From the Tibetan Buddhist and Native American influences in the music of Pauline Oliveros to the arresting blend of Jamaican dancehall, rap, and bhangra of Apache Indian, this groundbreaking work examines the rise of 'world music' and 'world beat.' Musicologist Timothy Taylor draws on a wide variety of sources, from popular culture, interviews, liner notes, the Internet and the music itself, charting a path through the issues surrounding contemporary world music. Included in this volume are detailed discussions of such musicians as the Kronos Quartet, Ladysmith Black Mambazo, Youssou N'Dour, Peter Gabriel, Johnny Clegg, Angelique Kidjo, Sheila Chandra, Apache Indian, Zap Mama and a host of others.
Exloring the dynamics behind such collaborations as Paul Simon and Ladysmith Black Mambazo, Taylor addresses the effects that these collaborations have on the music itself with particular emphasis on musical authenticity and the expectations around it. In addition to looking at the ways western pop/rock appropriates music from other cultures, he also demonstrates how cross-cultural collaborations bring music and musicians from other cultures to a much wider audience. Global Pop offers a fascinating and timely survey of popular music and its impact on contemporary culture along with our ways of looking at and living in the world.

Flamenco is renowned for its passion and flamboyance. Yet because it generates such visceral responses, it is often overlooked as a site for subtler discourses.
This absorbing book articulates powerful and convincing arguments on such key subjects as ethnicity, irony, authenticity, the body and resistance. Franco's 'politics of original sin' had left its mark on every aspect of Spanish life between 1936 and 1975, and flamenco music was no exception. Although widely portrayed as an apolitical, even frivolous form of entertainment, flamenco is shown here to have played a role in both the strategies of Franco's supporters and of those who opposed him. The author explores how the meaning of flamenco shifts according to the social, cultural and historical contexts within which it appears. In so doing, he demonstrates that flamenco is an ideal subject for analyzing the construction and appropriation of popular culture, given the way in which it was developed for middle-class audiences, converted into grand spectacle, and conscripted to serve political ends.

Flamenco is renowned for its passion and flamboyance. Yet because it generates such visceral responses, it is often overlooked as a site for subtler discourses.This absorbing book articulates powerful and convincing arguments on such key subjects as ethnicity, irony, authenticity, the body and resistance. Franco's 'politics of original sin' had left its mark on every aspect of Spanish life between 1936 and 1975, and flamenco music was no exception. Although widely portrayed as an apolitical, even frivolous form of entertainment, flamenco is shown here to have played a role in both the strategies of Franco's supporters and of those who opposed him. The author explores how the meaning of flamenco shifts according to the social, cultural and historical contexts within which it appears. In so doing, he demonstrates that flamenco is an ideal subject for analyzing the construction and appropriation of popular culture, given the way in which it was developed for middle-class audiences, converted into grand spectacle, and conscripted to serve political ends.

Joanna Newsom, Will Oldham (a.k.a. 'Bonnie Prince Billy'), and Devendra Banhart are perhaps the best known of a generation of independent artists who use elements of folk music in contexts that are far from traditional. These (and other) so called 'new folk' artists challenge our notions of 'finished product' through their recordings, intrinsically guided by practices and rhetoric inherited from punk. This book traces a fractured trajectory that includes Harry Smith's Anthology of American Folk Music, Bob Dylan, psych-folk of the sixties (from Vashti Bunyan to John Fahey), lo-fi and outsider recordings (from Captain Beefheart and The Residents to Jandek, Daniel Johnston and Smog), and recent experimental folk (Animal Collective, Six Organs of Admittance, Charalambides) to contextualise the first substantial consideration of new folk. In the process, Encarnacao reviews the literature on folk and punk to argue that tropes of authenticity, though constructions, carry considerable power in the creation and reception of recorded works. New approaches to music require new analytical tools, and through the analysis of some 50 albums, Encarnacao introduces the categories of labyrinth, immersive and montage forms. This book makes a compelling argument for a reconsideration of popular music history that highlights the eternal compulsion for spontaneous, imperfect and performative recorded artefacts.

*The Sunday Times Bestseller* *Featuring an exclusive new chapter* On 23 September, 2005, at the Joiners Arms in Southampton, Frank Turner played his last gig with his hardcore band, Million Dead. On the laminates that listed the tour dates, the entry for 24 September simply read: 'Get a job.' Deflated, jaded and hungover, Frank returned to his hometown of Winchester without a plan for the future. All he knew was that he wanted to keep playing music. Cut to 13 April 2012, over a thousand shows later (show 1,216 to be precise), and he was headlining a sold-out gig at Wembley Arena with his band The Sleeping Souls. Told through his tour reminiscences, this is the blisteringly honest story of Frank's career from drug-fuelled house parties and the grimy club scene to filling out arenas, fans roaring every word back at him. But more than that, it is an intimate account of what it's like to spend your life constantly on the road, sleeping on floors, invariably jetlagged, all for the love of playing live music.

Rob Young's Electric Eden: Unearthing Britain's Visionary Music is a seminal book on British music and cultural heritage, that spans the visionary classical and folk tradition from the nineteenth-century to the present day. 'A thoroughly enjoyable read and likely to remain the best-written overview for a long time.' GUARDIAN 'A perfectly timed, perfectly pitched alternative history of English folk music . . . wide-ranging, insightful, authoritative, thoroughly entertaining.' NEW STATESMAN 'A stunning achievement.' SIMON REYNOLDS 'A masterpiece.' CAUGHT BY THE RIVER 'Excellent . . . blissfully quotable.' NEW YORK TIMES 'An authoritative account.' THE TIMES 'Consistently absorbing.' INDEPENDENT 'An impassioned and infectious rallying cry of a book.' SUNDAY TIMES In this groundbreaking survey of more than a century of music making in the British Isles, Rob Young investigates how the idea of folk has been handed down and transformed by successive generations - song collectors, composers, Marxist revivalists, folk-rockers, psychedelic voyagers, free festival-goers, experimental pop stars and electronic innovators. In a sweeping panorama of Albion's soundscape that takes in the pioneer spirit of Cecil Sharp; the pastoral classicism of Ralph Vaughan Williams and Peter Warlock; the industrial folk revival of Ewan MacColl and A. L. Lloyd; the folk-rock of Fairport Convention, Sandy Denny, Nick Drake, Shirley Collins, John Martyn and Pentangle; the bucolic psychedelia of The Incredible String Band, The Beatles and Pink Floyd; the acid folk of Comus, Forest, Mr Fox and Trees; The Wicker Man and occult folklore; the early Glastonbury and Stonehenge festivals; and the visionary pop of Kate Bush, Julian Cope and Talk Talk, Electric Eden maps out a native British musical voice that reflects the complex relationships between town and country, progress and nostalgia, radicalism and conservatism. An attempt to isolate the 'Britishness' of British music - a wild combination of pagan echoes, spiritual quest, imaginative time-travel, pastoral innocence and electrified creativity - Electric Eden will be treasured by anyone interested in the tangled story of Britain's folk music and Arcadian dreams. 'A treat.' TIME OUT 'Young is a fine writer.' MOJO 'Young's immense narrative is both educative and gripping.' UNCUT 'A multitudinous, fascinating and beautifully written account.' TLS

(Piano Solo Personality). The All Music Guide says that pianist & composer George Winston is "among the earliest and most successful proponents of contemporary instrumental music." Here is the first songbook ever notating his beloved piano pieces. Winston himself chose the songs & cover art, wrote the preface, and approved every note. Features 20 of his most-requested favorites: The Black Stallion * Joy * Longing * Prelude/Carol of the Bells * Thanksgiving * Variations on the Kanon by Pachelbel * and more. Includes a biography, discography, and discussion of chords. First Fully Authorized Songbook Featuring Winston's Esteemed Compositions & Arrangements

The original publications of the 1930s are scarcely to be found. The posthumous 1962 volume in the Soviet Union was limited to a tiny edition. Yet the work of the man who has been called "the foremost authority on Jewish folk music before the Holocaust," Moshe Beregovski, survives and is now available for the first time to the English-speaking world. As a member of the Jewish community as well as an ethnomusicologist in prewar Russia, Beregovski had not only the inspiration to preserve the spirit and vitality of the music that filled the lives of his people but also the professional training to document his findings to exacting standards. The first section of SIobin's book contains translations of some of Beregovski's responses to Jewish folk music in its living context during the 1930s. He raises important questions about ethnicity in his essay on interaction between Ukrainian and Jewish musical influences. His work on klezmer music. the music of the Jewish folk instrumental bands, is the most authoritative on the subject and includes his complete guide to fieldworkers in folk music. In another essay Beregovski analyzes an unmistakable trademark of Jewish folk music, the "altered Dorian" scale, and its symbolism in Eastern European Jewish culture. The second section constitutes Beregovski's anthologies of hundreds of folk songs with full Yiddish and English song texts. Each song is carefully notated exactly as it was sung and is accompanied by Beregovski's notes on origins and variants. Beregovski's essays and transcriptions form a pat and a symbol of what was lost in the mass destruction of Eastern European Jewish culture in this century. They form a cultural record of deep significance not only for the Jewish people, but also for folklorists and scholars as evidence of a distinctive music culture that interacted with-and influenced-the folk musics of Eastern Europe.

I've Always Kept a Unicorn tells the story of Sandy Denny, one of the greatest British singers of her time and the first female singer-songwriter to produce a substantial and enduring body of original songs. Sandy Denny laid down the marker for folk-rock when she joined Fairport Convention in 1968, but her music went far beyond this during the seventies. After leaving Fairport she formed Fotheringay, whose influential eponymous album was released in 1970, before collaborating on a historic one-off recording with Led Zeppelin - the only other vocalist to record with Zeppelin in their entire career - and releasing four solo albums across the course of the decade. Her tragic and untimely death came in 1978. Sandy emerged from the folk scene of the sixties - a world of larger-than-life characters such as Alex Campbell, Jackson C. Frank, Anne Briggs and Australian singer Trevor Lucas, whom she married in 1973. Their story is at the core of Sandy's later life and work, and is told with the assistance of more than sixty of her friends, fellow musicians and contemporaries, one of whom, to paraphrase McCartney on Lennon, observed that she sang like an angel but was no angel.

Song and dance style--viewed as nonverbal communications about culture--are here related to social structure and cultural history. Patterns of performance, theme, text and movement are analyzed in large samples of films an recordings from the whole range of human culture, according to the methods explained in this volume. Cantometrics, which means song as a measure of man, finds that traditions of singing trace the main historic distributions of human culture and that specific traits of performance are communications about identifiable aspects of society. The predictable and universal relations between expressive communication and social organization, here established for the first time, open up the possibility of a scientific aesthetics, useful to planners. Alan Lomax is Director, Cantometrics and Choreometrics Projects at Columbia University.

(Waltons Irish Music Books). Here is a facsimile edition of Francis O'Neill's classic 1907 collection of jigs, reels, hornpipes and other dance tunes. The Dance Music of Ireland has proved so valuable to musicians and has been circulated so widely that it has become known simply as "the book" a virtual bible for many traditional players. Songs include: Kitty's Rambles * Off to the Hunt* The Highway to Dublin * The Eavesdropper * Have a Drink with Me * The Maid at the Well * Cherish the Ladies * Galway Tom * The Mountain Boy * Katie's Fancy * O'Sullivan's March * The Priest's Leap * The Humors of Whiskey * A Night at the Fair * Out on the Ocean * Courtney's Favorite * The Merry Old Woman * A Trip to the Cottage * Happy to Meet and Sorry to Part * Wellington's Advance * The Old Man's Delight * Willy Walsh's Jig * The Boys of the Town * and more.

David Hanrahan is a well-known and respected exponent of accordion music and he uses his experience to bring you an sagacious and informative guide to playing the accordion. Using a QandA format, and by concentrating on the most frequently asked questions, he gives confidence to a developing beginner. All the fundamental skills are covered in this book, from playing first notes and adding bass notes to the function of the air valve and bellows action. With illustrations, music theory and general tips, The Box is a perfect start for those wanting to learn the accordion and provides a source of early and easy extracts and melodies. Includes a demonstration CD.

The study of 'Celtic' culture has been locked within modern nationalist paradigms, shaped by contemporary media, tourism, and labor migration. Celtic Modern collects critical essays on the global circulation of Celtic music, and the place of music in the construction of Celtic 'Imaginaries'. It provides detailed case studies of the global dimensions of Celtic music in Scotland, Wales, Ireland, Brittany, and amongst Diasporas in Canada, the United States and Australia, with specific reference to pipe bands, traditional music education in Edinburgh, the politics of popular/traditional crossover in Ireland, and the Australian bush band phenomenon. Contributors include performer musicians as well as academic writers. Critique necessitates reflexivity, and all of the contributors, active and in many cases professional musicians as well as writers, reflect in their essays on their own contributions to these kind of encounters. Thus, this resource offers an opportunity to reflect critically on some of the insistent 'othering' that has accompanied much cultural production in and on the Celtic World, and that have prohibited serious critical engagement with what are sometimes described as the 'traditional' and 'folk' music of Europe.

An unorthodox musician from the start, singer-songwriter Joni Mitchell's style of composing, performing, and of playing (and tuning) the guitar is unique. In the framework of sexual difference and the gendered discourses of rock this immediately begs the questions: are Mitchell's songs specifically feminine and, if so, to what extent and why? Anne Karppinen addresses this question focusing on the kind of music and lyrics Mitchell writes, the representation of men and women in her lyrics, how her style changes and evolves over time, and how cultural context affects her writing. Linked to this are the concepts of subjectivity and authorship: when a singer-songwriter sings a song in the first person, about whom are they actually singing? Mitchell offers a fascinating study, for the songs she writes and sings are intricately woven from the strands of her own life. Using methods from critical discourse analysis, this book examines recorded performances of songs from Mitchell's first nine studio albums, and the contemporary reviews of these albums in Anglo-American rock magazines. In one of the only books to discuss Mitchell's recorded performances, with a focus that extends beyond the seminal album Blue, Karppinen explores the craft of Mitchell's songwriting and her own attitudes towards it, as well as the dynamics and politics of rock criticism in the 1960s and 1970s more generally.

'Leonard Cohen taught us that even in the midst of darkness there is light, in the midst of hatred there is love, with our dying breath we can still sing Hallelujah.' - The late Rabbi Lord Jonathan Sacks 'Among the finest volumes on Cohen's life and lyrics ... An exploration which would have intrigued and engaged Leonard himself.' - John McKenna, writer and friend of Leonard Cohen Harry Freedman uncovers the spiritual traditions that lie behind Leonard Cohen's profound and unmistakable lyrics. The singer and poet Leonard Cohen was deeply learned in Judaism and Christianity, the spiritual traditions that underpinned his self-identity and the way he made sense of the world. In this book Harry Freedman, a leading author of cultural and religious history, explores the mystical and spiritual sources Cohen drew upon, discusses their original context and the stories and ideas behind them. Cohen's music is studded with allusions to Jewish and Christian tradition, to stories and ideas drawn from the Bible, Talmud and Kabbalah. From his 1967 classic 'Suzanne', through masterpieces like 'Hallelujah' and 'Who by Fire', to his final challenge to the divinity, 'You Want It Darker' he drew on spirituality for inspiration and as a tool to create understanding, clarity and beauty. Born into a prominent and scholarly Jewish family in Montreal, Canada, Cohen originally aspired to become a poet, before turning to song writing and eventually recording his own compositions. Later, he became immersed in Zen Buddhism, moving in 1990 to a Zen monastery on Mount Baldy, California where he remained for some years. He died, with immaculate timing, on the day before Donald Trump was elected in 2016, leaving behind him a legacy that will be felt for generations to come. Leonard Cohen: The Mystical Roots of Genius looks deeply into the imagination of one of the greatest singers and lyricists of our time, providing a window on the landscape of his soul. Departing from traditional biographical approaches, Freedman explores song by song how Cohen reworked myths and prayers, legends and allegories with an index of songs at the end of the book for readers to search by their favourites. By the end the reader will be left with a powerful understanding of Cohen's story, together with a far broader insight into the mystical origins of his inimitable work.

A moving portrait of the contemporary experiences of migrant Moroccan men. Umbria is known to most Americans for its picturesque rolling hills and medieval villages, but to the many migrant Moroccan men who travel there, Umbria is better known for the tobacco fields, construction sites, small industries, and the outdoor weekly markets where they work. Marginalized and far from their homes, these men turn to Moroccan traditions of music and poetry that evoke the countryside they have left- l-'arubiya, or the rural. In this book, Alessandra Ciucci takes us inside the lives of Moroccan workers, unpacking the way they share a particular musical style of the rural to create a sense of home and belonging in a foreign and inhospitable nation. Along the way, she uncovers how this culture of belonging is not just the product of the struggles of migration, but also tied to the reclamation of a noble and virtuous masculine identity that is inaccessible to Moroccan migrants in Italy. The Voice of the Rural allows us to understand the contemporary experiences of migrant Moroccan men by examining their imagined relationship to the rural through sound, shedding new light on the urgent issues of migration and belonging.

Ballads offer one of the most fascinating and revealing records of humankind-our deepest feelings and most profound experiences, our laughter and joys, our troubles and sorrows. There is no battle, no romance, no escapade, no tragedy recorded in song which is not rich both in historical significance and in contemporary experience. A ballad is a link with past generations, traditions, and the basic character traits of a people, a region, or a country. The associations formed, the recollections stirred make the study of this form of music a rewarding experience. The first printed collection of ballads was made in 1723-25 and entitled simply Old Ballads. That it met with warm approval is indicated by the fact that a third edition was published as soon as 1727. Since the publication of that first collection, interest in the ballad and demand for ballad texts have grown constantly. During the eighteenth, nineteenth, and twentieth centuries, several hundred collections were published. Many of these collections have become classics in the field of balladry. With the publication of this fourth and final volume of the Ancient Ballads series, the Helen Hartness Flanders Collection took its place with the other classics in the field. Volume IV contains child ballads 250-295 with thirty-six versions of "The Sweet Trinity," or "The Golden Vanity," alone. This is representative of the completeness of the series and reflects the years of scholarship that went into the collecting, interviewing, scoring, and editing of the collection. With analyses by Tristram P. Coffin and musical annotations by Bruno Netti, Helen Hartness Flanders's work constitutes an invaluable source for the student of the ballad, as well as those interested in the related studies of musicology, literature, history, social sciences, and ethnology. Ancient Ballads Traditionally Sung in New England provides endless opportunity for both scholarly study and sheer fascination.

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.

'Probably the most ambitious, generous and thorough volume about a musician to see publication' Mouth Magazine The authorised companion to the music of Nick Drake, compiled, composed and edited by Cally Callomon and Gabrielle Drake, with contributions from Nick's friends, critics, adherents, family and from Nick Drake himself. Remembered For A While is not a biography. It is, rather, an attempt to cast a few shards of light on Nick Drake the poet, the musician, the singer, the friend, son and brother, who was also more than all of these. We hope it will accompany all those in search of an elusive artist, whose haunting presence defies analysis. The book contains: * In-depth interviews with many of Nick's friends, most notably Paul Wheeler, Nick's close friend from Cambridge days, a singer-songwriter who, of all Nick's friends, perhaps best understood, from personal experience, Nick's journey through musical creation to despair and back again. * A selection of photos from all eras - some never seen before - with reproductions of documents such as the scrapbook Molly Drake kept of her son's press cuttings, and the original and rejected album covers. * Images of Nick's handwritten and typed lyrics, including the lyrics of some songs for which the music has never been found. * Newly commissioned pieces by Nick's friends Jeremy Harmer, Brian Wells, Robin Frederick and the poet Will Stone. Contributions also from the sleeve designer Michael Trevithick, Island Records's Ann Sullivan and the photographer and artist Nigel Waymouth. *Extracts from Nick's letters - part of an extensive correspondence that exists between Nick and his parents, which charts their relationship from the time he first went to boarding school until the time he came home, when his depression had settled upon him and he felt he had nowhere else to go. From this point, Nick's life was documented by his father, Rodney Drake, who kept a detailed diary, as he and his wife Molly struggled to understand their son's state of mind and how to help him. Passages from this poignant record are included. * A short musical guide to each song's key and tuning to accompany the lyrics, together with an explanatory interpretation of Nick's guitar performance, the result of several years close study by singer-songwriter Chris Healey. * A comprehensive guide to all of Nick's live performances. * And a lengthy essay by noted music critic Pete Paphides, which includes interviews with Nick's musical collaborators and friends - his producer Joe Boyd, his recording engineer John Wood and his orchestrator, the late Robert Kirby - as well as descriptions of the recording process of each album.

Ballads offer one of the most fascinating and revealing records of humankind-their deepest feelings and most profound experiences, their laughter and joys, their troubles and sorrows. There is no battle, no romance, no escapade, no tragedy recorded in song which is not rich both in historical significance and in contemporary experience. A ballad is a link with past generations, traditions, and the basic character traits of a people, a region, or a country. The associations formed, the recollections stirred make the study of this form of music a rewarding experience. Ancient Ballads Traditionally Sung in New England is complied an edited from the Helen Harness Flanders Ballad Collection at Middlebury College. The texts of the ballads are printed and their tunes set exactly as the singers gave then in the original form, with succinct and accurate notes to reach. This rich collection contains nearly all the traditional ballads of America, many of them in multiple versions. Volume III contains Child ballads 95-243 from the numbered Francis James Child Collection.

The Life and Songs of Stephen Foster offers an engaging reassessment of the life, politics, and legacy of the misunderstood father of American music. Once revered the world over, Foster's plantation songs, like "Old Folks at Home" and "My Old Kentucky Home," fell from grace in the wake of the Civil Rights Movement due to their controversial lyrics. Foster embraced the minstrel tradition for a brief time, refining it and infusing his songs with sympathy for slaves, before abandoning the genre for respectable parlor music. The youngest child in a large family, he grew up in the shadows of a successful older brother and his president brother-in-law, James Buchanan, and walked a fine line between the family's conservative politics and his own pro-Lincoln sentiments. Foster lived most of his life just outside of industrial, smoke-filled Pittsburgh and wrote songs set in a pastoral South-unsullied by the grime of industry but tarnished by the injustice of slavery. Rather than defining Foster by his now-controversial minstrel songs, JoAnne O'Connell reveals a prolific composer who concealed his true feelings in his lyrics and wrote in diverse styles to satisfy the changing tastes of his generation. In a trenchant reevaluation of his NewYork Bowery years, O'Connell illustrates how Foster purposely abandoned the style for which he was famous to write lighthearted songs for newly popular variety stages and music halls. In the last years of his life, Foster's new direction in songwriting stood in the vanguard of vaudeville and musical comedy to pave the way for the future of American popular music. His stylistic flexibility in the face of evolving audience preferences not only proves his versatility as a composer but also reveals important changes in the American music and publishing industries. An intimate biography of a complex, controversial, and now neglected composer, The Life and Songs of Stephen Foster is an important story about the father of American music. This invaluable portrait of the political, economic, social, racial, and gender issues of antebellum and Civil War America will appeal to history and music lovers of all generations.

In sunbaked Terlingua, Texas (pop., a few hundred), residents joke that there is a musician under every rock. Located ten miles from Mexico in one of the remotest corners of the United States, the town had a recording studio before it had a school, a well-stocked grocery store, or even a water utility. Open jam sessions are a daily ritual, and some songwriters make a living from their craft despite being thousands of miles from New York or Nashville. Why does such a tiny and isolated place ring with singing and guitars? Based on more than two years of on-the-ground research, On the Porch tells the story of this small but remarkable community. Chase Peeler invites us into the music, introducing us to a cast of characters as unique as the town itself. He reveals how novices and experts perform together-a rarity in contemporary America. He recounts the devastation brought on by a border closure and describes how music is once again uniting people across the Rio Grande. He considers the impact of gentrification in an off-the-grid paradise, and how this threatens to transform a precarious musical ecosystem. On the Porch is a celebration of human musicality, of the role that music plays and can play in our lives, both in Terlingua and beyond.