Originally published in 1995. This book's collection of key essays presents a coherent overview of touchstone statements and issues in the study of Anglo-American popular ballad traditions and suggests ways this panoramic view affords us a look at Euro-American scholarship's questions, concerns and methods. The study of ballads in English began early in the eighteenth century with Joseph Addison's discussions which marked the onset of an aesthetic and scholarly interest in popular traditions. Therefore the collection begins with him and then chronologically includes scholars whose views mark pivotal moments which taken together tell a story that does not emerge through an examination of the ballads themselves. The book addresses debates in tradition, orality, performance and community as well as national genealogies and connections to contexts. Each selected piece is pre-empted by an introductory section on its importance and relevance.

This companion to The Ethnomusicologists' Cookbook combines scholarship with a unique approach to the study of the world's foods, musics, and cultures. Covering over four dozen regions, the entries in these collection each include a regional food-related proverb, a recipe for a complete meal, a list of companion readings and listening pieces, and a short essay that highlights the significant links between music and food in the area. The Ethnomusicologists' Cookbook, Volume 2 will appeal to ethnomusicologists, anthropologists, and sociologists, but should also find a welcome place on the bookshelf of anyone who enjoys eating and learning about foods from around the world.

Klezmer in Europe has been a controversial topic ever since this traditional Jewish wedding music made it to the concert halls and discos of Berlin, Warsaw, Budapest and Prague. Played mostly by non-Jews and for non-Jews, it was hailed as "fakelore," "Jewish Disneyland" and even "cultural necrophilia." Klezmer's Afterlife is the first book to investigate this fascinating music scene in Central Europe, giving voice to the musicians, producers and consumers of the resuscitated klezmer. Contesting common hypotheses about the klezmer revival in Germany and Poland stemming merely from feelings of guilt which emerged in the years following the Holocaust, author Magdalena Waligorska investigates the consequences of the klezmer boom on the people who staged it and places where it occurred. Offering not only a documentation of the klezmer revival in two of its European headquarters (Krakow and Berlin), but also an analysis of the Jewish / non-Jewish encounter it generates, Waligorska demonstrates how the klezmer revival replicates and reinvents the image of the Jew in Polish and German popular culture, how it becomes a soundtrack to Holocaust commemoration and how it is used as a shining example of successful cultural policy by local officials. Drawing on a variety of fields including musicology, ethnomusicology, history, sociology, and cultural studies, Klezmer's Afterlife will appeal to a wide range scholars and students studying Jewish culture, and cultural relations in post-Holocaust central Europe, as well as general readers interested in klezmer music and music revivals more generally.

Drawing on extensive field research conducted over the course of two decades, Bode Omojola examines traditional and contemporary Yoruba genres of music. From the primeval age of Ayanagalu (the Yoruba pioneer-drummer-turned-deity-of-drumming) to the modern era, Yoruba musical traditions have been shaped by individual performers: drummers, dancers, singers, and chanters, wself-mediated visions of their social and cultural environment. Yoruba Music in the Twentieth Century explores the role of the performer and the performing group in creating these traditions, contributing to the ongoing reorientation of scholarship on African music toward individual creativity within a larger social network. Drawing on extensive field research conducted over the course of two decades, Bode Omojola examines traditional Yoruba genres such as bata and dundun drumming as well as more contemporary genres such as Yoruba popular music. The book also addresses a spectrum of social issues, ranging from gender inequality to the impactianity and Islam on Yoruba musical practice. Throughout, Omojola emphasizes the interrelatedness of the different components of the Yoruba musical landscape, as well as the role of specific individuals and groups of musicians, whohave continued to draw from indigenous Yoruba musical resources to create new musical forms in the process of engaging the social dynamics of a rapidly changing environment. Awarded honorable mention in the 2014 Kwabena Nketia Book Competition of the African Music Section of the Society for Ethnomusicology. Bode Omojola is a Five College Associate Professor of Music at Mt. Holyoke College.

In an extraordinary story unfolding across two hundred years, Kristina Gaddy uncovers the banjo's key role in Black spirituality, ritual and rebellion. Through meticulous research in diaries, letters, archives and art, she traces the banjo's beginnings from the seventeenth century, when enslaved people of African descent created it from gourds or calabashes and wood. Gaddy shows how the enslaved carried this unique instrument as they were transported and sold by slaveowners throughout the Americas, to Suriname, the Caribbean and the colonies that became US states, including Louisiana, South Carolina, Maryland and New York. African Americans came together at rituals where the banjo played an essential part. White governments, rightfully afraid that the gatherings could instigate revolt, outlawed them without success. In the mid-nineteenth century, Blackface minstrels appropriated the instrument for their bands, spawning a craze. Eventually the banjo became part of jazz, bluegrass and country, its deepest history forgotten.

"It remains one of the most penetrating and illuminating books on the island's elusive, alluring culture." -- National Geographic A House in Bali tells the fascinating story of renowned writer and composer Colin McPhee's obsession with Balinese gamelan music, and of his journey to Bali to experience it first-hand. In 1929, the young Canadian-born musician chanced upon rare gramophone recordings which were to change his life forever. From that moment, he lived for the day when he could set foot on the island where this music originated. He realized his dream and spent almost a decade there in the 1930s. Music and dance are second nature to the Balinese, and McPhee's writings and compositions proved seminal in popularizing gamelan music in the West. In this lovingly-told memoir, McPhee unfolds a beguiling picture of a society like no other in the world--staggeringly poor in material terms, but rich beyond belief in spiritual values and joy. The young composer writes about his growing understanding of this astonishing culture where art is a preoccupation--and of all the arts, music reigns supreme. This is a book about passion, obsession and discovery, and of the journey of a supremely talented modern composer and writer. Much has been written about Bali, but this classic stands alone!

Pipers takes the reader inside the world of the performer community of Scottish piping, introducing the instrument itself and the various different repertories. It also discusses piping techniques as well as information on some of the great piping dynasties and individual pipers. Dr Willie Donaldson shows how 'traditional music', often assumed to be the anonymous product of a dim and distant past, is the creation of gifted individuals operating in a sophisticated and vigorously ongoing enterprise. Since pipers have often been skilled also on the fiddle, keyboards and small-pipes, or as singers or dancers, their story offers fascinating insights into the whole traditional music and song repertoire of Scotland. Pipers is a well-informed and highly readable account by a prize-winning author who is a piper and composer of pipe music as well as an internationally recognised historian of Scottish tradition.

This in an outstanding collection of twelve African-American spirituals arranged for upper voices. Rosephanye and William C. Powell have collaborated with some of the most talented and respected spiritual arrangers in the United States to deliver specially commissioned, authentic settings. You'll find familiar melodies, such as 'Deep River' and 'Somebody's knockin' at yo' do'', alongside lesser-known spirituals, and a range of styles and moods extending from the aspirational to the celebratory. Many of the arrangements include a 'lead voice' part, allowing the opportunity for solo singing, and idiomatic piano parts support the voices for the accompanied spirituals; piano reductions are included for the unaccompanied arrangements. This inspirational journey through the African-American spiritual tradition is sure to captivate and delight all upper-voice choirs.

(Music Sales America). An unusual collection of music arranged for the recorder containing over fifty pieces from over 300 years of music. Contents: Allegro (Haydn) * Andante (Gluck) * Andante Grazioso (Mozart) * Anglaise (Handel) * Ballet Anglois (Fischer) * Beautiful Heaven (Fernandez) * Bourree (J.S. Bach) * Corrente Terza (Frescobaldi) * English Dance (J.C.F. Bach) * Gavotte * La Diane (Couperin) * Londonderry Air * March (J.S. Bach) * Minuet (Handel) * Moscow Nights * Musette (J.S. Bach) * Orientale (Cui) * Original Rags (Joplin) * Passepied * Poeme (Fibich) * Polovetsian Dances (Borodin) * Santa Lucia * Sarabande (J.S. Bach) * Scarborough Fair * Serenade (Drigo) * Siciliana (Muffat) * The Entertainer (Joplin) * The Lorelei * Theme from Symphony No. 6, Op. 68 "Pastoral" (Beethoven) * Transcription of a Gavotte by Gluck * Victory Dance and Festival (Kuhnau) * Waltz (W.F.E. Bach) * Wiegenlied.

This ground-breaking book is the first-ever study of the role played in musical history by song collectors. This is the first-ever book about song collectors, music's unsung heroes. They include the Armenian priest who sacrificed his life to preserve the folk music which the Turks were trying to erase in the 1915 Genocide; the prisoner in a Nazi concentration camp who secretly noted down the songs of doomed Jewish inmates; the British singer who went veiled into Afghanistan to learn, record and perform the music the Taliban wanted to silence. Some collectors have been fired by political idealism - Bartok championing Hungarian peasant music, the Lomaxes bringing the blues out of Mississippi penitentiaries, and transmitting them to the world. Many collectors have been priests - French Jesuits noting down labyrinthine forms in eighteenth-century Beijing, English vicars tracking songs in nineteenth-century Somerset. Others have been wonderfully colourful oddballs. Today's collectors are striving heroically to preserve endangered musics, whether rare forms of Balinese gamelan, the wind-band music of Chinese villages, or the sophisticated polyphony of Central African Pygmies. With globalisation, urbanisation and Westernisation causing an irreversible erosion of the world's musical diversity, Michael Church suggests we may be seeing folk music's 'end of history'. Old forms are dying as the conditions for their survival - or replacement - disappear; the death of villages means the death of village musical culture. This ground-breaking book is the sequel to the author's award-winning The Other Classical Musics, and it concludes with an inventory of the musics now under threat, or already lost for ever.

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.

A traveling salesman with little formal education, Max Hunter gravitated to song catching and ballad hunting while on business trips in the Ozarks. Hunter recorded nearly 1600 traditional songs by more than 200 singers from the mid-1950s through the mid-1970s, all the while focused on preserving the music in its unaltered form. Sarah Jane Nelson chronicles Hunter's song collecting adventures alongside portraits of the singers and mentors he met along the way. The guitar-strumming Hunter picked up the recording habit to expand his repertoire but almost immediately embraced the role of song preservationist. Being a local allowed Hunter to merge his native Ozark earthiness with sharp observational skills to connect--often more than once--with his singers. Hunter's own ability to be present added to that sense of connection. Despite his painstaking approach, ballad collecting was also a source of pleasure for Hunter. Ultimately, his dedication to capturing Ozarks song culture in its natural state brought Hunter into contact with people like Vance Randolph, Mary Parler, and non-academic folklorists who shared his values.

Shaped by the processes of migration, diasporization and cosmopolitanization, musical performance conditions and contexts constantly change, while new musical forms emerge and evolve. The development of Turkish folk music is well-documented and provides rich material for study in the motherland and in the diaspora. This book explores, describes, interprets and links musical, contextual and functional aspects of Turkish folk music in contemporary Turkey and the Turkish diaspora in the Belgian city of Ghent. The Turkish presence in Ghent is particularly interesting in its size (approximately ten per cent of the population) and constitution (mostly originating in the West Anatolian town of Emirdag). Anchored in detailed ethnographic reality, this book expands our views on what Turkish folk music signifies in the early twenty-first century, and adds to the understanding and appreciation of this multifaceted, topical musical phenomenon. This book's multi-sited, transnational and comparative outlook is unique, with an added dimension generated by the inclusion of rural and small-town contexts that complement the urban perspective. It makes new contributions to scholarship in this area by including the transcription and analysis of performance styles, the evaluation of Turkish Radio and Television discourses and practices, and the exploration of understudied research contexts of Ghent and Emirdag.

First published in 1943, this autobiography is also a superb portrait of America's Depression years, by a man who saw it all.

A tour de force of storytelling years in the making: a dual biography of two of the greatest songwriters, Bob Dylan and Woody Guthrie, that is also a murder mystery and a history of labor relations and socialism, big business and greed in twentieth-century America-woven together in one epic saga that holds meaning for all working Americans today. When thirteen-year-old Daniel Wolff first heard Bob Dylan's "Like a Rolling Stone," it ignited a life-long interest in understanding the rock poet's anger. When he later discovered "Song to Woody," Dylan's tribute to his hero, Woody Guthrie, Wolff believed he'd uncovered one source of Dylan's rage. Sifting through Guthrie's recordings, Wolff found "1913 Massacre"-a song which told the story of a union Christmas party during a strike in Calumet, Michigan, in 1913 that ended in horrific tragedy. Following the trail from Dylan to Guthrie to an event that claimed the lives of seventy-four men, women, and children a century ago, Wolff found himself tracing the history of an anger that has been passed down for decades. From America's early industrialized days, an epic battle to determine the country's direction has been waged, pitting bosses against workers and big business against the labor movement. In Guthrie's eyes, the owners ultimately won; the 1913 Michigan tragedy was just one example of a larger lost history purposely distorted and buried in time. In this magnificent cultural study, Wolff braids three disparate strands-Calumet, Guthrie, and Dylan-together to create a devastating revisionist history of twentieth-century America. Grown-Up Anger chronicles the struggles between the haves and have-nots, the impact changing labor relations had on industrial America, and the way two musicians used their fury to illuminate economic injustice and inspire change.

The Arabesk Debate describes the way in which Turkish musicians discuss, dispute, and attribute meaning to their music. Martin Stokes examines the debate over 'Arabesk', a musical genre popular throughout Turkey. His book is an ethnographic study of urban music-making in Istanbul, focusing on the activities of professional musicians and their audiences in the city. Dr Stokes looks at the Arabesk debate in the context of state cultural politics, Islam, and the experience of urbanization in Turkey. Within this context he discusses the role of the media, music education, the technology of popular music-making, the construction of gender and the emotions through musical performance, and concepts of musicianship in Turkish society. In looking at the interplay between national cultural politics and urban music-making at a local level, this book challenges both `mass culture' theory and more general assumptions about the study of music in society.

The "singing family" of which Jean Ritchie writes is that of her parents, Balis and Abigail Ritchie, and their fourteen children, all born and reared in Viper, Kentucky, deep in the Cumberland Mountains. Jean, the youngest of the clan, grew up to be a world renowned folksinger. But she was hardly unique in the family. All the Ritchies sang -- when they worked, when they prayed, when they rejoiced, even when tragedy struck.

Singing Family of the Cumberlands is both an appealing account of family life and a treasury of American folklore and folksong. In the deceptively simple but picturesque language of rural Kentucky, Jean Ritchie tells of a way of life now nearly vanished and of a gentle, upright people shielded from the outside world by forbidding mountain ranges, preserving the traditions of their forebears.

Foremost among those traditions were the British folksongs brought from England by James Ritchie in 1768. Even in a region noted for its wealth of folksongs, the Ritchies' inheritance was exceptional. Forty-two of the family's beloved songs are woven through Jean Ritchie's narrative, complete with words and often musical scores. Each song evokes a memory for Jean -- hoeing corn, stirring off molasses, telling ghost stories, singing a dying baby to its eternal rest. Songs lightened the burden of poverty for the Ritchies and brought them joy and solace. Illustrated by Maurice Sendak, Singing Family of the Cumberlands will delight readers in all walks of life.

From Costa Award-shortlisted author Nicholas Bowling comes a tale of adventure, myth and music to make your heart sing ... 'Cast its spell over me from the first page ... it really is my perfect book.' Jasbinder Bilan, author of ASHA & THE SPIRIT BIRD 'Nicholas Bowling is a thrilling writer.' THE TELEGRAPH Oran lives on Little Drum, where music is everything. Every islander has a birth instrument and a life song - and the ancestors, called ghasts, linger to hear the music. But when the Duchess arrives from the mainland bringing orders of silence, she threatens the ghasts' existence, the very soul of the community. When Oran hears of a mythical instrument with the power to manipulate hearts, she brings her ghast best friend, Alick, on a quest to find it, play it, and change the Duchess's mind ... From the author of the Costa Children's Book Award-shortlisted In the Shadow of the Heroes comes a thrilling Celtic-inspired fantasy adventure. The adventure and magic of Neil Gaiman's Stardust with a Hebridean-inspired fantasy setting and lovable characters reminiscent of Pixar's Brave. A story about how music has the power to reveal, to inspire, and to bind people together.

A SUNDAY TIMES AND TELEGRAPH BOOK OF THE YEAR

SHORTLISTED FOR THE PENDERYN MUSIC BOOK PRIZE

THE BOOKSELLER'S Most Picked Book in General Non-Fiction Round Ups of 2017

Peggy Seeger is one of folk music's most influential artists and songwriters. Born in New York City in 1935, she enjoyed a childhood steeped in music and left-wing politics - they remain her lifeblood. After college, she travelled to Russia and China - against US advice - before arriving in London, where she met the man with whom she would raise three children and share the next thirty-three years: Ewan MacColl. Together, they helped lay the foundations of the British folk revival, through the influential Critics Group and the landmark BBC Radio Ballads series. And as Ewan's muse, she inspired one of the twentieth century's most popular love songs, 'The First Time Ever I Saw Your Face'.

With a clear eye and generous spirit, Peggy writes of a rollercoaster life - of birth and abortion, sex and infidelity, devotion and betrayal - in a luminous, beautifully realised account.

(Music Sales America). The "blue book" in this series contains over 100 Irish dance tunes and airs, selected and arranged into sets by Brid Cranitch. This collection contains a varied selection of widely played and lesser-known tunes, divided into different dance rhythms: double jigs, slides, slip jigs, polkas, reels, hornpipes, set dances and airs. In turn, these have been sorted into sets of similar tunes to be played at Irish sessions. The range of the tunes are particularly suitable for the fiddle, but can be used on other instruments. Includes: Silver Spear * Shetland Reel * Rose in the Heather * Fasten the Leg in Her * Cooley's * Wise Maid * Lucky Penny * Old Pigeon in the Gate * Wind That Shakes the Barley * Kiss Me Kate * No Name * Free and Easy * and many more favorites and rarities. The matching CD features Sheila Garry on fiddle and Brid Cranitch on keyboard.

Music and Traditions of the Arabian Peninsula provides a pioneering overview of folk and traditional urban music, along with dance and rituals, of Saudi Arabia and the Upper Gulf States of Kuwait, Bahrain, and Qatar. The nineteen chapters introduce variegated regions and subcultures and their rich and dynamic musical arts, many of which heretofore have been unknown beyond local communities. The book contains insightful descriptions of genres, instruments, poetry, and performance practices of the desert heartland (Najd), the Arabian/Persian Gulf shores, the great western cities including Makkah and Medinah, the southwestern mountains, and the hot Red Sea coast. Musical customs of distinctive groups such as Bedouin, seafarers, and regional women are explored. The book is packaged with downloadable resources and almost 200 images including a full color photo essay, numerous music transcriptions, a glossary with over 400 specialized terms, and original Arabic script alongside key words to assist with further research. This book provides a much-needed introduction and organizational structure for the diverse and complex musical arts of the region.

When he emerged from the nightclubs of Greenwich Village, Bob Dylan was often identified as a "protest" singer. As early as 1962, however, Dylan was already protesting the label: "I don't write no protest songs," he told his audience on the night he debuted "Blowin' in the Wind." "Protest" music is largely perceived as an unsubtle art form, a topical brand of songwriting that preaches to the converted. But popular music of all types has long given listeners food for thought. Fifty years before Vietnam, before the United States entered World War I, some of the most popular sheet music in the country featured anti-war tunes. The labor movement of the early decades of the century was fueled by its communal "songbook." The Civil Rights movement was soundtracked not just by the gorgeous melodies of "Strange Fruit" and "A Change Is Gonna Come," but hundreds of other gospel-tinged ballads and blues. In Which Side Are You On?, author James Sullivan delivers a lively anecdotal history of the progressive movements that have shaped the growth of the United States, and the songs that have accompanied and defined them. Covering one hundred years of social conflict and progress across the twentieth century and into the early years of the twenty-first, this book reveals how protest songs have given voice to the needs and challenges of a nation and asked its citizens to take a stand-asking the question "Which side are you on?"