This book is concerned with the repertory of traditional urban song and music of the Korce area in general and more specifically the karakteristike (characteristic) or `distinctive' song associated with Korce city, Albania. The first half of the 20th century marked the climax of an evolution which started in the mid-19th century with the oral tradition of urban song in Korce. While the translation of `Kenga Karakteristike Korcare' into `Korcare Distinctive Song' seems to be an odd name for a genre, it is, however, a translation as close as possible to the original Albanian, denoting the characteristic songs of Korce. The term `characteristic' implies peculiar or specific songs, different not only from the traditional urban song of Korce, but also from any kind of song, whether folk, popular, traditional urban or art, composed and performed among the Korce people. The book also introduces the Korcare urban song and urban lyric song, as well as the Saze music, which were introduced during the Ottoman domination of the Balkans.

40 songs from the pen of Bob Dylan. Arranged for piano/vocal with chord diagrams and full lyrics. Includes: All Along the Watchtower * Blowin' in the Wind * Forever Young * Just Like a Woman * Tangled Up in Blue * and more.

This collection of essays, on the subject of music and Irish identity, covers a number of different musical genres and periods, produced in a coherent volume representing a significant intervention within the field of Irish music studies. The main articles include the (re-)establishment of music as a key object of Irish cultural studies, the theoretical limitations of traditional musicology, and the development of new methodologies specifically designed to address the demands of Irish music in all its aspects. With chapters ranging from the politics of betrayal in the songs of Thomas Moore to the use of music in the award-winning film Once, The Dancer From The Dance, the book offers an analysis of key moments from Irish cultural history considered from the perspective of music.

New Volume Students and other researchers will love this biographical and critical series covering performers and others in a wide variety of musical fields. Each volume covers more than 80 musicians and provides vital statistics, critical essays, photographs and more. Musician and subject indexes facilitate research. Look for:
-- Rap star 2Pac
-- Country sensation Shania Twain
-- Dance hitmakers Soul II Soul
-- Eclectic British rockers Blur
-- Punk-folk artist Ani DiFranco
-- Jazz bassist Christian McBride
-- And many others

New Volume Students and other researchers will love this biographical and critical series covering performers and others in a wide variety of musical fields. Each volume covers more than 80 musicians and provides vital statistics, critical essays, photographs and more. Musician and subject indexes facilitate research. Look for:
-- Rap star 2Pac
-- Country sensation Shania Twain
-- Dance hitmakers Soul II Soul
-- Eclectic British rockers Blur
-- Punk-folk artist Ani DiFranco
-- Jazz bassist Christian McBride
-- And many others

New Volume Students and other researchers will love this biographical and critical series covering performers and others in a wide variety of musical fields. Each volume covers more than 80 musicians and provides vital statistics, critical essays, photographs and more. Musician and subject indexes facilitate research. Look for:
-- Rap star 2Pac
-- Country sensation Shania Twain
-- Dance hitmakers Soul II Soul
-- Eclectic British rockers Blur
-- Punk-folk artist Ani DiFranco
-- Jazz bassist Christian McBride
-- And many others

This famous folksong was brilliantly arranged as a concert band showpiece and has been adapted here for mixed woodwinds. Melody is found throughout the ensemble and rhythmic variety keeps the piece interesting and exciting for both players and the audience. Creative writing and a popular melody make this an ideal piece for concert or contest use.

When Jews left Aleppo, Syria, in the early twentieth century and established communities abroad, they carried with them a repertory of songs ("pizmonim") with sacred Hebrew texts set to melodies borrowed from the popular Middle Eastern Arab musical tradition. "Let Jasmine Rain Down" tells the story of the "pizmonim" as they have continued to be composed, performed, and transformed through the present day; it is thus an innovative ethnography of an important Judeo-Arabic musical tradition and a probing contribution to studies of the link between collective memory and popular culture.
Shelemay views the intersection of music, individual remembrances, and collective memory through the "pizmonim," Reconstructing a century of "pizmon" history in America based on research in New York, Mexico, and Israel, she explains how verbal and musical memories are embedded in individual songs and how these songs perform both what has been remembered and what otherwise would have been forgotten. In confronting issues of identity and meaning in a postmodern world, Shelemay moves ethnomusicology into the domain of memory studies.

Like many other small towns in Trinidad, Felicity is populated almost entirely by East Indians. In their Caribbean exile, the residents of Felicity have created and recreated the music of their Hindu ancestors. "Music of Hindu Trinidad" is a fascinating account of the history and cultural significance of Hindu music that explores its symbolic, aesthetic, and psychological aspects while asking the larger question of how this music has contributed to the formation of identity in the midst of their great diaspora.
Myers details the musical repertory of Felicity, which is based largely on north Indian genres including the traditional Bhojpuri folk songs and drumming styles brought by the first indentured laborers in 1845. In her engaging exploration of the fate of Indian classical music and new popular styles such as Hindi calypso, soca, and chutney, she even finds herself at the ancestral home of Trinidadian V. S. Naipaul in India. Copiously illustrated and accompanied by a compact disk, "Music of Hindu Trinidad" is a model ethnographic study.

First popularized by Ladysmith Black Mambazo and Paul Simon, the a cappella music known as isicathamiya has become internationally celebrated as one of South Africa's most vibrant and distinct performance traditions. But Ladysmith Black Mambazo is only one of hundreds of choirs that perform nightsongs during weekly all-night competitions in South Africa's cities. Veit Erlmann provides the first comprehensive interpretation of isicathamiya performance practice and its relation to the culture and consciousness of the Zulu migrant laborers who largely compose its choirs. In songs and dances, the performers oppose the class and racial oppression that reduces them to labor units. At the same time, Erlmann argues, the performers rework dominant images to symbolically reconstruct their home, an imagined world of Zulu rural tradition and identity. By contrasting the live performance of isicathamiya to its reproduction in mass media, recordings, and international concerts, Erlmann addresses important issues in performance studies and anthropology, and looks to the future of isicathamiya live performance in the new South Africa. Featuring an Introduction by Joseph Shabalala, the lead singer and founder of Ladysmith Black Mambazo, this book will be essential reading for anyone interested in the study of music, performance, popular culture, or South Africa.

This is a biographical and critical guide to performers and writers in a wide variety of musical fields, including pop, rock, rap, jazz, rhythm and blues, folk, New Age, country, gospel, and reggae. Each biannual volume covers 80-100 musicians.

This folk song has been arranged in a theme and variations format for a solo trumpet (or cornet). The band plays the accompaniment figures as well as the break strains. The solo part is very reasonable (similar to the version in the back of the Arban's) and sounds harder than it is. This is a great piece for showing off that talented soloist in your ensemble. It has been arranged for a brass ensemble consisting of 4 trumpets(solo+3), 2 horns, 3 trombones, euphonium, 2 tubas and percussion.

This famous folksong has been brilliantly arranged for brass choir. Melody is found throughout the ensemble and rhythmic variety keeps the piece interesting and exciting for both players and the audience. Creative writing and a popular melody make this an ideal addition for a brass choir consisting of 5 trumpets, flugel horn, 4 horns, 3 trombones, euphonium, 2 tubas and percussion.