"The Power of Song" shows how the people of Estonia, Latvia, and Lithuania confronted a military superpower and achieved independence in the Baltic "singing revolution." When attacked by Soviet soldiers in public displays of violent force, singing Balts maintained faith in nonviolent political action. More than 110 choral, rock, and folk songs are translated and interpreted in poetic, cultural, and historical context.

Guntis Smidchens is the Kazickas Family Endowed Professor in Baltic Studies in the Scandinavian studies department at the University of Washington.

"An excellent and thorough work and a significant and important addition to our understanding of the role that folklore and popular culture play in shaping political events." --Timothy Tangherlini, UCLA

"A monumental study addressing a sorely neglected aspect of one of the last century's most dramatic geopolitical upheavals. This book will stand, for years and even decades to come, as the standard, authoritative source on its topic." -Kevin C. Karnes, Emory University

Folk-Songs of the South: Collected Under the Auspices of the West Virginia Folk-Lore Society is a collection of ballads and folk-songs from West Virginia. First published in 1925, this resource includes narrative and lyric songs that were transmitted orally, as well as popular songs from print sources. Through 186 ballads and songs and 26 folk tunes, this collection archives a range of styles and genres, from English and Scottish ballads to songs about the Revolutionary and Civil Wars, the opening of the American West, boat and railroad transportation, children's play-party and dance music, and songs from African American singers, including post-Civil war popular music. The original introduction by Cox contains vibrant portraits of the singers he researched, with descriptions of performance style and details about personalities and attitudes. With a new introduction by Alan Jabbour, this reprint renews the importance of this text as a piece of scholarship, revealing Cox's understanding of the workings of tradition across time and place and his influence upon folk-song research.

Robert Burns (1759-1796) belongs among most famous Scottish poets, who were touched by Romantic interest in their own culture. Therefore, he was interested in Scottish folk song. He collected and prepared it to be published. When he was unsatisfied with lyrics in some of the songs, he revised it and arranged or wrote new lyrics on a former music. That is why many songs could be resurrected to life. And even though today we do not know the authors of the original music, at least we know the author of the lyrics. Therefore, we can play them on the ukulele and admire the beautifully arched melodies. Ae Fond Kiss, A Highland Lad my Love was Born, A Man's A Man For A' That, Auld Lang Syne, Braw, Braw Lads, Comin' Thro' the Rye, Craigieburn Wood, For The Sake O' Somebody, Gae Bring to Me a Pint o' Wine, Highland Mary, Lassie Wi' The Lint White Locks, Last May a Braw Wooer, My Ain Kind Dearie O, My Heart's In The Highlands, My Love is Like a Red, Red Rose, My Love She's But A Lassie Yet, My Tocher's the Jewel, O Willie Brew'd a Peck o' Maut, Scots, Wha Hae, Tam Glen, The Birks of Aberfeldy, The Braes of Killiecranchie, The Gallant Weaver, The Highland Widow's Lament, The Soldier's Return, The Winter It Is Past, There was a Lad was Born in Kyle, Wandering Willie, Whistle O'er the Lave O't, Ye Banks and Braes. The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf

Robert Burns (1759-1796) belongs among most famous Scottish poets, who were touched by Romantic interest in their own culture. Therefore, he was interested in Scottish folk song. He collected and prepared it to be published. When he was unsatisfied with lyrics in some of the songs, he revised it and arranged or wrote new lyrics on a former music. That is why many songs could be resurrected to life. And even though today we do not know the authors of the original music, at least we know the author of the lyrics. Therefore, we can play them on the Anglo Concertina (20 Button C/G) and admire the beautifully arched melodies. Ae Fond Kiss, A Highland Lad my Love was Born, A Man's A Man For A' That, Auld Lang Syne, Braw, Braw Lads, Comin' Thro' the Rye, Craigieburn Wood, For The Sake O' Somebody, Gae Bring to Me a Pint o' Wine, Highland Mary, Lassie Wi' The Lint White Locks, Last May a Braw Wooer, My Ain Kind Dearie O, My Heart's In The Highlands, My Love is Like a Red, Red Rose, My Love She's But A Lassie Yet, My Tocher's the Jewel, O Willie Brew'd a Peck o' Maut, Scots, Wha Hae, Tam Glen, The Birks of Aberfeldy, The Braes of Killiecranchie, The Gallant Weaver, The Highland Widow's Lament, The Soldier's Return, The Winter It Is Past, There was a Lad was Born in Kyle, Whistle O'er the Lave O't, Ye Banks and Braes. The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/Preview-Anglo-concertina.pdf

The ukulele managed to spread worldwide as well as Jewish music before. Moreover, Jewish music achieved to absorb different folk music, mostly European. For the reason you can meet here with beautiful melodies in minor, which are not scales preferred by ukulele playing. You can find in book here 20 Jewish songs. Each song is arranged in two keys. What you need is to know your favorite key, maybe take a capo and start playing. Adon Olam; Amcha Jisrael; Artsa Alinu; Avinu Malkeinu; Chiribim Chiribom; Dajenu; David Melech Yisrael; Hanukkah, Hanukkah; Hava Nagila; Hevenu Shalom Aleichem;Hine Ma Tov; Chag Purim; Kadesh Urchac; Ner Li; Nerot Shabat; Shalom Chaverim; Sevivon; Shema Israel;Tum Balalaika; Yoshke Fort Avek. The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf

Fado, Portugal's most celebrated genre of popular music, can be heard in Lisbon clubs, concert halls, tourist sites, and neighborhood bars. Fado sounds traverse the globe, on internationally marketed recordings, as the "soul" of Lisbon. A "fadista" might sing until her throat hurts, the voice hovering on the break of a sob; in moments of sung beauty listeners sometimes cry. Providing an ethnographic account of Lisbon's""fado scene, Lila Ellen Gray draws on research conducted with amateur fado musicians, "fadistas," communities of listeners, poets, fans, and cultural brokers during the first decade of the twenty-first century. She demonstrates the power of music to transform history and place into feeling in a rapidly modernizing nation on Europe's periphery, a country no longer a dictatorship or an imperial power. Gray emphasizes the power of the genre to absorb sounds, memories, histories, and styles and transform them into new narratives of meaning and "soul."

The well-known folk song "Johnny, I Hardly Knew Ye" is widely regarded as a traditional Irish anti-war song which was later rewritten as the pro-war "When Johnny Comes Marching Home." Jonathan Lighter, Lecturer in English at the University of Tennessee and editor of the Historical Dictionary of American Slang, reveals the surprising history of "Johnny," uncovering its roots and tracing its ever-changing role in popular culture up to the present day.

Fado, Portugal's most celebrated genre of popular music, can be heard in Lisbon clubs, concert halls, tourist sites, and neighborhood bars. Fado sounds traverse the globe, on internationally marketed recordings, as the "soul" of Lisbon. A fadista might sing until her throat hurts, the voice hovering on the break of a sob; in moments of sung beauty listeners sometimes cry. Providing an ethnographic account of Lisbon's fado scene, Lila Ellen Gray draws on research conducted with amateur fado musicians, fadistas, communities of listeners, poets, fans, and cultural brokers during the first decade of the twenty-first century. She demonstrates the power of music to transform history and place into feeling in a rapidly modernizing nation on Europe's periphery, a country no longer a dictatorship or an imperial power. Gray emphasizes the power of the genre to absorb sounds, memories, histories, and styles and transform them into new narratives of meaning and "soul."

Sometime in the early nineteenth century, most likely in the year 1818, the Reverend Robert Scott, minister of the parish of Glenbuchat in Aberdeenshire, Scotland, compiled a collection of traditional ballads that until now has not been published. Most of the ballad collections produced during the Scottish Romantic Revival were eventually anthologized in Francis James Child's seminal "English and Scottish Popular Ballads" (five volumes, 1882-96). Yet, the Glenbuchat manuscripts, containing sixty-eight ballads in four folio volumes, were not included in Child's volumes. The complete work only came to light in 1949 when it was donated to the Special Collections of the Aberdeen University Library by a descendent of the original compiler.

Scott did not give the precise locations of where he collected his ballads or name the performers, but the texts are unique and appear to have been drawn from oral sources. As such, the ballads reveal a great deal about the nature of traditional music at the time they were collected.

"The Glenbuchat Ballads" were originally prepared for publication by David Buchan, one of the leading ballad scholars of the twentieth century. Upon Buchan's death, his former student James Moreira took up and completed his work and wrote the detailed introductory essay and annotations in this volume.

Ruth Crawford Seeger (1901-1953), distinguished musician, noted music educator and authority on folk music has assembled a collection of songs from the old-time Christmas, before Santa Claus came to America and neatly trimmed fir trees bloomed with tinsel. These are the folk songs, the ballads that sprang from a need to express the Christmas spirit, and they are a part of our heritage. The songs are as varied as the singers who have given them utterance over the years, but whether they dance with whimsy or echo with a haunting plaintive cry, they always express the wonder and joy of Christmas. Arranged for piano and guitar.

Songs from the Magical Tradition makes no assertions other than the fact that there is a very strong element of supernatural magic contained within a substantial part of the Britsh folk song tradition. Ancient tunes and lyrics that transcend time have a meaning and significance that has hardly been guessed at till now. Jerry shows us the history and interpretation of the lovely old music that we all share. Songs from the Magical Tradition presents an anthology of songs, along with extensive notes on their historical context, imagery, and possible origins. No firm conclusions are drawn, and the reader is left to decide for themselves how relevant the songs might be in the wider contexts of paganism and magic.

Cumbia is a musical form that originated in northern Colombia and then spread throughout Latin America and wherever Latin Americans travel and settle. It has become one of the most popular musical genre in the Americas. Its popularity is largely due to its stylistic flexibility. Cumbia absorbs and mixes with the local musical styles it encounters. Known for its appeal to workers, the music takes on different styles and meanings from place to place, and even, as the contributors to this collection show, from person to person. Cumbia is a different music among the working classes of northern Mexico, Latin American immigrants in New York City, Andean migrants to Lima, and upper-class Colombians, who now see the music that they once disdained as a source of national prestige. The contributors to this collection look at particular manifestations of cumbia through their disciplinary lenses of musicology, sociology, history, anthropology, linguistics, and literary criticism. Taken together, their essays highlight how intersecting forms of identity-such as nation, region, class, race, ethnicity, and gender-are negotiated through interaction with the music. Contributors. Cristian Alarcon, Jorge Arevalo Mateus, Leonardo D'Amico, Hector Fernandez L'Hoeste, Alejandro L. Madrid, Kathryn Metz, Jose Juan Olvera Gudino, Cathy Ragland, Pablo Seman, Joshua Tucker, Matthew J. Van Hoose, Pablo Vila

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

In November 1916, a young Afro-Brazilian musician named Donga registered sheet music for the song "Pelo telefone" ("On the Telephone") at the National Library in Rio de Janeiro. This apparently simple act--claiming ownership of a musical composition--set in motion a series of events that would shake Brazil's cultural landscape. Before the debut of "Pelo telephone," samba was a somewhat obscure term, but by the late 1920s, the wildly popular song had helped to make it synonymous with Brazilian national music.

The success of "Pelo telephone" embroiled Donga in controversy. A group of musicians claimed that he had stolen their work, and a prominent journalist accused him of selling out his people in pursuit of profit and fame. Within this single episode are many of the concerns that animate "Making Samba," including intellectual property claims, the Brazilian state, popular music, race, gender, national identity, and the history of Afro-Brazilians in Rio de Janeiro. By tracing the careers of Rio's pioneering black musicians from the late nineteenth century until the 1970s, Marc A. Hertzman revises the histories of samba and of Brazilian national culture.

(Piano/Vocal/Guitar Artist Songbook). An outstanding collection of songs by one of the world's greatest singer/songwriters. Includes: Father and Son * Wild World * Morning Has Broken * and more. All eleven songs are arranged for piano and voice with full guitar boxes and chord symbols.

Robert Burns (1759-1796) belongs among most famous Scottish poets, who were touched by Romantic interest in their own culture. Therefore, he was interested in Scottish folk song. He collected and prepared it to be published. When he was unsatisfied with lyrics in some of the songs, he revised it and arranged or wrote new lyrics on a former music. That is why many songs could be resurrected to life. And even though today we do not know the authors of the original music, at least we know the author of the lyrics. Therefore, we can play them on the Anglo Concertina (30-Button Wheatstone Lachenal System) and admire the beautifully arched melodies. Ae Fond Kiss, A Highland Lad my Love was Born, A Man's A Man For A' That, Auld Lang Syne, Braw, Braw Lads, Comin' Thro' the Rye, Craigieburn Wood, For The Sake O' Somebody, Gae Bring to Me a Pint o' Wine, Highland Mary, Lassie Wi' The Lint White Locks, Last May a Braw Wooer, My Ain Kind Dearie O, My Heart's In The Highlands, My Love is Like a Red, Red Rose, My Love She's But A Lassie Yet, My Tocher's the Jewel, O Willie Brew'd a Peck o' Maut, Scots, Wha Hae, Tam Glen, The Birks of Aberfeldy, The Braes of Killiecranchie, The Gallant Weaver, The Highland Widow's Lament, The Soldier's Return, The Winter It Is Past, There was a Lad was Born in Kyle, Wandering Willie, Whistle O'er the Lave O't, Ye Banks and Braes. The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/Preview-Anglo-concertina.pdf

Gospel Ukulele low G Solos Sacred music is often played. Plenty of song-books exist. And the singer may accompany on the ukulele. But the problem occurs when he/she plays a solo. For the reason the book was written. You can find here 27 gospels and spirituals. Each song is arranged in two keys. What you need is to know your favorite key, take a capo and start playing, singing and worshiping our Lord. Includes: The Angel Rolled the Stone Away, Go down Moses, Joshua Fit the Battle of Jericho, Swing Low, Sweet Chariot, Oh, When the Saints, Steal Away, Mary had a baby and many more... The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf

Gospel Ukulele Solos - for C tuning. Sacred music is often played. Plenty of song-books exist. And the singer may accompany on the ukulele. But the problem occurs when he/she plays a solo. For the reason the book was written. You can find here 27 gospels and spirituals. Each song is arranged in two keys. What you need is to know your favorite key, take a capo and start playing, singing and worshiping our Lord. Includes: The Angel Rolled the Stone Away, Go down Moses, Joshua Fit the Battle of Jericho, Swing Low, Sweet Chariot, Oh, When the Saints, Steal Away, Mary had a baby and many more? The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pd

Jolly Sailors Bold: Ballads and Songs of the American Sailor is a major anthology of folk songs and parlor songs excavated from nine-teenth-century sailors' shipboard journals. The author-editor-compiler is Stuart M. Frank, senior curator of the world-famous New Bedford Whaling Museum, executive director emeritus of the Kendall Whaling Museum, and renowned authority on sailor songs and shipboard music. The product of more than thirty years of research, this book features authentic historic renditions of more than two hundred songs, with texts recovered unchanged from historic nineteenth-century shipboard manuscripts, here reunited with their original melodies.

Being continually featured in popular movies and music, Irish music is as popular as ever. Compiled by Gregory Mahan, an Irish whistler since 1995, this collection offers a wide variety of reels, from well-known favorites such as Cooley's Reel, The Musical Priest, and The Sally Gardens to tunes which may not be as well known at your local pub, such as Dunmore Lasses and the West Wind. The sheet music in this book is suitable for any lead line instrument typically used in Irish music, such as fiddle, flute, tinwhistle, and uilleann pipes. Also includes notes on playing in the Irish style as an added bonus, as well as an updated introduction from his Celtic Jig series.

Recording is central to the musical lives of contemporary powwow singers yet, until now, their aesthetic practices when recording have been virtually ignored in the study of Native American expressive cultures. Recording Culture is an exploration of the Aboriginal music industry and the powwow social world that supports it. For twelve years, Christopher A. Scales attended powwows-large intertribal gatherings of Native American singer-drummers, dancers, and spectators-across the northern Plains. For part of that time, he worked as a sound engineer for Arbor Records, a large Aboriginal music label based in Winnipeg, Canada. Drawing on his ethnographic research at powwow grounds and in recording studios, Scales examines the ways that powwow drum groups have utilized recording technology in the late twentieth and early twenty-first centuries, the unique aesthetic principles of recorded powwow music, and the relationships between drum groups and the Native music labels and recording studios. Turning to "competition powwows," popular weekend-long singing and dancing contests, Scales analyzes their role in shaping the repertoire and aesthetics of drum groups in and out of the recording studio. He argues that the rise of competition powwows has been critical to the development of the powwow recording industry. Recording Culture includes a CD featuring powwow music composed by Gabriel Desrosiers and performed by the Northern Wind Singers.

In the early 1700s, the Danish administration of the Virgin Islands suppressed African music. Undeterred, Virgin Island minstrels combined the African, European, and Taino music elements that created the eclectic genre quelbe. In The Quelbe Method, Dale Francis offers a comprehensive approach that demystifies music, develops artistry in tandem with fundamentals, and provides repertoire to build musicianship and individual performance skills.

Francis shares his classical and jazz guitar skills, teaching practices, and performing artist perspective in an innovative approach to learning music. The three-part arrangements are open to interpretation and variation. Part two simulates the banjo, ukulele or guitar sound, and part three portrays a bass pattern that can be played on a one-string washtub bass. Students can learn cultural rhythmic, melodic, and harmonic concepts in addition to learning to play melodies and chord progressions by ear.

The Quelbe Method provides a comprehensive approach to learning music through practical theory, ear training, rhythm, technique, and performance activities, enabling both adult and young musicians to further develop their abilities to read and write music, play by ear, and improvise.

Jerome Just one more Song! A Local, Social & Political History in the Repertoire of a Newfoundland-Irish Singer. This timeless Songs collection, recorded in Codroy Valley, Newfoundland, 1980 by folklorists Kenneth S. Goldstein and Margaret Bennett , is a tribute to singer Jerome Downey. This is not only a song book but is a Local, Social & Political History of Newfoundland's Codroy Valley. To appreciate the way of life in any part of Newfoundland, the reader should bear in mind that, until 1949, Canada was another country. Anyone born before that year, is, first and foremost, a Newfoundlander, belonging to a unique island with a long history - it has the distinction of being Britain's oldest colony. Given that Canada's newest province was less than twenty years old when Bennett first went there, it was very common to hear folk explain, 'I'm not a Canadian, I'm a Newfoundlander.' Thus, to understand the social, cultural and historical context of a song, it is essential to appreciate where it comes from, and especially to acknowledge the people who compose and sing the song. 'If there is no land or work, there are no people, no livelihood, no stories, no music, no songs - ' (Gavin Sprott) In the Codroy Valley, the folk who have worked on the land or fished the rivers and coastal waters for nearly two centuries are a mix of Irish, English, Scottish Gaels, French and Mi'kmaq. For as long as anyone remembers, they have enjoyed getting together for 'a few tunes', songs, yarns and a cup of tea. The kettle is always on the stove and, more often than not, a few glasses appear from the cupboard and make their way to the kitchen table - they need no excuse for a ceilidh or a kitchen party, with accordions, bagpipes, fiddles, guitars, spoons and mandolins as well as songs that would lift the heaviest heart. To Jerome and his people, songs and music are way of life. THE PITCH Kenneth S. Goldstein and Margaret Bennett Folklore Collection. Margaret Bennett's third book about songs of the Codroy Valley, Newfoundland A lasting tribute the the remarkable Jerome Downey, singer, farmer and woodsman of the Codroy Valley. Jerome Just one more Song! Local, Social & Political History in the Repertoire of a Newfoundland-Irish Singer Academic fields likely to be interested in using this publication? Folklore Anthropology Medicine, in the field of mental health (particularly pertaining to memory, the retention and/or loss of memory, the onset and progression of Alzheimer's disease Countries in which academics are likely to be interested in this publication? Canada, the United Kingdom, Ireland, USA, Australia (English language countries)