Search results for ""Author Philip V Bohlman""

The term 'world music' encompasses both folk and popular music across the globe, as well as the sounds of cultural encounter and diversity, sacred voices raised in worship, local sounds, and universal values. It emerged as an invention of the West from encounters with other cultures, and holds the power to evoke the exotic and give voice to the voiceless. Today, in both sound and material it has a greater presence in human societies than ever before. The politics of which world music are a part - globalization, cosmopolitanism, and nationalism - play an increasingly direct role in societies throughout the world, but are at the same time also becoming increasingly controversial. In this new edition of his Very Short Introduction, Philip Bohlman considers questions of meaning and technology in world music, and responds to the dramatically changing political world in which people produce and listen to world music. He also addresses the different ways in which world music is created, disseminated, and consumed, as the full reach of the internet and technologies that store and spread music through the exchange of data files spark a revolution in the production and availability of world music. Finally, Bohlman revises the way we think of the musician, as an increasingly mobile individual, sometimes because physical borders have fallen away, at other times because they are closing. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

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Kirin Narayan's imagination was captured the very first time, as a girl visiting the region, that she heard Kangra women join their voices together in song. Returning as an anthropologist, she became fascinated by how they spoke of singing as a form of enrichment, bringing feelings of accomplishment, companionship, happiness, and even good health all benefits of the "everyday creativity" she explores in this book. Part ethnography, part musical discovery, part poetry, part memoir, and part unforgettable portraits of creative individuals, this unique work draws on an association across forty years, and brings the Himalayan foothill region of Kangra in North India alive in sight and sound while celebrating the incredible powers of music in our lives. With rare and captivating eloquence, Narayan portrays Kangra songs about difficulties on the lives of goddesses and female saints as a path to well-being. Like the intricate geometries of mandalu patterns drawn in courtyards or the subtle balance of flavors in a meal, well-crafted songs offer a variety of deeply meaningful benefits: as a way of making something of value, as a means of establishing a community of shared pleasure and skill, as a path through hardships and limitations, and as an arena of renewed possibility. Everyday Creativity makes big the small world of Kangra song and opens up new ways of thinking about what creativity is to us and why we are so compelled to engage it.

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"A spectre lurks in the house of music, and it goes by the name of race", write Ronald Radano and Philip Bohlman in their introduction. Yet the intimate relationship between race and music has rarely been examined by contemporary scholars, most of whom have abandoned it for more enlightened notions of ethnicity and culture. Here, a distinguished group of contributors confront the issue head on. Representing an unusually broad range of academic disciplines and geographic regions, they critically examine how the imagination of race has influenced musical production, reception and scholarly analysis, even as they reject the objectivity of the concept itself. Each essay follows the lead of the substantial introduction, which reviews the history of race in European and American, non-Western and global musics, placing it within the contexts of the colonial experience and the more recent formation of "world music". Offering a bold, new revisionist agenda for musicology in a postmodern, postcolonial world, this book should appeal to students of culture and race across the humanities and social sciences.

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Nineteen scholars from five countries explore significant issues in the history of ethnomusicology and its methodological and theoretical foundations, while providing a critique of the discipline. "This is a useful and enriching collection of articles of interest to musicologists and ethnomusicologists...The authors manage to cover much ground, presenting fascinating insights into the history of the discipline while also exploring new directions in both theory and analysis...the most sweeping work of this kind to be published since the 1960s."--L. D. Loeb, University of Utah, for Choice

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Many regard jazz as the soundtrack of America, born and raised in its cities and echoing throughout its tumultuous century of progress. So when Ernest Hemingway wrote about seeing jazz in 1920s Paris, and when British colonial officials danced to jazz in the clubs of Calcutta in the waning years of the Raj, how, exactly, had it gotten there? Jazz Worlds/World Jazz aims to answer these questions and more, bringing together voices from countries as far flung as Azerbaijan, Armenia, and India to show that the story of jazz is not trapped in American history books but alive in global modernity. Monumental in scope, this book explores the relationship between jazz and culture and how they influence each other across a range of themes and settings. Contributors offer an analysis of the social meaning of jazz in Iran, a look at the genesis of Ethiopian jazz and at Indian fusion, and chapters on jazz diplomacy, Balkan swing, and that French export par excellence: Django Reinhardt. Altogether the contributors approach jazz—in these global iterations—through the themes that have always characterized it at home: place, history, mobility, media, and race. The result is a first-of-its-kind map of jazz around the globe that pays tribute to the players who have given the form its seemingly infinite possibilities.

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Confronting a topic that has sparked considerable debate in recent years: how do musicians and music scholars "discipline" music in their efforts to confer order and meaning on it?, this collection of essays addresses this issue by formulating questions about music's canons - rules that measure and order, negotiate cultural constraints, reconstruct the past, and shape the future. Written by scholars representing the fields of historical musicology, ethnomusicology, and music theory, many of the essays seek to push at the very boundaries of these traditional divisions within the study of music.

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Distinguished ethnomusicologist Philip V. Bohlman compiles Johann Gottfried Herder's writings on music and nationalism, from his early volumes of Volkslieder through sacred song to the essays on aesthetics late in his life, shaping them as the book on music that Herder would have written had he gathered the many strands of his musical thought into a single publication. Framed by analytical chapters and extensive introductions to each translation, this book interprets Herder's musings on music to think through several major questions: What meaning did religion and religious thought have for Herder? Why do the nation and nationalism acquire musical dimensions at the confluence of aesthetics and religious thought? How did his aesthetic and musical thought come to transform the way Herder understood music and nationalism and their presence in global history? Bohlman uses the mode of translation to explore Herder's own interpretive practice as a translator of languages and cultures, providing today's readers with an elegantly narrated and exceptionally curated collection of essays on music by two major intellectuals.

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Designed as a tribute to world-renowned ethnomusicologist Bruno Nettl, this volume explores the ways in which ethnomusicologists are contributing to the larger task of investigating music history. The fifteen contributors explore topics ranging from meetings with the Suyá Indians of Brazil to the German-speaking Jewish community of Israel; from Indian music in Felicity, Trinidad, to Ravi Shankar's role as cultural mediator. "This book is unique not only for its approach but also for the scope of its content. . . . It is definitely a must for libraries of research centers and institutions with ethnomusicology programs." -- Choice

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