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,

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,

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,

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,

In 1951, musician Kenneth Peacock (1922-2000) secured a contract from the National Museum of Canada (today the Canadian Museum of History) to collect folksongs in Newfoundland. As the province had recently joined Confederation, the project was deemed a goodwill gesture, while at the same time adding to the Museum's meager Anglophone archival collections. Between 1951 and 1961, over the course of six field visits, Peacock collected 766 songs and melodies from 118 singers in 38 communities, later publishing two-thirds of this material in a three-volume collection, Songs of the Newfoundland Outports (1965). As the publication consists of over 1000 pages, Outports is considered to be a bible for Newfoundland singers and a valuable resource for researchers. However, Peacock's treatment of the material by way of tune-text collations, use of lines and stanzas from unpublished songs has always been somewhat controversial. Additionally, comparison of the field collection with Outports indicates that although Peacock acquired a range of material, his personal preferences requently guided his publishing agenda. To ensure that the songs closely correspond to what the singers presented to Peacock, the collection has been prepared by drawing on Peacock's original music and textual notes and his original field recordings. The collection is far-ranging and eclectic in that it includes British and American broadsides, musical hall and vaudeville material alongside country and western songs, and local compositions. It also highlights the influence of popular media on the Newfoundland song tradition and contextualizes a number of locally composed songs. In this sense, it provides a key link between what Peacock actually recorded and the material he eventually published. As several of the songs have not previously appeared in the standard Newfoundland collections, The Forgotten Songs sheds new light on the extent of Peacock's collecting. The collection includes 125 songs arranged under 113 titles along with extensive notes on the songs, and brief biographies of the 58 singers.

What do Louis Armstrong, Ray Charles, Bob Dylan, Willie Nelson, Tom Waits, Cassandra Wilson, and Ani DiFranco have in common? In Highway 61 Revisited, acclaimed music critic Gene Santoro says the answer is jazz--not just the musical style, but jazz's distinctive ambiance and attitudes.
As legendary bebop rebel Charlie Parker once put it, "If you don't live it, it won't come out of your horn." Unwinding that Zen-like statement, Santoro traces how jazz's existential art has infused outstanding musicians in nearly every wing of American popular music--blues, folk, gospel, psychedelic rock, country, bluegrass, soul, funk, hiphop--with its parallel process of self-discovery and artistic creation through musical improvisation. Taking less-traveled paths through the last century of American pop, Highway 61 Revisited maps unexpected musical and cultural links between such apparently disparate figures as Louis Armstrong, Willie Nelson, Bob Dylan and Herbie Hancock; Miles Davis, Lenny Bruce, The Grateful Dead, Bruce Springsteen, and many others. Focusing on jazz's power to connect, Santoro shows how the jazz milieu created a fertile space "where whites and blacks could meet in America on something like equal grounds," and indeed where art and entertainment, politics and poetry, mainstream culture and its subversive offshoots were drawn together in a heady mix whose influence has proved both far-reaching and seemingly inexhaustible.
Combining interviews and original research, and marked throughout by Santoro's wide ranging grasp of cultural history, Highway 61 Revisited offers readers a new look at--and a new way of listening to--the many ways jazz has colored the entire range of American popular music in all its dazzling profusion.

Cipriano Frederico Vigil is the most important performer of traditional Nuevomexicano folk music in the late twentieth and early twenty-first centuries. This bilingual panoramic book presents the songs that are his life's work, spanning half a century of listening, playing, composing, and singing ritual, social, and dance music.

New Mexican Folk Music includes much traditional material that has never been seen before or studied by scholars or students. Renowned as a composer, Vigil works in traditional genres such as the romance, the decima, the cuando, and corrido. Like the Mexican group Los Folkloristas with which he apprenticed in the late 1970s, his goal has been to research and master local styles, to introduce new listeners to traditional music, and to build on tradition by creating new compositions that address contemporary social themes.

An audio CD accompanies this comprehensive study on the work and music of Cipriano Frederico Vigil."

This is a full biography of the talented American woman composer Ruth Crawford Seeger. She was a prominent member of the American avant-garde composers in the 1920s, then married Charles Seeger and became very involved in the American folk song movement of the 1930s and 1940s, which also included Seeger's son Peter and John Lomax. The book also discusses the dilemma of a creative woman who was caught in domestic life and thus could never fully realize her musical potential.

The African Diaspora presents musical case studies from various regions of the African diaspora, including Africa, the Caribbean, Latin America, and Europe, that engage with broader interdisciplinary discussions about race, gender, politics, nationalism, and music.

Scandinavian art songs are a unique expression of the cultures of Sweden, Norway, and Denmark. Although these three countries are distinct from one another, their languages and cultures share many similarities. Common themes found in art and literature include a love of nature, especially of the sea, feelings of longing and melancholy, the contrast between light and dark, the extremes of the northern climate, and lively folk traditions. These shared sensibilities are reflected and expressed in a tangible way through music. Scandinavian art song has faced several challenges over the years in North America (even in the American Midwest, where descendants of Scandinavian immigrants are concentrated). But matters have changed recently with the recent expansion of diction curricula to cover languages other than English, French, German, and Italian. The primary obstacle remains practical resources for the study of art songs and lyric diction of Sweden, Norway, and Denmark. This guide remedies this problem. Scandinavian Song is a practical guide to the art songs of Sweden, Norway, and Denmark. Unlike other sources that give at best a cursory overview of lyric diction in the Scandinavian languages, this guide provides practical information, enabling teachers and students to render transcriptions of Swedish, Norwegian, and Danish texts into the International Phonetic Alphabet (IPA)-an absolute necessity for any study of repertoire. An extensive survey of available music, sample IPA transcriptions and translations, as well as a website link with native speakers reciting selected song texts, make this book an invaluable resource for students and professors in North American college, university, and conservatory voice programs.

The last decade has witnessed the rise of the cell phone from a mode of communication to an indispensable multimedia device, and this phenomenon has led to the burgeoning of mobile communication studies in media, cultural studies, and communication departments across the academy. The Routledge Companion to Mobile Media seeks to be the definitive publication for scholars and students interested in comprehending all the various aspects of mobile media. This collection, which gathers together original articles by a global roster of contributors from a variety of disciplines, sets out to contextualize the increasingly convergent areas surrounding social, geosocial, and mobile media discourses. Features include: comprehensive and interdisciplinary models and approaches for analyzing mobile media; wide-ranging case studies that draw from this truly global field, including China, Africa, Southeast Asia, the Middle East, and Latin America, as well as Europe, the UK, and the US; a consideration of mobile media as part of broader media ecologies and histories; chapters setting out the economic and policy underpinnings of mobile media; explorations of the artistic and creative dimensions of mobile media; studies of emerging issues such as ecological sustainability; up-to-date overviews on social and locative media by pioneers in the field. Drawn from a range of theoretical, artistic, and cultural approaches, The Routledge Companion to Mobile Media will serve as a crucial reference text to inform and orient those interested in this quickly expanding and far-reaching field.

The turn of the 20th century was a time of great change in Britain. The empire saw its global influence waning and its traditional social structures challenged. There was a growing weariness of industrialism and a desire to rediscover tradition and the roots of English heritage. A new interest in English folk song and dance inspired the art world, which many believed was seeing a renaissance after a period of stagnation since the 18th century. This book focuses on the lives of seven English composers-Ralph Vaughan Williams, Gustav Holst, George Butterworth, Ernest Moeran, Philip Heseltine (Peter Warlock), Gerald Finzi and Percy Grainger-whose work was influenced by folk songs and early music. Each chapter provides historical background and tells the fascinating story of a musical life.

In Local Fusions, author Barbara Rose Lange explores musical life in Hungary, Slovakia, and Austria between the end of the Cold War and the world financial crisis of 2008. With case studies from Budapest, Bratislava, and Vienna, the book looks at the ways that artists generated social commentary and tried new ways of working together as the political and economic atmosphere shifted during this time. Drawn from a variety of sources, the case studies illustrate how young musicians redefined a Central European history of elevating the arts by fusing poetry, local folk music, and other vernacular music with jazz, Asian music, art music, and electronic dance music. Their projects rejected exclusion based on ethnic background or gender prevalent in Central Europe's present far-right political movements, and instead embraced diverse modes of expression. Through this, the musicians asserted woman power, broadened masculinities, and declared affinity with regional minorities such as the Romani people.

This book investigates the spectrum of meaning inherent in six orchestral works by Leos Janacek. It codifies his compositional style, first through a thorough examination of its origins in folk music and speech-melody, then in discussions of the features of its melody and motivic techniques. His harmonic style and multiple organizations of tonality are examined in rich detail. The analysis section consists of the examination of each musical work's musical elements, its affective and programmatic associations, as well as four narrative codes through which the listener discovers further meaning in the work: the hermeneutic code (which governs enigmas), the semic code of musical motives, the proairetic (formal) code, and the referential code (which draws on analogous passages from other pieces of music).

Chronicling the highs and lows that have punctuated the life of a musical genius, this in-depth biography reveals new insight into the legendary songs of Leonard Cohen. Covering each stage in his prolific career--his early years as a poet and author in Canada, his relocation to New York City and subsequent impact within the folk and rock scenes, his years spent in a Buddhist monastery, and his recent rediscovery by a new generation of fans--this definitive history combines perceptive research with previously unpublished photos. Balancing his literary and musical influences with themes of religion, depression, sex, politics, and complex interpersonal relationships, fresh perspectives are highlighted through interviews with colleagues who have never before gone on record. His recent release of new music, current revival in popularity, and first tour in 15 years are fully detailed and cited as one of the most dramatic periods in the life of this eloquent songwriter.

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.

Calypso, with its richly diverse cultural heritage, was the most significant Caribbean musical form from World War I to Trinidad and Tobago Independence in 1962. Though wildly popular in mid-1950s America, Calypso--along with other music from ""the island of the hummingbird""--has been largely neglected or forgotten. This first-ever discography of the first 50 years of Trinidadian music includes all the major artists, as well as many unknowns. Chronological entries for 78 rpm recordings give bibliographical references, periodicals and websites and the recording location. Rare field recordings are catalogued for the first time, including East Indian and Muslim community performances and Shango and Voodoo rites. Appendices give 10-inch LP (78 rpm), 12-inch LP (33 1?3 rpm), extended play and 7-inch single listings. Non-commercial field recordings, radio broadcasts and initially unissued sessions also are listed. The influence of Trinidadian music on film, and the ""Calypso craze"" are discussed. Audio sources are provided. Indexes list individual artists and groups, titles and labels.

Merle Haggard enjoyed numerous artistic and professional triumphs, including more than a hundred country hits (thirty-eight at number one), dozens of studio and live album releases, upwards of ten thousand concerts, induction into the Country Music Hall of Fame, and songs covered by artists as diverse as Lynryd Skynyrd, Elvis Costello, Tammy Wynette, Bobby "Blue" Bland, Willie Nelson, the Grateful Dead, and Bob Dylan. In The Running Kind, a new edition that expands on his earlier analysis and covers Haggard's death and afterlife as an icon of both old-school and modern country music, David Cantwell takes us on a revelatory journey through Haggard's music and the life and times out of which it came. Covering the breadth of his career, Cantwell focuses especially on the 1960s and 1970s, when Haggard created some of his best-known and most influential music: songs that helped invent the America we live in today. Listening closely to a masterpiece-crowded catalogue (including "Okie from Muskogee," "Sing Me Back Home," "Mama Tried," and "Working Man Blues," among many more), Cantwell explores the fascinating contradictions-most of all, the desire for freedom in the face of limits set by the world or self-imposed-that define not only Haggard's music and public persona but the very heart of American culture.

This volume of nine essays draws together leading scholars in anthropology, social history, musicology, and ethnomusicology to address the roles and functions of music in the Chinese ritual context. How does music, one of a constellation of essential performative elements in almost all rituals, empower an officiant, legitimate an officeholder, create a heightened state of awareness, convey a message, or produce a magical outcome, a transition, a transformation? After an introduction by the volume editors, Bell Yung proposes a theoretical framework for dealing with Chinese ritual sound. A group of three essays focuses on the music for rituals that create political and social legitimacy followed by a second group of essays considering the music associated with rites of passage. Two essays then deal with the music accompanying rituals of propitiation. In all these cases, music is seen to play a critical role, if not the core of the ritual.

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.