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.

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."

The Songs of Septimus Winner is a testament to a man with an extraordinarily unusual career in music. Most modern-day readers may have never heard of Septimus Winner or Alice Hawthorne. But the music they created is now part of the pantheon of what we might now term "America's folk songs". Most Americans might remember songs such as "Ten Little Indians" or "Der Deitscher?s Dog" from their childhood just as they may know "Jimmy Crack Corn" or "Oh, Susannah!" but few know the men and women who wrote these songs or their significance to generations of nineteenth-century Americans. Septimus Winner (1827?1902) is one of these forefathers of American popular song. His musical contributions are significant: well over 300 popular songs, over 2000 arrangements of both his own and others' music, and an astounding array of pedagogical books. Culled from the original sheet music publications and presented unedited, this volume explores twenty-two of Winner's best loved songs including "Ten Little Injuns," "Whispering Hope," "Listen to the Mocking Bird," "The Deitscher's Dog" and "Give Us Back Our Old Commander."

This collection of poems rooted in the wild and beautiful lands that lie between England and Scotland describes a traditionally lawless area whose inhabitants owed allegiance first to kin and laird and then to the authorities in London or Edinburgh. Recording a violent, clannish world of fierce hatreds and passionate loyalties, the ballads tell vivid tales of raids, feuds and betrayals, romances and acts of revenge.

The definitive collection of folk music - one of the great English popular art forms One of the great English popular art forms, the folk song can be painful, satirical, erotic, dramatic, rueful or funny. This magical new collection brings together all the classic folk songs as well as many lesser-known discoveries, complete with music and annotations on their original sources and meaning. Published in cooperation with the English Folk Dance and Song Society, it is a worthy successor to Ralph Vaughan Williams and A. L. Lloyd's original Penguin Book of English Folk Songs.

Originally formed by singer-songwriter Ian Anderson in psychedelic 1968, the band Hethro Tull has been recording its own kind of rock and roll and touring the globe for more than three decades. This is a history of the band through the present, written by a personal acquaintance of several of its members. The book includes a chronology of all of the band's recordings and information on all accompanying tours, with the author's critiques as well as the band's own reminiscences and opinions of each album. Also included are previously unpublished interviews with founder Ian Anderson long-time band member David Pegg, Mick Abrahams, Jeffrey Hammond, and Doane Perry, and other band members.

For almost 50 years, Dave Hadfield has followed the genres of music that grabbed his youthful heart and mind. Now, in 'All the Wrong Notes' he has written not just a musical memoir, but a personal and social history of the last half-century. Like a Zelig with a finger in his ear, he has been where folk music has happened and describes it, affectionately but warts-and-all, in a way it has never been described before.

(Piano/Vocal/Guitar Songbook). Grammy Award winner for Album of the Year This unique songbook features piano/vocal arrangements of 11 selections from the critically-acclaimed Coen brothers film. The traditional songs for this film were selected by T-Bone Burnett to capture the sound of the early-'30s South, and the movie soundtrack has done much to rekindle interest in the folk/blues/bluegrass/gospel genres. Songs include: Big Rock Candy Mountain (Harry McClintock) * You Are My Sunshine (Norman Blake) * I Am a Man of Constant Sorrow (The Soggy Bottom Boys/Norman Blake) * Keep on the Sunny Side (The Whites) * I'll Fly Away (Alison Krauss and Gillian Welch) * and more. Includes great photos from the film. Also available: 00313182 Guitar Tab/Melody/Lyrics/Chords Edition $14.95

BOOK ONLY (Audio CD available to buy on author's website). Learn to play Irish traditional music on the whistle with this tutor book from Tradschool 104 tunes (28 children's & folk songs + 76 traditional Irish tunes)
This book gives a complete introduction to playing Irish music in the traditional style on the tin whistle; it covers all from the very first notes on the instrument to the most advanced ornamentation.
The course is broadly divided into two parts, with the shorter first part covering the basics of the whistle while the longer second part (pages 49-296) covers the playing of Irish traditional music on the instrument.
It is intended for anybody who wants to play traditional music in the Irish style, from complete beginners to confirmed or advanced players who wish to work on their style or ornamentation. Tablature as well as sheet music is used throughout the book, so it is accessible to the complete beginner; while more advanced players will appreciate the attention to detail in style and ornamentation in the later parts of the book.
Contents
Introduction
Part One
Unit 1: Beginning the Whistle
Unit 2: Right Hand Notes
Unit 3: The Second Octave
Unit 4 - Scales
Unit 5 - Rhythm, Articulation & Breathing
Unit 6 - Putting it together 1
Part Two
Unit 7 - Irish Traditional Music
Unit 8 - Listening to Irish Music
Unit 9 - The Jig
Unit 10 - The Hornpipe
Unit 11 - The Reel
Unit 12 - Ornamentation
Ornamentation 1 - The Cut
Ornamentation 2 - The Tap
Ornamentation 3 - The Slide
Ornamentation 4 - The Roll
Ornamentation 5 - The Short Roll
Ornamentation 6 - The Triplet
Ornamentation 7 - The Bounce
Ornamentation 8 - The Cran
Ornamentation 9 - Combining Ornaments
Ornamentation 10 - Staccato Triplets
Ornamentation 11 - Summary
Unit 13 - Other tunes
Unit 14 - Playing in different keys
Unit 15 - Playing Irish Music
Unit 16 - Putting It Together 2
Unit 17 - Tunes
Appendix 1 - Troubleshooting
Appendix 2 - Reading Music
Appendix 3 - Bibliography
Appendix 4 - Tracklist

The book contains 56 tunes for standard slide ukulele tuning (g-c-e-a). Irish slide ukulele? You are right it is unusual connection, but when you examine ukulele, you will find, it is completely determined for Irish music. It has a similar range like a whistle or a bagpipe. You can play either melody with whistle, fiddle and tenor banjo or accompaniment together with a guitar. As the ukulele is tuned high, we will use it in Irish music as a melodic instrument. Vast majority of this book is dedicated to this, where Irish tunes are transcribed in tablature Includes: Bonaparte Crossing the Rhine, Morrison's Jig, The Butterfly, In the Tap Room, Irish Washerwoman, Sailor's Hornpipe, Kesh Jig and many more... Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf 1) Gospel Slide Ukulele Solos 2) Comprehensive Slide Ukulele

Carnival, charivari, mumming plays, peasant festivals, and even early versions of the Santa Claus myth--all of these forms of entertainment influenced and shaped blackface minstrelsy in the first half of the nineteenth century. In his fascinating study Demons of Disorder, musicologist Dale Cockrell studies issues of race and class by analyzing their cultural expressions, and investigates the roots of still-remembered songs such as "Jim Crow," "Zip Coon," and "Dan Tucker." The first book on the blackface tradition written by a leading musicologist, Demons of Disorder is an important achievement in music history and culture.

For the Tumbuka people of Malawi, traditional medical practices are saturated with music. In this groundbreaking ethnography, Steven M. Friedson explores a health care system populated by dancing prophets, singing patients, and drummed spirits.
Tumbuka healers diagnose diseases by enacting divination trances in which they "see" the causes of past events and their consequences for patients. Music is the structural nexus where healer, patient, and spirit meet--it is the energizing heat that fuels the trance, transforming both the bodily and social functioning of the individual. Friedson shows how the sound of the ng'oma drum, the clapping of the choir, call-and-response singing, and the jangle of tin belts and iron anklets do not simply accompany other more important ritual activities--they are the very substance of a sacred clinical reality.
This novel look at the relation between music and mental and biological health will interest medical anthropologists, Africanists, and religious scholars as well as ethnomusicologists.