With just four record companies controlling nearly 80 per cent of the world market in popular music, issues of globalization are evidently significant to our understanding of how and why popular music is made and distributed. As transnational industries seek to open up increasingly larger markets, the question of how local and regional music cultures can be sustained is a pressing one. To what extent does the global music market offer opportunities for the worldwide dissemination of local music within and beyond the major industry? The essays in this volume examine the structure and strategies of the transnational music industry, with its deployment of mass communication technologies including sound carriers, satellite broadcasting and the Internet. The book also explores local and individual experience of global music and this music's dissemination through migration and communities of interest, as well as the ideological and political use of different kinds of music. In contrast to recent arguments which posit an American imperialist dominance of popular music, the contributors to this volume find that the global repertoire of the major labels no longer represents the culture of a certain country but is fed by different sources. The essays here discuss how we can characterize this vast de-centered industry, and offer perspectives on the so-called 'international repertoire' that calls for a melodic structure, ballad forms, unaccented vocalisation and an image that has global recognition.

The Greek folk songs Dimotika Tragoudia in Greek are songs of the Greek countryside, from island towns to mountain villages. They have been passed down from generation to generation in a centuries-long oral tradition, lasting until the present. They are songs of every aspect of old Greek life: from love songs and ballads, to laments for the dead, to songs of travel and brigands. Written down at the start of the nineteenth century, they are the first works of modern Greek poetry, playing a crucial role in forming the country's modern language and literature. Still known and sung today, they are the Homer of modern Greece. This new translation brings the songs to an English readership for the first time in over a century, capturing the lyricism of the Greek in modern English verse. Translator info: Joshua Barley is a translator of modern Greek literature and writer. He read Classics at Oxford and modern Greek at King's College, London. His translations of Ilias Venezis' Serenity and Makis Tsitas' God Is My Witness are published by Aiora Press. A Greek Ballad, selected poems of Michalis Ganas (translated with David Connolly is published by Yale University Press). Foreword by A.E. Stallings, American poet and translator.

Despite being the sixth largest island in the world and home to an estimated 44 million Indonesians, Sumatra's musical arts and cultures have not been the subject of a book-length study until now. Documenting and explaining the ethnographic, cultural, and historical contexts of Sumatra's performing arts, Musical Journeys in Sumatra also traces the changes in their style, content, and reception from the early 1970s onward. Having dedicated thirty years of scholarship to exploring the rich and varied music of Sumatran provinces, Margaret Kartomi provides a fascinating ethnographic record of vanishing musical genres, traditions, and practices that have become deeply compromised by the pressures of urbanization, rural poverty, and government policy in. This unique collection showcases the complex diversity of Indonesian music and includes field observations from five different provinces: Aceh, North Sumatra, Riau, West Sumatra, and South Sumatra. Featuring unique photographs and original drawings from Kartomi's field observations of instruments and performances, Musical Journeys in Sumatra provides a comprehensive musical introduction to this neglected, very large island, with its hundreds of ethno-linguistic-musical groups.

In smoky rooms above pubs, bare rooms with battered stools and beer-stained tables, where the stage was little more than a scrap of carpet and sound systems were unheard of, an acoustic revolution took place in Britain in the 1950s and '60s. This was the folk revival, where a generation of musicians, among much drink and raucous cheer, would rediscover the native songs of their own tradition, as well as the folk and blues coming from across the Atlantic by artists such as Leadbelly, Woody Guthrie and Big Bill Broonzy. Singing from the Floor is the story of this remarkable movement, faithfully captured in the voices of those who formed it by JP Bean. We hear from luminaries such as Shirley Collins, Martin Carthy, Peggy Seeger and Ralph McTell, alongside figures such as Billy Connolly, Jasper Carrott and Mike Harding, who all started their careers on the folk circuit. The book charts the revival's improvised beginnings and its ties to the CND movement, through the heyday of the '60s and '70s, when every university, town and many villages across the country boasted a folk club, to the fallow years of the '80s and '90s. The book finishes on a high note, with the recent resurgence of interest in folk, through such artists as the Lakemans, Sam Lee and Eliza Carthy. It is a joyous, boisterous and hugely entertaining book, and an essential document of our recent history stretching into the past.

This book focuses on how Latin American people and cultural practices have moved from one continent to another, and specifically to London. How do Latin Americans experience such a process and what part do different people play in the re-making of Latin identities in the neighbourhoods, parks, bars and dance clubs of London? Through a critical engagement with theories of globalization, the geography of power, cultural identity and the transformation of places, the book explores how the formation of Latin identities is directly related to wider social, economic and political processes. Drawing on the voices of migrant peoples, community activists, shop owners, sports organizers, club owners, dancers, dance teachers, musicians and disc jockeys, the book argues that the micro movements of people - through a shopping mall or across a dance floor in a club - are directly connected to global processes involving the regulated movement of citizens, sounds and images across national boundaries and through cities.

Music in Pacific Island Cultures is one of several case-study volumes that can be used along with Thinking Musically, Second Edition, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. The islands of Melanesia, Micronesia, and Polynesia are steeped in diverse musical traditions that reach far beyond the expanse of the Pacific Ocean. Music in Pacific Island Cultures is the first brief, single-volume text to provide a thematic, succinct introduction to the music of the Pacific Islands-a region of the world that has long been under-represented in ethnomusicological studies. Based on the authors' extensive fieldwork and experiences in Pacific Island cultures, the text draws on interviews with performers, eyewitness accounts of performances, vivid illustrations, and insights gained from ongoing participation in Pacific music. The authors use four themes-colonialism, belief systems, musical flows, and the re/presentation of Pacific cultures-to survey the region and draw parallels and contrasts between its various musical traditions. Packaged with a 70-minute audio CD containing musical examples discussed in the book, Music in Pacific Island Cultures features numerous listening activities that engage students with the music. The companion website includes a comprehensive Instructor's Manual with suggested classroom activities. Visit www.oup.com/us/globalmusic for a list of books in the Global Music Series. The website also includes instructional materials to accompany each volume.

The Faber Music Christmas Piano Anthology is an essential collection of the greatest Christmas songs and carols, specially arranged for solo piano, for the intermediate pianist. The perfect gift for Christmas, this beautiful anthology includes favourites such as O Holy Night, Sleigh Ride and It's Beginning To Look A Lot Like Christmas alongside arrangements of Winter (from the Four Seasons), Troika (from Lieutenant Kije), and more.

Started by the National Life and Accident Insurance Company in 1925, WSM became one of the most influential and exceptional radio stations in the history of broadcasting and country music. WSM gave Nashville the moniker "Music City USA" as well as a rich tradition of music, news, and broad-based entertainment. With the rise of country music broadcasting and recording between the 1920s and '50s, WSM, Nashville, and country music became inseparable, stemming from WSM's launch of the Grand Ole Opry, popular daily shows like Noontime Neighbors, and early morning artist-driven shows such as Hank Williams on Mother's Best Flour. Sparked by public outcry following a proposal to pull country music and the Opry from WSM-AM in 2002, Craig Havighurst scoured new and existing sources to document the station's profound effect on the character and self-image of Nashville. Introducing the reader to colorful artists and businessmen from the station's history, including Owen Bradley, Minnie Pearl, Jim Denny, Edwin Craig, and Dinah Shore, the volume invites the reader to reflect on the status of Nashville, radio, and country music in American culture.

A series of little books of short carefully graded folk tunes beginning with the simplest passages and progressing to more difficult leaps, rhythms, chromatics, and modulations. The later books introduce two-part sight singing.

Richly ethnographic and a compelling read, After the Dance, the Drums Are Heavy is a study of carnival, politics, and the musical engagement of ordinary citizens and celebrity musicians in contemporary Haiti. The book explores how the self-declared president of konpa Sweet Micky (Michel Martelly) rose to the nation's highest office while methodically crafting a political product inherently entangled with his musical product. It offers deep historical perspective on the characteristics of carnivalesque verbal play-and the performative skillset of the artist (Sweet Micky) who dominated carnival for more than a decade-including vulgarities and polemics. Yet there has been profound resistance to this brand of politics led by many other high-profile artists, including Matyas and Joj, Brothers Posse, Boukman Eksperyans, and RAM. These groups have each released popular carnival songs that have contributed to the public's discussions on what civic participation and citizenship in Haiti can and should be. Drawing on more than a decade and a half of ethnographic research, Rebecca Dirksen presents an in-depth consideration of politically and socially engaged music and what these expressions mean for the Haitian population in the face of challenging political and economic circumstances. After the Dance, the Drums Are Heavy centers the voices of Haitian musicians and regular citizens by extensively sharing interviews and detailed analyses of musical performance in the context of contemporary events well beyond the musical realm.

A black cow leads the members of a South Indian hill tribe, the Kotas, to the Nilgiri Hills and, with its hoof, indicates where to found each village. This footprint acts as a moral center of gravity, an important place for music-making, dancing, and other rituals. Places such as this, and moments in time, serve as physical and moral "anchors" for the Kota community. In this book, Richard K. Wolf explores how the Kotas "anchor" their musical and other activities around places and significant moments in time and, in the process, constitute themselves as individuals and as a group. This volume also includes a CD of Richard Wolf's Kota field recordings.

Many of Scotland's songs were collected by, and first set down by, Robert Burns. His mother used to sing songs to him as a child, and his poetry reflected this rich heritage. This book is a collection of 80 songs, and is organised alphabetically by song title, and contains a glossary to explain many of the Scots words in the songs. The book is now in its third edition and is an inexpensive and essential book for anyone interested in traditional Scottish songs arranged for voice and piano.

Following the Drums: African American Fife and Drum Music in Tennessee is an epic history of a little-known African American instrumental music form. John M. Shaw follows the music from its roots in West Africa and early American militia drumming to its prominence in African American communities during the time of Reconstruction, both as a rallying tool for political militancy and a community music for funerals, picnics, parades, and dances. Carefully documenting the music's early uses for commercial advertising and sports promotion, Shaw follows the strands of the music through the nadir of African American history during post-Reconstruction up to the form's rediscovery by musicologists and music researchers during the blues and folk revival of the late 1960s and early 1970s. Although these researchers documented the music, and there were a handful of public performances of the music at festivals, the story has a sad conclusion. Fife and drum music ultimately died out in Tennessee during the early 1980s. Newspaper articles from the period and interviews with music researchers and participants reawaken this lost expression, and specific band leaders receive the spotlight they so long deserved. Following the Drums is a journey through African American history and Tennessee history, with a fascinating form of music powering the story.

Nearly 50 of the most popular folk songs of our time, including: Blowin' in the Wind * The House of the Rising Sun * I Ain't Marching Anymore * If I Had a Hammer (The Hammer Song) * Jamaica Farewell * Kum Ba Yah * Man of Constant Sorrow * Puff the Magic Dragon * Scarborough Fair/Canticle * Sunshine on My Shoulders * This Land Is Your Land * Time in a Bottle * The Times They Are A-Changin' * Turn! Turn! Turn! (To Everything There Is a Season) * The Unicorn * Where Have All the Flowers Gone? * and more.

Folk Voiceworks is an outstanding collection of folk songs in the Voiceworks model, including songs from centuries past alongside pieces by celebrated folk musicians. You'll find pieces in a range of genres and styles, including shanties, protest songs, songs about the land, lullabies, love songs, and much more - scored flexibly for unison and part-singing. With excellent practical rehearsal notes, simple accompanying instrumental parts, and a CD with performances of all the songs, this is a fabulous and accessible resource for all choirs.

This edited volume examines manele (sing. manea), an urban Romanian song-dance ethnopop genre that combines local traditional and popular music with Balkan and Middle Eastern elements. The genre is performed primarily by male Romani musicians at weddings and clubs and appeals especially to Romanian and Romani youth. It became immensely popular after the collapse of communism, representing for many the newly liberated social conditions of the post-1989 world. But manele have also engendered much controversy among the educated and professional elite, who view the genre as vulgar and even "alien" to the Romanian national character. The essays collected here examine the "manea phenomenon" as a vibrant form of cultural expression that engages in several levels of social meaning, all informed by historical conditions, politics, aesthetics, tradition, ethnicity, gender, class, and geography.

The definitive biography of guitar icon and Grammy Award-winning artist Bill Frisell. FEATURING EXCLUSIVE LISTENING SESSIONS WITH: Paul Simon; Justin Vernon of Bon Iver; Gus Van Sant; Rhiannon Giddens; The Bad Plus; Gavin Bryars; Van Dyke Parks; Sam Amidon; Hal Willner; Jim Woodring; Martin Hayes & Dennis Cahill 'A beautiful and long overdue portrait of one of America's true living cultural treasures.' JOHN ZORN 'The perfect companion-piece to the music of its subject.' MOJO 'Outlines the subject's life in a series of scrupulous strokes and intimate interviews that are rare in such undertakings . . . a cool, casual victory.' IRISH TIMES Over a period of forty-five years, Bill Frisell has established himself as one of the most innovative and influential musicians at work today. A quietly revolutionary guitar hero for our genre-blurring times, he connects to a diverse range of artists and admirers, including Paul Simon, Elvis Costello, Rhiannon Giddens, Gus Van Sant and Justin Vernon of Bon Iver, all of whom feature in this book. A vital addition to any music lover's book collection, Bill Frisell, Beautiful Dreamer tells the legendary guitarist's story for the first time. 'Stuffed with musical encounters, so many that every couple of pages there's an unheard Frisell recording for the reader to chase down.' NEW YORKER 'Bill Frisell, Beautiful Dreamer is the definitive biography.' BILL MILKOWSKI, DOWNBEAT 'Superb . . . the book races along like Sonny Rollins in full sail. Like subject, like writer: this is super-articulate, adventurous prose.' PERSPECTIVE '[Watson's] writing balances unbridled passion and dispassionate research nearly as deftly as Mr. Frisell's playing does sound and silence . . . compelling.' WALL STREET JOURNAL

Winner of the Carr P. Collins Award and a Miss Ima Hogg Historical Achievement Award, Last Cavalier is the never-before-told story of the remarkable life and career of John A. Lomax, pioneering American folklorist, canny businessman, influential educator, and patriarch of an extended family of artists, performers, and scholars.

The seminal work of Ruth Rubin, a pioneering collector, singer, folklorist, writer, and crusader for the vanishing legacy of the Yiddish world, Voices of a People remains the only general introduction to Yiddish folksong.

A priceless collection of song texts in Yiddish and English, as well as a selection of tunes Rubin transcribed, this volume brings the Jews' ancient, itinerant culture alive through children's songs, dancing songs, and songs about love and courtship, poverty and work, crime and corruption, immigration and the dream of a homeland. Rubin's notes and annotations weave each text into the larger story of the Jewish experience.

Noted scholar Mark Slobin provides a new foreword that includes a biographical sketch of Rubin and an assessment of her contributions over a lifetime of collecting, absorbing, and disseminating Yiddish folksong.

A breathtaking and unusual collection of traditional Irish tunes that have been arranged for the bagpipe by Dave Rickard. Fifty pieces are included, some are rare and others had never been used before in bagpipe bands, but all are familiar tunes or melodies which will delight and enthrall performers and audiences alike. Pieces featured include: O Sullivan's March * An Mhaighdean Mhara * The Gravel Walk * The Lark in the Morning * and more.

Israel G. "Izzy" Young was the proprietor of the Folklore Center in Greenwich Village from the late 1950s to the early 1970s. The literal center of the New York folk music scene, the Center not only sold records, books, and guitar strings but served as a concert hall, meeting spot, and information kiosk for all folk scene events. Among Young's first customers was Harry Belafonte; among his regular visitors were Alan Lomax and Pete Seeger. Shortly after his arrival in New York City in 1961, an unknown Bob Dyan banged away at songs on Young's typewriter. Young would also stage Dylan's first concert, as well as shows by Joni Mitchell, the Fugs, Emmylou Harris, and Tim Buckley, Doc Watson, Son House, and Mississippi John Hurt. The Conscience of the Folk Revival: The Writings of Israel "Izzy" Young collects Young's writing, from his regular column "Frets and Frails" for Sing Out! Magazine (1959-1969) to his commentaries on such contentious issues as copyright and commercialism. Also including his personal recollections of seminal figures, from Bob Dylan and Alan Lomax to Harry Smith and Woody Guthrie, this collection removes the rose tinting of past memoirs by offering Young's detailed, day-by-day accounts. A key collection of primary sources on the American countercultural scene in New York City, this work will interest not only folk music fans, but students and scholars of American social and cultural history.

This study of Bob Dylan's art employs a performance studies lens, exploring the distinctive ways he brings words and music to life on recordings, onstage, and onscreen. Chapters focus on the relationship of Dylan's recorded performances to the historical bardic role, to the American popular song tradition, and to rock music culture. His uses of both stage and studio to shape his performances are explored, as are his forays into cinema. Special consideration is given to his vocal performances and to his use of particular personae as a performer. The full scope of Dylan's body of work to date is situated in terms of the influences that have shaped his performances and the ways these performances have shaped contemporary popular music.

(Fretted). Presents scale diagrams for the most often-used scales and modes in an orderly and easily accessible fashion. Use this book as a reference guide or as the foundation for creating an in-depth practice routine. Includes multiple patterns for each scale, a lesson on scale construction, and a fingerboard chart of the mandolin neck.

The English folk revival cannot be understood when divorced from the history of post-war England, yet the existing scholarship fails to fully engage with its role in the social and political fabric of the nation. Postwar Politics, Society and the Folk Revival in England is the first study to interweave the story of a gentrifying folk revival with the socio-political tensions inherent in England's postwar transition from austerity to affluence. Julia Mitchell skillfully situates the English folk revival in the context of the rise of the new left, the decline of heavy industry, the rise of local, regional and national identities, the 'Americanisation' of English culture and the development of mass culture. In doing so, she demonstrates that the success of the English folk revival derived from its sense of authenticity and its engagement with topical social and political issues, such as the conflicted legacy of the Welfare State, the fight for nuclear disarmament and the fallout of nationalization. In addition, she shrewdly compares the US and British revival to identify the links but also what was distinctive about the movement in Britain. Drawing on primary sources from folk archives, the BBC, the music press and interviews with participants, this is a theoretically engaged and sophisticated analysis of how postwar culture shaped the folk revival in England.

for SATBarBarB unaccompanied Chilcott's arrangement of the popular American folksong Shenandoah is atmospheric and expressive, with the traditional melody moving seamlessly between voice parts and resting on a cushion of rich harmonies. Shenandoah has been recorded by The King's Singers on the album GOLD (Signum, SIGCD500).