gender, and sexuality.To illustrate New York City as a place of experimental aesthetic collaboration, Smalls briTrade ReviewFinally (deep heavy sigh of relief, followed by loud cheers of ‘yes, yesssss, y’all’) we have a book about NYC hip-hop culture that is as queerly heretical as the genre itself. Challenging the cishetero masculinist narratives usually projected onto hip-hop culture, Shanté Paradigm Smalls beautifully and heretically mashes up Black aesthetics, queer aesthetics, and hip hop aesthetics. Hip Hop Heresies is poised to irrevocably change the parameters of hip-hop scholarship. * Alexander Ghedi Weheliye, Northwestern University *Quite simply a tour de force. Like Tricia Rose's classic Black Noise, this book is a field-defining game-changer. Challenging hip hop’s traditional origin story, Smalls tears down, brick-by-brick, the well-worn narratives about the genre's relationship to blackness, masculinity, and heterosexuality. In innovative readings of film, visual art, and music, Smalls takes us into the formative spaces where people of all genders, sexualities and races co-mingle and co-create. In the process, Smalls constructs a new archive in which queer aesthetics, gender play, and categorical instability fuel hip hop's more transgressive tendencies. Highly readable, theoretically sophisticated, and utterly persuasive, Hip Hop Heresies is essential reading for hip hop fans and critics, as well as anyone interested in U.S. popular culture in the late 20th and early 21st centuries. * Cynthia A. Young, Pennsylvania State University *Whether looking at the various sharing and appreciation of other cultural ideals (Afro-Asian, for example) to the direct contributions of particular identities in seminal moments and waypoints within the culture, Hip Hop Heresies is a meaningful and powerful look into a history of Hip Hop that further cement the belief of Hip Hop's universal appeal, power, and influence on the world at large. -- Mikal Amin Lee * The Counterbalance *Hip Hop Heresies: Queer Aesthetics in New York City arrives just in time as the first scholarly monograph focused on queer hip hop and as a much-needed intervention that sets the stage for ongoing scholarship. * Journal of Popular Music Studies *
£62.90
New York University Press Hip Hop Heresies
Book SynopsisWinner of the 2022-2023 New York City Book Awards!SPECIAL MENTION, 2023 IASPM Book Prize, given by the International Association for the Study of Popular MusicSHORTLISTED, 2023 Ralph J. Gleason Book Award, given by the Rock N Roll Hall of Fame/Clive Davis InstituteUnearths the queer aesthetic origins of NYC hip hopHip Hop Heresies centers New York City as a space where vibrant queer, Black, and hip hop worlds collide and bond in dance clubs, schools, roller rinks, basketball courts, subways, and movie houses. Using this cultural nexus as the stage, Shanté Paradigm Smalls attends to the ways that hip hop cultural production in New York City from the 1970s through the early twenty-first century produced film, visual art, and music that offer queer articulations of race, gender, and sexuality.To illustrate New York City as a place of experimental aesthetic collaboration, Smalls briTrade ReviewFinally (deep heavy sigh of relief, followed by loud cheers of ‘yes, yesssss, y’all’) we have a book about NYC hip-hop culture that is as queerly heretical as the genre itself. Challenging the cishetero masculinist narratives usually projected onto hip-hop culture, Shanté Paradigm Smalls beautifully and heretically mashes up Black aesthetics, queer aesthetics, and hip hop aesthetics. Hip Hop Heresies is poised to irrevocably change the parameters of hip-hop scholarship. * Alexander Ghedi Weheliye, Northwestern University *Quite simply a tour de force. Like Tricia Rose's classic Black Noise, this book is a field-defining game-changer. Challenging hip hop’s traditional origin story, Smalls tears down, brick-by-brick, the well-worn narratives about the genre's relationship to blackness, masculinity, and heterosexuality. In innovative readings of film, visual art, and music, Smalls takes us into the formative spaces where people of all genders, sexualities and races co-mingle and co-create. In the process, Smalls constructs a new archive in which queer aesthetics, gender play, and categorical instability fuel hip hop's more transgressive tendencies. Highly readable, theoretically sophisticated, and utterly persuasive, Hip Hop Heresies is essential reading for hip hop fans and critics, as well as anyone interested in U.S. popular culture in the late 20th and early 21st centuries. * Cynthia A. Young, Pennsylvania State University *Whether looking at the various sharing and appreciation of other cultural ideals (Afro-Asian, for example) to the direct contributions of particular identities in seminal moments and waypoints within the culture, Hip Hop Heresies is a meaningful and powerful look into a history of Hip Hop that further cement the belief of Hip Hop's universal appeal, power, and influence on the world at large. -- Mikal Amin Lee * The Counterbalance *Hip Hop Heresies: Queer Aesthetics in New York City arrives just in time as the first scholarly monograph focused on queer hip hop and as a much-needed intervention that sets the stage for ongoing scholarship. * Journal of Popular Music Studies *
£20.89
New York University Press In the Spirit in the Dark
£19.94
MP-MPP University Press of Mississippi Jazz in China From Dance Hall Music to
Book Synopsis“Is there jazz in China?” This is the question that sent author Eugene Marlow on his quest to uncover the history of jazz in China. Marlow traces China's introduction to jazz in the early 1920s, its interruption by Chinese leadership under Mao in 1949, and its rejuvenation in the early 1980s with the start of China's opening to the world under Premier Deng Xiaoping.
£26.06
University Press of Mississippi Analysis of Jazz
Book SynopsisIn this groundbreaking volume, Laurent Cugny examines and connects the theoretical and methodological processes that underlie all of jazz. Jazz in all its forms is researched and analysed by performers, scholars, and critics. This book is required reading for any serious study of jazz.
£77.35
MP-MPP University Press of Mississippi Analysis of Jazz
Book SynopsisIn this groundbreaking volume, Laurent Cugny examines and connects the theoretical and methodological processes that underlie all of jazz. Jazz in all its forms is researched and analysed by performers, scholars, and critics. This book is required reading for any serious study of jazz.
£27.96
MP-MPP University Press of Mississippi Chocolate Surrealism Music Movement Memory and
Book SynopsisHighlights connections among the production, performance, and reception of popular music at critical historical junctures in the late nineteenth and twentieth centuries. Njoroge M. Njoroge sifts different origins and styles to place socio-musical movements into a larger historical framework.
£27.96
University Press of Mississippi Crossing Bar Lines
Book SynopsisIn Crossing Bar Lines: The Politics and Practices of Black Musical Space James Gordon Williams reframes the nature and purpose of jazz improvisation to illuminate the cultural work being done by five creative musicians between 2005 and 2019. The political thought of five African American improvisers--trumpeters Terence Blanchard and Ambrose Akinmusire, drummers Billy Higgins and Terri Lyne Carrington, and pianist Andrew Hill--is documented through insightful, multilayered case studies that make explicit how these musicians articulate their positionality in broader society. Informed by Black feminist thought, these case studies unite around the theory of Black musical space that comes from the lived experiences of African Americans as they improvise through daily life. The central argument builds upon the idea of space-making and the geographic imagination in Black Geographies theory. Williams considers how these musicians interface with contemporary social movements like Black Live
£26.10
MP-MPP University Press of Mississippi Going Up the Country
Book SynopsisAt the height of the blues revival, Marina Bokelman and David Evans made two trips to Louisiana and Mississippi, made recordings and interviews and took extensive field notes and photographs of blues musicians and their families. This book presents their experiences in vivid detail.
£30.56
MP-MPP University Press of Mississippi Learning Jazz Jazz Education History and Public
Book SynopsisStudies on jazz learning typically focus on one of two methods: institutional education or the kinds of informal mentoring relationships long associated with the tradition. Ken Prouty argues that this distinction works against a common identity for audiences and communities.Trade ReviewBringing together early jazz scholarship, archival materials, and Twitter feeds, this engaging book generates important new discussions about jazz education and advocacy in a historical and contemporary context." - David Borgo, professor of music at University of California San Diego
£81.75
University Press of Mississippi Ontology of the Musical Work
£79.20
Cornell University Press Sounding Out the State of Indonesian Music
Book SynopsisSounding Out the State of Indonesian Music showcases the breadth and complexity of the music of Indonesia. By bringing together chapters on the merging of Batak musical preferences and popular music aesthetics; the vernacular cosmopolitanism of a Balinese rock band; the burgeoning underground noise scene; the growing interest in kroncong in the United States; and what is included and excluded on Indonesian media, editors Andrew McGraw and Christopher J. Miller expand the scope of Indonesian music studies. Essays analyzing the perception of decline among gamelan musicians in Central Java; changes in performing arts patronage in Bali; how gamelan communities form between Bali and North America; and reflecting on the refusion of American mathcore and Balinese gamelan offer new perspectives on more familiar topics.Sounding Out the State of Indonesian Music calls for a new paradigm in popular music studies, grapples with the imperative to decolonTable of ContentsIntroduction, by Andrew McGraw and Christopher J. Miller Part I: Musical Communities 1. Harmonic Egalitarianism in Toba Palm Wine Stands and Studios, by Julia Byl 2. The Evolution of Performing Arts Patronage in Bali, Indonesia, by I Nyoman Catra 3. Beyond the Banjar: Community, Education, and Gamelan in North America, by Elizabeth A. Clendinning 4. Decline and Promise: Observations from a Present-Day Pangrawit, by Darsono Hadiraharjo and Maho A. Ishiguro Part II: Music, Religion, and Civil Society 5. Singing "Naked" Verses: Interactive Intimacies and Islamic Moralities in Saluang Performances in West Sumatra, by Jennifer Fraser 6. From Texts to Invocation: Wayang Puppet Play from the North Coast of Java, by Sumarsam 7. The Politicization of Religious Melody in the Indonesian Culture Wars of 2017, by Anne K. Rasmussen Part III: Popular Musics and Media 8. The Vernacular Cosmopolitanism of an Indonesian Rock Band: Navicula's Creative and Activist Pathways, by Rebekah E. Moore 9. Keroncong in the United States, by Danis Sugiyanto 10. Reformasi-Era Popular Music Studies: Reflections of an Anti-Anti-Essentialist, by Jeremy Wallach 11. Indonesian Regional Music on VCD: Inclusion, Exclusion, Fusion, by Philip Yampolsky Part IV: Sound Beyond and As Music 12. A Radical Story of Noise Music from Indonesia, by Dimitri della Faille and Cedrik Fermont 13. Audible Knowledge: Exploring Sound in Indonesian Musik Kontemporer, by Christopher J. Miller Part V: Music, Gender, and Sexuality 14. "Even Stronger Yet!": Gender and Embodiment in Balinese Youth Arja, by Bethany J. Collier 15. A Prolegomenon to Female Rampak Kendang (Choreographed Group Drumming) in West Java, by Henry Spiller 16. Approaching the Magnetic Power of Femaleness through Cross-Gender Dance Performance in Malang, East Java, by Christina Sunardi Part VI: Perspectives from Practice 17. Nines on Teaching Beginning Gamelan, by Jody Diamond 18. "Fix Your Face": Performing Attitudes Between Mathcore and Beleganjur, by I Putu Tangkas Hiranmayena 19. Wanbayaning: Voicing a Transcultural Islamic Feminist Exegesis, by Jessica Kenney Contributors Index
£28.80
Stanford University Press Recording History: Jews, Muslims, and Music
Book SynopsisA new history of twentieth-century North Africa, that gives voice to the musicians who defined an era and the vibrant recording industry that carried their popular sounds from the colonial period through decolonization. If twentieth-century stories of Jews and Muslims in North Africa are usually told separately, Recording History demonstrates that we have not been listening to what brought these communities together: Arab music. For decades, thousands of phonograph records flowed across North African borders. The sounds embedded in their grooves were shaped in large part by Jewish musicians, who gave voice to a changing world around them. Their popular songs broadcast on radio, performed in concert, and circulated on disc carried with them the power to delight audiences, stir national sentiments, and frustrate French colonial authorities. With this book, Christopher Silver provides the first history of the music scene and recording industry across Morocco, Algeria, and Tunisia, and offers striking insights into Jewish-Muslim relations through the rhythms that animated them. He traces the path of hit-makers and their hit records, illuminating regional and transnational connections. In asking what North Africa once sounded like, Silver recovers a world of many voices—of pioneering impresarios, daring female stars, cantors turned composers, witnesses and survivors of war, and national and nationalist icons—whose music still resonates well into our present.Trade Review"Masterfully orchestrating the sounds of the North African music industry, Recording History provides a fresh and unique tune to North African history. Analyzing the silences, echoes, and sounds of Jewish-Muslim relations, this delightful book is a classic in the making."—Aomar Boum, University of California, Los Angeles, editor of Wartime North Africa"Recording History is a highly original transnational study that masterfully fills an important gap in the history of popular culture in Tunisia, Morocco, and Algeria. By astutely listening to the past, Christopher Silver paints a rich and complex picture of North African music, aural culture, and recording history."—Ziad Fahmy, Cornell University, author of Street Sounds"Christopher Silver's noble quest to bring this lost world back to life, via obscure Maghrebi music stores and dusty boxes of shellac records in Montreal and Paris, allows us to restore its missing notes and fill in a silence in the soundtrack of our history."—Matti Friedman, Jewish Review of Books"Silver's contribution to the rapidly growing field of Sephardic Studies is a great achievement. I commend him for his active efforts to not only rescue this history from obscurity, but to bring it back to life and share it with the world."—Hannah Srour-Zackon, The Canadian Jewish News"Based on meticulous research and the [Silver]'s impressive knowledge of multiple languages and musical genres, the book represents a landmark in the study of the musical cultures of North Africa and provides an exhaustive history of the music, thereby setting a high bar for future scholarship on the region and its cultural dynamics."—Jonathan Shannon, The Journal of North African Studies"This book is a welcome addition to the fields of Jewish Studies, Middle Eastern Studies, and cultural history more broadly.... Recording History has opened the door to a brilliant new historiographical soundscape."—Alma Rachel Heckman, Canadian Jewish Studies"Recording History is both exciting new research on music itself, and an unexpected history of North African Jews and Jewish-Muslim relations, through the framework of a shared musical heritage."—Phoebe Maltz Bovy, Canadian Jewish News"Recording History is a well-written and compelling book. Silver meticulously narrates the rich stories of artists and songs and contextualizes them in the social, political, and economic contexts of their times."—Hugo Hadji, Musica Judaica Online Reviews
£79.20
Stanford University Press Recording History: Jews, Muslims, and Music
Book SynopsisA new history of twentieth-century North Africa, that gives voice to the musicians who defined an era and the vibrant recording industry that carried their popular sounds from the colonial period through decolonization. If twentieth-century stories of Jews and Muslims in North Africa are usually told separately, Recording History demonstrates that we have not been listening to what brought these communities together: Arab music. For decades, thousands of phonograph records flowed across North African borders. The sounds embedded in their grooves were shaped in large part by Jewish musicians, who gave voice to a changing world around them. Their popular songs broadcast on radio, performed in concert, and circulated on disc carried with them the power to delight audiences, stir national sentiments, and frustrate French colonial authorities. With this book, Christopher Silver provides the first history of the music scene and recording industry across Morocco, Algeria, and Tunisia, and offers striking insights into Jewish-Muslim relations through the rhythms that animated them. He traces the path of hit-makers and their hit records, illuminating regional and transnational connections. In asking what North Africa once sounded like, Silver recovers a world of many voices—of pioneering impresarios, daring female stars, cantors turned composers, witnesses and survivors of war, and national and nationalist icons—whose music still resonates well into our present.Trade Review"Masterfully orchestrating the sounds of the North African music industry, Recording History provides a fresh and unique tune to North African history. Analyzing the silences, echoes, and sounds of Jewish-Muslim relations, this delightful book is a classic in the making."—Aomar Boum, University of California, Los Angeles, editor of Wartime North Africa"Recording History is a highly original transnational study that masterfully fills an important gap in the history of popular culture in Tunisia, Morocco, and Algeria. By astutely listening to the past, Christopher Silver paints a rich and complex picture of North African music, aural culture, and recording history."—Ziad Fahmy, Cornell University, author of Street Sounds"Christopher Silver's noble quest to bring this lost world back to life, via obscure Maghrebi music stores and dusty boxes of shellac records in Montreal and Paris, allows us to restore its missing notes and fill in a silence in the soundtrack of our history."—Matti Friedman, Jewish Review of Books"Silver's contribution to the rapidly growing field of Sephardic Studies is a great achievement. I commend him for his active efforts to not only rescue this history from obscurity, but to bring it back to life and share it with the world."—Hannah Srour-Zackon, The Canadian Jewish News"Based on meticulous research and the [Silver]'s impressive knowledge of multiple languages and musical genres, the book represents a landmark in the study of the musical cultures of North Africa and provides an exhaustive history of the music, thereby setting a high bar for future scholarship on the region and its cultural dynamics."—Jonathan Shannon, The Journal of North African Studies"This book is a welcome addition to the fields of Jewish Studies, Middle Eastern Studies, and cultural history more broadly.... Recording History has opened the door to a brilliant new historiographical soundscape."—Alma Rachel Heckman, Canadian Jewish Studies"Recording History is both exciting new research on music itself, and an unexpected history of North African Jews and Jewish-Muslim relations, through the framework of a shared musical heritage."—Phoebe Maltz Bovy, Canadian Jewish News"Recording History is a well-written and compelling book. Silver meticulously narrates the rich stories of artists and songs and contextualizes them in the social, political, and economic contexts of their times."—Hugo Hadji, Musica Judaica Online Reviews"Recording History makes an invaluable contribution to scholarship on the complex musical histories of North Africa in the 20th century. It will be of great benefit to anyone interested in not only the music of the region but also histories of colonialism, technology, and religion within North Africa."—Stephen Wilford, International Journal of Middle East Studies
£21.59
University of Minnesota Press Circuit Listening: Chinese Popular Music in the
Book SynopsisHow the Chinese pop of the 1960s participated in a global musical revolution What did Mao’s China have to do with the music of youth revolt in the 1960s? And how did the mambo, the Beatles, and Bob Dylan sound on the front lines of the Cold War in Asia? In Circuit Listening, Andrew F. Jones listens in on the 1960s beyond the West, and suggests how transistor technology, decolonization, and the Green Revolution transformed the sound of music around the globe.Focusing on the introduction of the transistor in revolutionary China and its Cold War counterpart in Taiwan, Circuit Listening reveals the hidden parallels between music as seemingly disparate as rock and roll and Maoist anthems. It offers groundbreaking studies of Mandarin diva Grace Chang and the Taiwanese folk troubadour Chen Da, examines how revolutionary aphorisms from the Little Red Book parallel the Beatles’ “Revolution,” uncovers how U.S. military installations came to serve as a conduit for the dissemination of Anglophone pop music into East Asia, and shows how consumer electronics helped the pop idol Teresa Teng bring the Maoist era to a close, remaking the contemporary Chinese soundscape forever.Circuit Listening provides a multifaceted history of Chinese-language popular music and media at midcentury. It profiles a number of the most famous and best loved Chinese singers and cinematic icons, and places those figures in a larger geopolitical and technological context. Circuit Listening’s original research and far-reaching ideas make for an unprecedented look at the role Chinese music played in the ’60s pop musical revolution.Trade Review"Circuit Listening challenges our understanding of popular music as a Euro-American hegemony by demonstrating how the Sinophone music industries and markets partook of this global circuit through corporate expansion, as well as through local resistance and piracy. It is a long-awaited book on the way global popular music, in all its diversity, circularity, and promiscuity, should be re-historicized and reconceptualized."—Victor Fan, author of Cinema Approaching Reality: Locating Chinese Film Theory"Andrew F. Jones presents a complex transnational circuit with care and panache, explaining why mambo travels, how the Vietnam War created a demand for pirated recordings, and what Mao quotation songs had in common with British rock-and-roll hits. He guides the reader from transistor technology to rural electrification, from voice timbre to smuggling routes. Circuit Listening is cultural history at its richest."—Gail Hershatter, author of The Gender of Memory: Rural Women and China’s Collective Past"Listening is a feast for film buffs."—Shepherd Express"Jones's grasp and analysis of historical materials is impressive. This is an important source and research model for students of Chinese history."—CHOICE"The book is packed with exacting research and close textual decodings of music and films... for Chinese music nerds, Circuit Listening is an absolute must-have."—Taipei TimesTable of ContentsContentsAcknowledgmentsIntroduction. The East is Red: Towards a Sonic History of the 1960s1. Circuit Listening at the Dawn of the Chinese 1960s2. Quotation Songs: Media Infrastructure and Pop Song Form in Mao’s China3. Fugitive Sounds of the Taiwanese Musical Cinema4. Pirates of the China Seas: Vinyl Records and the Military Circuit5. Folk Circuits: Rediscovering Chen Da6. Teresa Teng and the Network TraceAppendix: “Listening to Songs in the Streets of Taipei” Hsu Tsang-HoueiNotesIndex
£80.00
University of Minnesota Press Hungry Listening: Resonant Theory for Indigenous
Book SynopsisWInner of the Best First Book from the Native American and Indigenous Studies Association Winner of the Labriola Center American Indian National Book Award Winner of the Ann Saddlemyer Award from the Canadian Association for Theatre ResearchReimagining how we understand and write about the Indigenous listening experienceHungry Listening is the first book to consider listening from both Indigenous and settler colonial perspectives. A critical response to what has been called the “whiteness of sound studies,” Dylan Robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality. This, he argues, involves identifying habits of settler colonial perception and contending with settler colonialism’s “tin ear” that renders silent the epistemic foundations of Indigenous song as history, law, and medicine. With case studies on Indigenous participation in classical music, musicals, and popular music, Hungry Listening examines structures of inclusion that reinforce Western musical values. Alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, Hungry Listening offers examples of “doing sovereignty” in Indigenous performance art, museum exhibition, and gatherings that support an Indigenous listening resurgence.Throughout the book, Robinson shows how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. Through event scores, dialogic improvisation, and forms of poetic response and refusal, he demands a reorientation toward the act of reading as a way of listening. Indigenous relationships to the life of song are here sustained in writing that finds resonance in the intersubjective experience between listener, sound, and space. Trade Review"In this brilliant and wide-ranging work, Dylan Robinson refuses to write about anything. Instead he demonstrates what it means at the practical, ethical, and political levels to write relationally with other living beings, including music, sound, belongings, languages, lands, ancestors, and readers. In method and content, Hungry Listening is a challenge to settler colonial sensory and political orders as well as a powerful affirmation of Indigenous thought, practice, and art."—Beth Piatote, author of The Beadworkers and Domestic Subjects"Hungry Listening is a necessary and creative confrontation of the consequences of settler colonialism for Indigenous music and sound territories. Offering a robust critique of inclusionary performance as settler mis-audation, Dylan Robinson forwards a transformative politics of listening, a practice of guest listening that refuses capture and certainty. At once playful and intensely serious, Hungry Listening experiments with affective event scores and forms of direct address to allow readers to imagine approaches to visiting with Indigenous sound and performance."—Eve Tuck, University of Toronto"Dylan Robinson employs a xwélméxw (Stó:lō) reading, listening, and thinking practice to enact a decolonial critique of the ‘sonic encounters’ between Indigenous vocal traditions and Western classical and popular music. Hungry Listening, by one of the field’s most generous, perceptive, visionary, and generative scholars, will be a game changer in the areas of Indigenous, sound, and performance studies."—Michelle Raheja, author of Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film"As a form of address, Hungry Listening is profoundly conscious of its multiple audiences, and enacts ethics of appropriate relationship, modeling to readers how musical scholarship can approach Indigenous creators, performers and musics in ways that respect Indigenous sovereignty and value Indigenous creations on their own terms."—Amodern"Robinson manages to pose compelling arguments as to how much first needs to be unsettled whilst establishing the new ground needed for Indigenous sound studies to flourish."—Feminist Review "An exemplary text which forges space for Indigenous epistemological and ontological existence through decolonial critique in the realm of sound studies."—Canadian Association of Music Libraries "Hungry Listening is a powerful piece of listening through reading that not only critiques settler listening but also candidly address the ways in which settler colonialism has impacted Indigenous sonic spaces."—MUSICulturesTable of ContentsContentsIntroductionWriting Indigenous Space1. Hungry ListeningEvent Score for Guest Listening I2.Writing about Musical Intersubjectivityxwélalà:m, Raven Chacon’s Report3. Contemporary Encounters Between Indigenous and Early Music Event Score for those who hold our songs4. Ethnographic Redress, Compositional ResponsibilityEvent Score for Responsibility: “qimmit katajjaq / sqwélqwel tl’ sqwmá:y”5. Feeling ReconciliationEvent Score to ActAcknowledgmentsConclusionNotesBibliographyIndex
£80.00
University Press of Mississippi Africa and the Blues
Book SynopsisIn 1969 Gerhard Kubik chanced to encounter a Mozambican labor migrant, a miner in Transvaal, South Africa, tapping a cipendani, a mouth-resonated musical bow. A comparable instrument was seen in the hands of a white Appalachian musician who claimed it as part of his own cultural heritage. Through connections like these Kubik realized that the link between these two far-flung musicians is African-American music, the sound that became the blues. Such discoveries reveal a narrative of music evolution for Kubik, a cultural anthropologist and ethnomusicologist. Traveling in Africa, Brazil, Venezuela, and the United States, he spent forty years in the field gathering the material for Africa and the Blues. In this book, Kubik relentlessly traces the remote genealogies of African cultural music through eighteen African nations, especially in the Western and Central Sudanic Belt. Included is a comprehensive map of this cradle of the blues, along with 31 photographs gathered in his fieldwork. The author also adds clear musical notations and descriptions of both African and African American traditions and practices and calls into question the many assumptions about which elements of the blues were ""European"" in origin and about which came from Africa. Unique to this book is Kubik's insight into the ways present-day African musicians have adopted and enlivened the blues with their own traditions. With scholarly care but with an ease for the general reader, Kubik proposes an entirely new theory on blue notes and their origins. Tracing what musical traits came from Africa and what mutations and mergers occurred in the Americas, he shows that the African American tradition we call the blues is truly a musical phenomenon belonging to the African cultural world. Gerhard Kubik is a professor in the department of ethnology and African studies at the University of Mainz, Germany. Since 1983 he has been affiliated with the Center for Social Research of Malawi, Zomba. He is a permanent member of the Center for Black Music Research in Chicago and an Honorary Fellow of the Royal Anthropological Institute of Great Britain and Ireland, London.
£27.96
University Press of Mississippi A Spiral Way: How the Phonograph Changed
Book SynopsisThe invention of the cylinder phonograph at the end of the nineteenth century opened up a new world for cultural research. Indeed, Edison's talking machine became one of the basic tools of anthropology. It not only equipped researchers with the means of preserving folk songs but it also enabled them to investigate a wide spectrum of distinct vocal expressions in the emerging fields of anthropology and folklore. Ethnographers grasped its huge potential and fanned out through regional America to record rituals, stories, word lists, and songs in isolated cultures. From the outset the federal government helped fuel the momentum to record cultures that were at risk of being lost. Through the Bureau of American Ethnology, the Smithsonian Institution took an active role in preserving native heritage. It supported projects to make phonographic documentation of American Indian language, music, and rituals before developing technologies and national expansion might futher undermine them. This study of the early phonograph's impact shows traditional ethnography being transformed, for attitudes of both ethnographers and performers were reshaped by this exciting technology. In the presence of the phonograph both fieldwork and the materials collected were revolutionized. By radically altering the old research modes, the phonograph brought the disciplines of anthropology and folklore into the modern era. At first the instrument was as strange and new to the fieldworkers as it was to their subjects. To some the first encounter with the phonograph was a deeply unsettling experience. When it was demonstrated in 1878 before members of the National Academy of Sciences, several members of the audience fainted. Even its inventor was astonished. Of his first successful test of his tinfoil phonograph, Thomas A. Edison said, ""I was never taken so aback in my life."" The cylinders that have survived from these times offer an unrivaled resource not only for contemporary scholarship but also for a grassroots renaissance of cultural and religious values. In tracing the historical interplay of the talking machine with field research, A Spiral Way underscores the natural adaptablity of cultural study to this new technology.
£27.96
Boydell & Brewer Ltd Music Theory in Concept and Practice
Book SynopsisHistorical, theoretical and analytical studies of principally 19-20c topics, reflecting current musical research. This collection of nineteen essays, all by leaders in the field of music theory, reflects the rich diversity of topics and approaches currently being explored. The contributions fall within three principal areas of study that haveremained at the heart of the discipline. One is historical research, which includes efforts to trace the development of theoretical ideas and their philosophical bases. Representing this broad category are essays dealing with issues like Scriabin's mysticism, neoclassicism, modern aesthetics, and the development of the concept of pitch collection in twentieth-century theoretical writings. The second area embraces the theory and analysis of common-practicetonality and its associated repertoire (including chromatic and 'transitional' music). Within this category are several studies related directly to or derived from Schenkerian theory, covering repertoire from Bach through Schubert and Chopin to Gershwin. Complementing these articles are a study of a chromatic work by Liszt and an essay on Schoenberg's concept of tonality. The third broad category includes the large body of work associated with the theoryand analysis of post-tonal music. Representing this extensive area of inquiry are essays dealing with voice leading in atonal music and extending Allen Forte's theory of the set complex, and analytical studies dealing with works by Schoenberg and Webern. Adding to these contributions are articles that deal with works by composers less frequently discussed in the analytical literature, Milhaud and Peter Maxwell Davies, and an empirical study of aural cognition of atonal and tonal music. These essays, all by colleagues, friends, and students of Allen Forte are intended as a celebrationof his enormous contribution to the discipline of music theory. James Baker is Professor of Music at Brown University; David Beach is Dean of the Faculty of Music at the University of Toronto; Jonathan Bernard is Professor of Music at the University of Washington.Trade ReviewA survey -- a celebration, indeed -- of the discipline of music theory as it stands at the start of the twenty-first century. . . . Unselfconscious and authoritative . . . accessible both to specialists, and to the general reader who wants to be made more aware of what's new and exciting in the field. -- Mark Sealey * CLASSICAL.NET *the entire review can be accessed at http://www.classical.net/music/books/reviews/1580462251a.php * . *Its nineteen essays attest to the depth and breadth of Forte's influence and show the field at its richest. This distinguished volume represents the continuation of . . . intellectual traditions that have been focused and refracted through Forte's scholarship and teaching. * NOTES, September 1998 *Table of ContentsIntroduction Chord, Collection, and Set in Twentieth-Century Theory - Jonathan W. Bernard Scriabin's Music: Structure as Prism for Mystical Philosophy - James M. Baker Tonality: A Conflict of Forces - Patricia Carpenter Neoclassicism and Its Definitions - Pieter C. van den Toorn Modernist Aesthetics, Modernist Music: Some Analytical Perspectives - Arnold Whittall Salient Features - John Rothgeb Synthesis and Association, Structure and Design in Multi-Movement. Compositions - David Neumeyer Tonal/Atonal: Cognitive Strategies for Recognizing Transposed Melodies - Elizabeth West Marvin Voice Leading in Atonal Music - Joseph N. Straus K, Kh, and Beyond - Robert D. Morris The Submediant as Third Divider: Its Representation at Different Structural Levels - David W. Beach The Form of Chopin's Polonaise-Fantasy - William Rothstein Chasing the Scent: Tonality in Liszt's Blume und Duft - Robert P. Morgan Reflections on a Few Good Tunes: Linear Progressions and Intervallic Patterns in Popular Song and Jazz - Steven E. Gilbert Bitonality, Pentatonicism, and Diatonicism in a Work by Milhaud - Daniel Harrison Signposts on Webern's Path to Atonality: The Dehmel Lieder (1906-08) - Robert W. Wason Some Notes on Pierrot Lunaire - David Lewin Form and Idea in Schoenberg's Phantasy - Christopher Hasty Elision and Structural Levels in Peter Maxwell Davies's Dark Angels - Ann K. McNamee Index
£44.00
