"Remains of Ritual", Steven M. Friedson's second book on the critical role of music in African ritual, focuses on the Brekete/Gorovodu religion of the Ewe people. Friedson analyzes their practices through a historical and ethnographic study of one of the dominant ritual sites on the southern coast of Ghana: a medicine shrine whose origins lie in the northern region of the country. In each chapter of this fascinating book, Friedson considers a different facet of the Ewe's religious practices, demonstrating throughout that none of them can be conceived of separately from their musicality - in the Brekete world music functions as ritual, and ritual as music. Dance and possession, chanted calls to prayer, animal sacrifice, the sounds and movements of wake keeping, and the play of the drums all come under Friedson's careful scrutiny, and he ends with a thoughtful reflection on his own position and experiences within this ritual-dominated society.Bridging the disciplinary divide between ethnomusicology and anthropology, "Remains of Ritual" will be warmly welcomed by scholars from both camps as well as anyone interested in African culture, music, or religion.

" For sixty years, Renfro Valley has highlighted some of the biggest and most influential names in country and folk music. The show began in the 1930s as a combination radio broadcast and stage performance, and today it has grown into an array of shows and headliner concerts featuring old-time country music, country gospel, modern country, bluegrass, and comedy acts. John Lair, the ambitious and deeply committed founder of Renfro Valley, was fascinated with the past. He created the Renfro Valley Barn Dance to give radio listeners the experience of an old-fashioned rural hoe-down. He resisted the encroachment of popular ""cowboy songs"" and kept the stage and the airwaves filled with authentic Kentucky mountain music. Lair's vision struck a chord with music fans: on some Saturday nights, more than ten thousand people arrived at Renfro Valley and performances went on all night to accommodate the audiences. Pete Stamper, a forty-seven year veteran of Renfro Valley, traces the show's history from its early radio days in Cincinnati and Chicago, through the glory years in the 1940s, the lean times in the 1960s when rock and roll seemed to take over the music scene, to its renewed popularity in the 1990s. Once known as ""the valley where time stands still,"" Renfro Valley has updated its programming while maintaining the feel of the folk culture on which it was founded. Red Foley, the Coon Creek Girls, Slim Miller, Pee Wee King, Old Joe Clark, and a host of other musicians and performers helped shape the development of Renfro Valley. Stamper describes the role of the Valley in the commercial history of country music and highlights John Lair's invaluable contribution to country music as a talent scout, businessman, and collector of traditional music of the South.

"Foreword by Charles Wolfe Jean Ritchie, the youngest of fourteen children born and raised in Viper, Kentucky, is considered one of the greatest balladeers in this century. Her performances have influenced the resurgence of interest in folk music and given audiences a glimpse into the heart of Appalachia. Jean Ritchie's Swapping Song Book brings together twenty-one songs from the Cumberland Mountains of Kentucky. Many are old songs, brought over by settlers from Scotland, Ireland, and England. Child ballads, gospel music, play party tunes, and frolic songs have been handed down by family members, with each generation adding or embellishing verses and melodies. This new edition retains the original text, written by Ritchie, and includes her husband George Pickow's beautiful photographs to help illustrate the stories of such songs as ""Jubilee,"" ""The Old Soap Gourd,"" and ""Ground Hog."" A new foreword by Charles Wolfe shows how Ritchie's collection of songs is ""part of the rich folk poetry"" that makes up Appalachian culture. Other books by Jean Ritchie include Folksongs of the Southern Appalachians and Singing Family of the Cumberlands.

A facsimile edition containing the original collection of 1,850 melodies consisting of airs, jigs, reels, hornpipes, marches, and more for fiddle.

Longlisted for the Penderyn Music Book Prize England was once dubbed 'the land without music', but in the early twentieth century collectors and enthusiasts such as Cecil Sharp, Ralph Vaughan Williams and Percy Grainger discovered a vital heritage of folk song, vibrant and alive among working men and women. Yet after more than a century of collecting, publishing and performing songs, there are still many things we don't know about England's traditional music. Where did the songs come from? Who sang them, and where, when and why? Why did some songs thrive, and did the collectors' passions and prejudices determine what was preserved, and what was lost? In answer to these questions, acclaimed folklorist Steve Roud has drawn on an unprecedented range of sources to present an intricate social history of folk song through the ages, from the sixteenth to the early twentieth century. It is an absorbing and impeccably researched account that gives a sonorous voice to England's past.

(Educational Piano Solo). 24 songs in the Chinese tradition: Crescent Moon * Darkening Sky * Girl's Lament * Hand Drum Song * Jasmine Flower Song * Mountaintop View * Sad, Rainy Day * The Sun Came up Happy * Wedding Veil * and more. Features notes on each piece, exquisite illustrations, and a map of China.

When singer, musician, and broadcast journalist Malka Marom had the opportunity to interview Joni Mitchell in 1973, she was eager to reconnect with the performer she'd first met late one night in 1966 at a Yorkville coffeehouse. More conversations followed over the next four decades of friendship, and it was only after Joni and Malka completed their last recorded interview, in 2012, that Malka discovered the heart of their discussions: the creative process.
In "Joni Mitchell: In Her Own Words," Joni and Malka follow this thread through seven decades of life and art, discussing the influence of Joni's childhood, love and loss, playing dives and huge festivals, acclaim and criticism, poverty and affluence, glamorous triumphs and tragic mistakes . . .
This riveting narrative, told in interviews, lyrics, paintings, and photographs, is shared in the hope of illuminating a timeless body of work and inspiring others.

This stellar collection contains banjo tab arrangements of 12 bluegrass/folk songs from this Grammy-winning Album of the Year. Includes: Angel Band * The Big Rock Candy Mountain * Didn't Leave Nobody but the Baby * Down to the River to Pray * I Am a Man of Constant Sorrow * I Am Weary (Let Me Rest) * I'll Fly Away * In the Highways (I'll Be Somewhere Working for My Lord) * In the Jailhouse Now * Keep on the Sunny Side * and You Are My Sunshine, plus lyrics and a banjo notation legend.

"Gamelan" is the first study of the music of Java and the development of the gamelan to take into account extensive historical sources and contemporary cultural theory and criticism. An ensemble dominated by bronze percussion instruments that dates back to the twelfth century in Java, the gamelan as a musical organization and a genre of performance reflects a cultural heritage that is the product of centuries of interaction between Hindu, Islamic, European, Chinese, and Malay cultural forces.
Drawing on sources ranging from a twelfth-century royal poem to the writing of a twentieth-century nationalist, Sumarsam shows how the Indian-inspired contexts and ideology of the Javanese performing arts were first adjusted to the Sufi tradition and later shaped by European performance styles in the eighteenth and nineteenth centuries. He then turns to accounts of gamelan theory and practice from the colonial and postcolonial periods. Finally, he presents his own theory of gamelan, stressing the relationship between purely vocal melodies and classical gamelan composition.

(Music Sales America). Miles Krassen has gathered and re-edited over 1,000 tunes, bringing up to date Capt. Francis O'Neill's famed collection of Irish dance music, airs, jigs, reels, hornpipes, and marches. Includes an introduction on the history of Irish music with tips on playing with an authentic feeling. Features new settings from the playing of Michael Coleman & the Sligo Fiddle Masters.

Colonialist, nationalist, and regionalist ideologies have profoundly influenced folk music and related musical practices among the Garhwali and Kumaoni of Uttarakhand. Stefan Fiol blends historical and ethnographic approaches to unlock these influences and explore a paradox: how the oefolk designation can alternately identify a universal stage of humanity, or denote alterity and subordination. Fiol explores the lives and work of Gahrwali artists who produce folk music. These musicians create art as both a discursive idea and as a set of expressive practices across strikingly different historical and cultural settings. Juxtaposing performance contexts in Himalayan villages with Delhi recording studios, Fiol shows how the practices have emerged within and between sites of contrasting values and expectations. Throughout, Fiol presents the varying perspectives and complex lives of the upper-caste, upper-class, male performers spearheading the processes of folklorization. But he also charts their resonance with, and collision against, the perspectives of the women and hereditary musicians most affected by the processes. Expertly observed, Recasting Folk in the Himalayas offers an engaging immersion in a little-studied musical milieu.

With "Mande Music," Eric Charry offers the most comprehensive source available on one of Africa's richest and most sophisticated music cultures. Using resources as disparate as early Arabic travel accounts, oral histories, and archival research as well as his own extensive studies in Mali, Guinea, Senegal, and The Gambia, Charry traces this music culture from its origins pre-dating the thirteenth-century Mali empire to the recording studios of Paris and New York. He focuses on the four major spheres of Mande music-hunter's music, music of the jelis or griots, jembe and other drumming, and guitar-based modern music-exploring how each developed, the types of instruments used, the major artists, and how each sphere relates to the others. With its maps, illustrations, and musical transcriptions as well as an exhaustive bibliography, discography, and videography and a compact disc (available separately) this book is essential reading for those seeking an in-depth look at one of the most exciting, innovative, and deep-rooted phenomena on the world music scene.

In 1978, four musicians crowded into a cramped basement theater in downtown Seoul, where they, for the first time, brought the rural percussive art of p'ungmul to a burgeoning urban audience. In doing so, they began a decades-long reinvention of tradition, one that would eventually create an entirely new genre of music and a national symbol for Korean culture. Nathan Hesselink's "SamulNori" traces this reinvention through the rise of the Korean supergroup of the same name, analyzing the strategies the group employed to transform a museum-worthy musical form into something that was both contemporary and historically authentic, unveiling an intersection of traditional and modern cultures and the inevitable challenges such a mix entails. Providing everything from musical notation to a history of urban culture in South Korea to an analysis of SamulNori's teaching materials and collaborations with Euro-American jazz quartet Red Sun, Hesselink offers a deeply researched study that highlights the need for traditions - if they are to survive - to embrace both preservation and innovation.

New perspectives on Anglo-Jewish history via the poetry and song of Yiddish-speaking immigrants in London from 1884 to 1914. Archive material from the London Yiddish press, songbooks, and satirical writing offers a window into an untold cultural life of the Yiddish East End. Whitechapel Noise: Jewish Immigrant Life in Yiddish Song and Verse, London 1884-1914 by Vivi Lachs positions London's Yiddish popular culture in historical perspective within Anglo-Jewish history, English socialist aesthetics, and music-hall culture, and shows its relationship to the transnational Yiddish-speaking world. Layers of cultural references in the Yiddish texts are closely analysed and quoted to draw out the complex yet intimate histories they contain, offering new perspectives on Anglo-Jewish historiography in three main areas: politics, sex, and religion. The acculturation of Jewish immigrants to English life is an important part of the development of their social culture, as well as to the history of London. In the first part of the book, Lachs presents an overview of daily immigrant life in London, its relationship to the Anglo-Jewish establishment, and the development of a popular Yiddish theatre and press, establishing a context from which these popular texts came. The author then analyzes the poems and songs, revealing the hidden social histories of the people writing and performing them. Lachs also explores how themes of marriage, relationships, and sexual exploitation appear regularly in music-hall songs, alluding to the changing nature of sexual roles in the immigrant London community influenced by the cultural mores of their new location. In the theme of religion, Lachs examines how ideas from Jewish texts and practice were used and manipulated by the socialist poets to advance ideas about class, equality, and revolution; and satirical writings offer glimpses into how the practice of religion and growing secularization was changing immigrants' daily lives in the encounter with modernity. The detailed and nuanced analysis found in Whitechapel Noise offers a new reading of Anglo-Jewish, London, and immigrant history. It is a must-read for Jewish and Anglo-Jewish historians and those interested in Yiddish, London, and migration studies.

Stories are the backbone of ethnographic research. During fieldwork, subjects describe their lives through stories. Afterward ethnographers come home from their journeys with stories of their own about their experiences in the field. Storytime in India is an exploration of the stories that come out of ethnographic fieldwork. Helen Priscilla Myers and Umesh Chandra Pandey examine the ways in which their research collecting Bhojpuri wedding songs became interwoven with the stories of their lives, their work together, and their shared experience reading The Eustace Diamonds by Anthony Trollope. Moving through these intertwined stories, the reader learns about the complete Bhojpuri wedding tradition through songs sung by Gangajali and access to the original song recordings and their translations. In the interludes, Pandey reads and interprets The Eustace Diamonds, confronting the reader with the ever-present influence of colonialism, both in India and in ethnographic fieldwork. Interwoven throughout are stories of the everyday, highlighting the ups and downs of the ethnographic experience. Storytime in India combines the style of the Victorian novel with the structure of traditional Indian village tales, in which stories are told within stories. This book questions how we can and should present ethnography as well as what we really learn in the field. As Myers and Pandey ultimately conclude, writers of scholarly books are storytellers themselves and scholarly books are a form of art, just like the traditions they study.

The African Diaspora presents musical case studies from various regions of the African diaspora, including Africa, the Caribbean, Latin America, North America, and Europe, that engage with broader interdisciplinary discussions about race, gender, politics, nationalism, and music. Featured here are jazz, wassoulou music, and popular and traditional musics of the Caribbean and Africa, framed with attention to the reciprocal relationships of the local and the global.

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.

Focus: Scottish Traditional Music engages methods from ethnomusicology, popular music studies, cultural studies, and media studies to explain how complex Scottish identities and culture are constructed in the traditional music and culture of Scotland. This book examines Scottish music through their social and performative contexts, outlining vocal traditions such as lullabies, mining songs, Scottish ballads, herding songs, and protest songs as well as instrumental traditions such as fiddle music, country dances, and informal evening pub sessions. Case studies explore the key ideas in understanding Scotland musically by exploring ethnicity, Britishness, belonging, politics, transmission and performance, positioning the cultural identity of Scotland within the United Kingdom. Visit the author's companion website at http://www.scottishtraditionalmusic.org/ for additional resources.

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.

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.

Between 1959 and 1968, New England saw a folk revival emerge in more than fifty clubs and coffeehouses, a revolution led by college dropouts, young bohemians, and lovers of traditional music that renewed the work of the region's intellectuals and reformers. From Club 47 in Harvard Square to candlelit venues in Ipswich, Martha's Vineyard, and Amherst, budding musicians and hopeful audiences alike embraced folk music, progressive ideals, and community as alternatives to an increasingly toxic consumer culture. While the Boston-Cambridge Folk Revival was short-lived, the youthful attention that it spurred played a crucial role in the civil rights, world peace, and back-to-the-land movements emerging across the country. Fueled by interviews with key players from the folk music scene, I Believe I'll Go Back Home traces a direct line from Yankee revolutionaries, up-country dancers, and nineteenth-century pacifists to the emergence of blues and rock 'n' roll, ultimately landing at the period of the folk revival. Thomas S. Curren presents the richness and diversity of the New England folk tradition, which continues to provide perspective, inspiration, and healing in the present day.

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.