This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ...Bourbonnais, Pods, pop. Ill, fol. 91, Romania, XI, 103, 38 verses, sung by a woman seventy-two years old. I. Bretagne, Louddac, Pods, pop., Ill, fol. 121, Romania, XI, 103 f, 64 verses. J. Pods, pop., Ill, fol. 285, Romania, XII, 115 (I), 50 verses. K. Bretagne (?), Romania, XII, 115 f, 36 verses. L. V. Smith, Chants pop. du Velay et du Forez, Romania, X, 582. 57 verses. M. 'Le roi Renaud, ' Fldvy, Puymaigre, I, 39, 78 verses. N. Touraine, Bldrd, Brachet in Revue Critique, II, 125, 60 verses. O. The same, variations of a later version. P. ' L'Arnaud l'lnfant, ' Limoges, Laforest, Limoges au XVIP siecle, 1862, p. 300, Pods, pop., Ill, It will be observed that some of the Renaud ballads in the Poesies populaires de la France were derived from earlier publications: such as were communicated by collectors appear to have been sent in in 1852 or 1853. The versions cited by Rathery, Revue Critique, II, 287 ff, are all from the fol. 95, Romania, XI, 104, 82 verses. Q. Charente, Pods, pop., Ill, fol. 107, Romania, XI, 99, 60 verses. R. Cambes, Lot-et-Garonne, Romania, XII, 116, 46 verses. S. Jura, Revue des Deux Mondes, 1854, Aoflt, p. 486. 50 verses. T. Rouen, Poes. pop. Ill, fol. 100, Romania, XI, 102, 60 verses, communicated by a gentleman who at the beginning of the century had learned the ballad from an aunt, who had received it from an aged nun. TJ. a, Buchon, Noels et Chants populaires de la Franche-Comtd, p. 85, 34 verses; b, Tarbd, Romancero de Champagne, Vol. II, Chants Populaires, p. 125, 32 verses; c, G. de Nerval, La Bohcme Galante, ed. 1866, p. 77, Les Filles du Feu, ed. 1868, p. 130, 30 verses; d, ' Jean Renaud, ' Bujeaud, Chants et Chansons populaires des Provinces de l'Ouest, II, 213, 32 verses. V. Pods, pop., Ill, fol. 122, Romania,

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ...Bourbonnais, Pods, pop. Ill, fol. 91, Romania, XI, 103, 38 verses, sung by a woman seventy-two years old. I. Bretagne, Louddac, Pods, pop., Ill, fol. 121, Romania, XI, 103 f, 64 verses. J. Pods, pop., Ill, fol. 285, Romania, XII, 115 (I), 50 verses. K. Bretagne (?), Romania, XII, 115 f, 36 verses. L. V. Smith, Chants pop. du Velay et du Forez, Romania, X, 582. 57 verses. M. 'Le roi Renaud, ' Fldvy, Puymaigre, I, 39, 78 verses. N. Touraine, Bldrd, Brachet in Revue Critique, II, 125, 60 verses. O. The same, variations of a later version. P. ' L'Arnaud l'lnfant, ' Limoges, Laforest, Limoges au XVIP siecle, 1862, p. 300, Pods, pop., Ill, It will be observed that some of the Renaud ballads in the Poesies populaires de la France were derived from earlier publications: such as were communicated by collectors appear to have been sent in in 1852 or 1853. The versions cited by Rathery, Revue Critique, II, 287 ff, are all from the fol. 95, Romania, XI, 104, 82 verses. Q. Charente, Pods, pop., Ill, fol. 107, Romania, XI, 99, 60 verses. R. Cambes, Lot-et-Garonne, Romania, XII, 116, 46 verses. S. Jura, Revue des Deux Mondes, 1854, Aoflt, p. 486. 50 verses. T. Rouen, Poes. pop. Ill, fol. 100, Romania, XI, 102, 60 verses, communicated by a gentleman who at the beginning of the century had learned the ballad from an aunt, who had received it from an aged nun. TJ. a, Buchon, Noels et Chants populaires de la Franche-Comtd, p. 85, 34 verses; b, Tarbd, Romancero de Champagne, Vol. II, Chants Populaires, p. 125, 32 verses; c, G. de Nerval, La Bohcme Galante, ed. 1866, p. 77, Les Filles du Feu, ed. 1868, p. 130, 30 verses; d, ' Jean Renaud, ' Bujeaud, Chants et Chansons populaires des Provinces de l'Ouest, II, 213, 32 verses. V. Pods, pop., Ill, fol. 122, Romania,

From Costa Award-shortlisted author Nicholas Bowling comes a tale of adventure, myth and music to make your heart sing ... 'Cast its spell over me from the first page ... it really is my perfect book.' Jasbinder Bilan, author of ASHA & THE SPIRIT BIRD 'Nicholas Bowling is a thrilling writer.' THE TELEGRAPH Oran lives on Little Drum, where music is everything. Every islander has a birth instrument and a life song - and the ancestors, called ghasts, linger to hear the music. But when the Duchess arrives from the mainland bringing orders of silence, she threatens the ghasts' existence, the very soul of the community. When Oran hears of a mythical instrument with the power to manipulate hearts, she brings her ghast best friend, Alick, on a quest to find it, play it, and change the Duchess's mind ... From the author of the Costa Children's Book Award-shortlisted In the Shadow of the Heroes comes a thrilling Celtic-inspired fantasy adventure. The adventure and magic of Neil Gaiman's Stardust with a Hebridean-inspired fantasy setting and lovable characters reminiscent of Pixar's Brave. A story about how music has the power to reveal, to inspire, and to bind people together.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ...Bourbonnais, Pods, pop. Ill, fol. 91, Romania, XI, 103, 38 verses, sung by a woman seventy-two years old. I. Bretagne, Louddac, Pods, pop., Ill, fol. 121, Romania, XI, 103 f, 64 verses. J. Pods, pop., Ill, fol. 285, Romania, XII, 115 (I), 50 verses. K. Bretagne (?), Romania, XII, 115 f, 36 verses. L. V. Smith, Chants pop. du Velay et du Forez, Romania, X, 582. 57 verses. M. 'Le roi Renaud, ' Fldvy, Puymaigre, I, 39, 78 verses. N. Touraine, Bldrd, Brachet in Revue Critique, II, 125, 60 verses. O. The same, variations of a later version. P. ' L'Arnaud l'lnfant, ' Limoges, Laforest, Limoges au XVIP siecle, 1862, p. 300, Pods, pop., Ill, It will be observed that some of the Renaud ballads in the Poesies populaires de la France were derived from earlier publications: such as were communicated by collectors appear to have been sent in in 1852 or 1853. The versions cited by Rathery, Revue Critique, II, 287 ff, are all from the fol. 95, Romania, XI, 104, 82 verses. Q. Charente, Pods, pop., Ill, fol. 107, Romania, XI, 99, 60 verses. R. Cambes, Lot-et-Garonne, Romania, XII, 116, 46 verses. S. Jura, Revue des Deux Mondes, 1854, Aoflt, p. 486. 50 verses. T. Rouen, Poes. pop. Ill, fol. 100, Romania, XI, 102, 60 verses, communicated by a gentleman who at the beginning of the century had learned the ballad from an aunt, who had received it from an aged nun. TJ. a, Buchon, Noels et Chants populaires de la Franche-Comtd, p. 85, 34 verses; b, Tarbd, Romancero de Champagne, Vol. II, Chants Populaires, p. 125, 32 verses; c, G. de Nerval, La Bohcme Galante, ed. 1866, p. 77, Les Filles du Feu, ed. 1868, p. 130, 30 verses; d, ' Jean Renaud, ' Bujeaud, Chants et Chansons populaires des Provinces de l'Ouest, II, 213, 32 verses. V. Pods, pop., Ill, fol. 122, Romania,

Iron & Wine: The Songbook contains songs from albums and EPs by American singer-songwriter Iron & Wine. The artist-approved chord songbook includes lyrics and chords with short picking patterns in tab and notation and is full colour throughout with artwork, photographs and tour posters, a song index and index of first lines. Sam Beam is a singer-songwriter who has been creating music as Iron & Wine for over a decade. Through the course of seven albums, numerous EPs and singles, and the initial volumes of an Archive Series - Iron & Wine has captured the emotion and imagination of listeners with distinctly cinematic songs.

The story of the banjo's journey from Africa to the western hemisphere blends music, history, and a union of cultures. In Banjo Roots and Branches, Robert B. Winans presents cutting-edge scholarship that covers the instrument's West African origins and its adaptations and circulation in the Caribbean and United States. The contributors provide detailed ethnographic and technical research on gourd lutes and ekonting in Africa and the banza in Haiti while also investigating tuning practices and regional playing styles. Other essays place the instrument within the context of slavery, tell the stories of black banjoists, and shed light on the banjo's introduction into the African- and Anglo-American folk milieus. Wide-ranging and illustrated with twenty color images, Banjo Roots and Branches offers a wealth of new information to scholars of African American and folk musics as well as the worldwide community of banjo aficionados. Contributors: Greg C. Adams, Nick Bamber, Jim Dalton, George R. Gibson, Chuck Levy, Shlomo Pestcoe, Pete Ross, Tony Thomas, Saskia Willaert, and Robert B. Winans.

From one of the most lauded scholars in ethnomusicology comes this enlightening and highly personal narrative on the evolution and current state of the field of ethnomusicology. Surveying the field he helped establish, Bruno Nettl investigates how concepts such as evolution, geography, and history serve as catalysts for advancing ethnomusicological methods and perspectives. This entertaining collection covers Nettl's scholarly interests ranging from Native American to Mediterranean to Middle Eastern contexts while laying out the pivotal moments of the field and conversations with the giants of its past. Nettl moves from reflections on the history of ethnomusicology to evaluations of the principal organizations in the field, interspersing those broader discussions with shorter essays focusing on neglected literature and personal experiences.

This stimulating Very Short Introduction throws open the doors on a remarkably diverse musical genre, with a world-wide reach that goes far beyond America's shores to discuss folk music of every possible kind and in every corner of the globe. Written by award-winning ethnomusicologist Mark Slobin this is the first compact introduction to folk music that offers a truly global perspective. Slobin offers an extraordinarily generous portrait of folk music, one that embraces a Russian wedding near the Arctic Circle, a group song in a small rainforest village in Brazil, and an Uzbek dance tune in Afghanistan. He looks in detail at three poignant songs from three widely separated regions-northern Afghanistan, Jewish Eastern Europe, and the Anglo-American world-with musical notation and lyrics included. He goes on to sketch out the turbulent times of folk music today and tomorrow, confronting new possibilities, frameworks, and challenges. 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.

Frank Kidson (1855-1926) and Mary Neal (1860-1944) were both notable for their involvement in the development of a scholarly movement relating to English folk traditions, Neal was also a prominent social campaigner and suffragette. Originally published in 1915, this volume provides a concise introduction to English folk songs and folk dances. The text is divided in two parts, with the first, written by Kidson, being assigned to songs and the second, written by Neal, being assigned to dances. This is a beautifully presented book, containing illustrations and numerous musical scores, that will be of value to anyone with an interest in folk traditions.

While Western medicine has conventionally separated music, science, and religion into distinct entities, traditional cultures throughout the world have always viewed music as a bridge that connects the physical with the spiritual. Now, as people in even the most technologically advanced nations across the globe struggle with obtaining affordable and reliable healthcare coverage, more and more people are turning to these ancient cultural practices of ICAM healing (integrative, complementary, and alternative medicine).
With Beyond the Roof of the World, Dr. Benjamin D. Koen unearths the Western separation of healing from spiritual and musical practices as a culturally determined phenomenon, and proves the relevance of medical ethnomusicology in light of the globally spreading ICAM healing practices. Using the culture found within the towering Pamir Mountains of Badakhshan Tajikistan, in a place poetically known as the Roof of the World, as the paradigm of ICAM healing, Koen shows spirituality and musicality to be intimately intertwined with one's physical life, health and healing. For the first time, Koen bridges the widespread gap between ethnomusicology and music therapy. Koen's extensive research and emersion into the Badakhstan culture provides the reader with an "insider" perspective while maintaining an "observer's" view, as he infuses the text with relevant scholarship.

In The Late Victorian Folksong Revival: The Persistence of English Melody, 1878-1903, E. David Gregory provides a reliable and comprehensive history of the birth and early development of the first English folksong revival. Continuing where Victorian Songhunters, his first book, left off, Gregory systematically explores what the Late Victorian folksong collectors discovered in the field and what they published for posterity, identifying differences between the songs noted from oral tradition and those published in print. In doing so, he determines the extent to which the collectors distorted what they found when publishing the results of their research in an era when some folksong texts were deemed unsuitable for "polite ears." The book provides a reliable overall survey of the birth of a movement, tracing the genesis and development of the first English folksong revival. It discusses the work of more than a dozen song-collectors, focusing in particular on three key figures: the pioneer folklorist in the English west country, Reverend Sabine Baring-Gould; Frank Kidson, who greatly increased the known corpus of Yorkshire song; and Lucy Broadwood, who collected mainly in the counties of Sussex and Surrey, and with Kidson and others, was instrumental in founding the Folk Song Society in the late 1890s. The book includes copious examples of the song tunes and texts collected, including transcriptions of nearly 300 traditional ballads, broadside ballads, folk lyrics, occupational songs, carols, shanties, and "national songs," demonstrating the abundance and high quality of the songs recovered by these early collectors.

(Music Sales America). Miles Krassen has gathered and re-edited over 1,000 tunes, bringing up to date Capt. Francis O'Neill's famed collection of Irish dance music, airs, jigs, reels, hornpipes, and marches. Includes an introduction on the history of Irish music with tips on playing with an authentic feeling. Features new settings from the playing of Michael Coleman & the Sligo Fiddle Masters.

From the early days of his music with Stockton's Wing to training at Ballymaloe Cookery School, food and music have been parallel lines that have kept Mike Hanrahan on track his entire life. Mike Hanrahan, cook and teacher, songwriter and musician, takes us back stage and into the kitchens of a bohemian, international and surprisingly foodie group of Irish household names, including Ronnie Drew, Finbar Furey, Maura O'Connell, Leslie Dowdall, Pat Shortt, Eleanor Shanley and Sharon Shannon. Mike penned hit singles 'Beautiful Affair' and 'Walk Away' for Stockton's Wing, from which a world of touring and behind-the-scenes escapades began. With affectionate portraits of the legendary personalities he came to know along the way, Beautiful Affair rings with the sheer graft, dedication and serious sense of humour of a life well spent on stage - and in the kitchen. Mike's time training with Ballymaloe's Darina Allen would see his hobby become a second career. Here, he shares favourite recipes from home, friends and professional kitchens across the country - from family recipes cooked on country hearths to vegetarian folk-club grub and tour-bus pressure-cooker stews. Beautiful Affair tells tales of the Irish music scene from the 1970s through to today, and wends its way through a lifelong love affair with Irish food. 'This is much more than my story. In Beautiful Affair I introduce you to my friends - who share memories, recipes and quite a few amusing anecdotes that add so much sparkle to my life.' - Mike Hanrahan

Laurence Picken has long been recognised as a pioneer in the study of Oriental and other non-Western musics. Some of his pupils, colleagues and friends from four continents have here brought together this volume of essays as a tribute to him on his seventieth birthday. The book aims to reflect characteristic aspects of Dr Picken's work: his conception of musicology as a science, his sense of historical perspective and - perhaps most importantly - his delight in music of almost every kind. Appealing in particular to those engaged in the study of non-Western music, the volume will also interest everyone concerned with musical structures and their development.

Saibara ('Drover's Songs') is the title of a genre of measured Japanese court song, traditionally believed to have been derived from the songs of pack-horse drivers bringing tribute from the provinces to the Heian capital and known to have formed part of the official court repertory at least since AD 859. From literature of the Heian period (782 1184) it is evident that these songs enjoyed great popularity at court as entertainment music practised by noble amateurs. Six songs are still performed today, albeit vastly modified. As well as being of value to musicologists, these volumes will interest readers concerned with early Japanese literature and paleography.

This book is a wide-ranging study of the varieties of gamelan music in contemporary Java seen from a regional perspective. While the focus of most studies of Javanese music has been limited to the court-derived music of Surakarta and Yogyakarta, Sutton goes beyond them to consider also gamelan music of Banyumas, Semarang and east Java as separate regional traditions with distinctive repertoires, styles and techniques of performance and conceptions about music. Sutton's description of these traditions, illustrated with numerous musical examples in Javanese cipher notation, is based on extensive field experience in these areas and is informed by the criteria that Javanese musicians judge to be most important in distinguishing them.

Saibara ('Drover's Songs') is the title of a genre of measured Japanese court song, traditionally believed to have been derived from the songs of pack-horse drivers bringing tribute from the provinces to the Heian capital and known to have formed part of the official court repertory at least since AD 859. From literature of the Heian period (782 1184) it is evident that these songs enjoyed great popularity at court as entertainment music practised by noble amateurs. Six songs are still performed today, albeit vastly modified. As well as being of value to musicologists, these volumes will interest readers concerned with early Japanese literature and paleography.

Koreans of the fifteenth century recorded for posterity a large body of music which has been preserved to the present day. This book presents that music in transcription, with an introductory section providing detailed background on the music itself and on the sources, the song texts, court dances, musical instruments and possibilities for performance on western instruments. The fact that the song texts are translated makes this the largest published anthology of early Korean verse in translation. The book concludes with a detailed bibliography and glossaries including the original Chinese for the titles of the pieces, names of the instruments, etc. Though its origins are distant from us in both time and place, the fifteenth-century Korean repertoire is immediately appealing to the occidental ear: hence this collection will be of interest not only to the student of Asian music but also to any musician with a taste for the unusual.

A traveling salesman with little formal education, Max Hunter gravitated to song catching and ballad hunting while on business trips in the Ozarks. Hunter recorded nearly 1600 traditional songs by more than 200 singers from the mid-1950s through the mid-1970s, all the while focused on preserving the music in its unaltered form. Sarah Jane Nelson chronicles Hunter's song collecting adventures alongside portraits of the singers and mentors he met along the way. The guitar-strumming Hunter picked up the recording habit to expand his repertoire but almost immediately embraced the role of song preservationist. Being a local allowed Hunter to merge his native Ozark earthiness with sharp observational skills to connect--often more than once--with his singers. Hunter's own ability to be present added to that sense of connection. Despite his painstaking approach, ballad collecting was also a source of pleasure for Hunter. Ultimately, his dedication to capturing Ozarks song culture in its natural state brought Hunter into contact with people like Vance Randolph, Mary Parler, and non-academic folklorists who shared his values.

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.

This study of Polish folk music is especially enlightening as it reveals both the history and practice of a musical tradition and offers an illuminating view of a culture and its social activities. Within her study, Anna Czekanowska analyses the vocal and instrumental traditions of Polish folk music, tracing the background history, the influences of geography and politics, and the practice, often within contemporary society, of such social events as the harvest, the solstice and weddings. The function of folk culture within contemporary life, for both Polish and non-Polish inhabitants of the country, is also examined. Professor Czekanowska also discusses the birth of Polish ethno- musicology as a discipline and details some methodological aspects for research. This study contributes to a greater understanding and appreciation of Polish music and, in a wider aspect, of Slavonic culture. The book contains numerous illustrations of instruments and cultural events, music examples, maps, a discography and bibliography.

How do marginalized communities speak back to power when they are excluded from political processes and socially denigrated? In what ways do they use music to sound out their unique histories and empower themselves? How can we hear their voices behind stereotyped and exaggerated portrayals promoted by mainstream communities, record producers and government officials? Sounding Roman: Music and Performing Identity in Western Turkey explores these questions through a historically-grounded and ethnographic study of Turkish Roman ("Gypsies") from the Ottoman period up to the present. Drawing on extensive ethnographic fieldwork (1995 to the present), collected oral histories, historical documents of popular culture (recordings, images, song texts, theatrical scripts), legal and administrative documents, this book takes a hard look at historical processes by which Roman are stereotyped as and denigrated as "cingene"--a derogatory group name equivalent to the English term, "gypsy", and explores creative musical ways by which Roman have forged new musical forms as a means to create and assert new social identities. Sounding Roman presents detailed musical analysis of Turkish Roman musical genres and styles, set within social, historical and political contexts of musical performances. By moving from Byzantine and Ottoman social contexts, we witness the reciprocal construction of ethnic identity of both Roman and Turk through music in the 20th century. From neighborhood weddings held in the streets, informal music lessons, to recording studios and concert stages, the book traces the dynamic negotiation of social identity with new musical sounds. Through a detailed ethnography of Turkish Roman ("Gypsy") musical practices from the Ottoman period to the present, this work investigates the power of music to configure new social identities and pathways for political action, while testing the limits of cultural representation to effect meaningful social change.

A SUNDAY TIMES AND TELEGRAPH BOOK OF THE YEAR

SHORTLISTED FOR THE PENDERYN MUSIC BOOK PRIZE

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Peggy Seeger is one of folk music's most influential artists and songwriters. Born in New York City in 1935, she enjoyed a childhood steeped in music and left-wing politics - they remain her lifeblood. After college, she travelled to Russia and China - against US advice - before arriving in London, where she met the man with whom she would raise three children and share the next thirty-three years: Ewan MacColl. Together, they helped lay the foundations of the British folk revival, through the influential Critics Group and the landmark BBC Radio Ballads series. And as Ewan's muse, she inspired one of the twentieth century's most popular love songs, 'The First Time Ever I Saw Your Face'.

With a clear eye and generous spirit, Peggy writes of a rollercoaster life - of birth and abortion, sex and infidelity, devotion and betrayal - in a luminous, beautifully realised account.

While Fernando Ortiz's contribution to our understanding of Cuba and Latin America more generally has been widely recognized since the 1940s, recently there has been renewed interest in this scholar and activist who made lasting contributions to a staggering array of fields. This book is the first work in English to reassess Ortiz's vast intellectual universe. Essays in this volume analyze and celebrate his contribution to scholarship in Cuban history, the social sciences notably anthropology and law, religion and national identity, literature, and music. Presenting Ortiz's seminal thinking, including his profoundly influential concept of 'transculturation', Cuban Counterpoints explores the bold new perspectives that he brought to bear on Cuban society. Much of his most challenging and provocative thinking which embraced simultaneity, conflict, inherent contradiction and hybridity has remarkable relevance for current debates about Latin America's complex and evolving societies."