Salsa is both an American and transnational phenomenon, however women in salsa have been neglected. To explore how female singers negotiate issues of gender, race, and nation through their performances, Poey engages with the ways they problematize the idea of the nation and facilitate their musical performances' movement across multiple borders.

Sounding the Color Line explores how competing understandings of the U.S. South in the first decades of the twentieth century have led us to experience musical forms, sounds, and genres in racialized contexts. Yet, though we may speak of white or black music, rock or rap, sounds constantly leak through such barriers. A critical disjuncture exists, then, between actual interracial musical and cultural forms on the one hand and racialized structures of feeling on the other. This is nowhere more apparent than in the South. Like Jim Crow segregation, the separation of musical forms along racial lines has required enormous energy to maintain. How, asks Nunn, did the protocols structuring listeners' racial associations arise? How have they evolved and been maintained in the face of repeated transgressions of the musical color line? Considering the South as the imagined ground where conflicts of racial and national identities are staged, this book looks at developing ideas concerning folk song and racial and cultural nationalism alongside the competing and sometimes contradictory workings of an emerging culture industry. Drawing on a diverse archive of musical recordings, critical artifacts, and literary texts, Nunn reveals how the musical color line has not only been established and maintained but also repeatedly crossed, fractured, and reformed. This push and pull-between segregationist cultural logics and music's disrespect of racially defined boundaries-is an animating force in twentieth-century American popular culture.

A combination dictionary and annotated discography, videography and bibliography, this sourcebook brings together listings of materials on the Rastafarian movement and reggae music. . . . This sourcebook serves as a good introduction to Rastafari and reggae. "Reference Books Bulletin"

Coinciding with the sixtieth anniversary of Rastafari, this reference book traces the relationship between two intertwined aspects of Jamaican culture: Rastafari and reggae music. As important voices in the ongoing dialogue concerning Jamaica's search for a national identity, Rastafari and reggae have had a significant impact on international music and culture. This work is the first to document and describe these areas for researchers, providing a comprehensive dictionary of terms, people, places, and concepts relevant to Rastafari, reggae music, and their related histories. In a unique collaboration from the American and Jamaican perspectives, Mulvaney and Nelson have supplied annotated references and cross references for written materials, audio recordings, videocassettes, and films that cover the first sixty years of Rastafari and over twenty years of reggae music.

The book is comprised of four main sections. The dictionary serves as the focal point for the cross referencing of the entire book and offers entries that are either directly related to Rastafari and reggae or provide a historical context. The discography, which includes 200 entries, represents a cross section of reggae music from 1968 to 1990 and is organized by musician or band name. A small, representative sample of documentary, concert, and narrative fiction videocassettes that address aspects of Rastafari or reggae music are catalogued in the videography, along with selected films. Finally, the bibliography, prepared by Carlos I.H. Nelson, provides a thorough overview of journal and magazine articles, creative works, dissertations, books, interviews, parts of books, reviews, and theses written by and about Rastafarians and reggae musicians. It covers the past importance, present significance, and future legacies of the movement and the music. The work also includes two appendices that list relevant periodicals and representative musicians and bands. Music students and researchers will find Rastafari and Reggae to be a valuable reference source, as will students in Caribbean and cultural studies, communication, history, and anthropology courses. For academic, public, and music library collections, the book will be an important addition.

African Music is devoted to ethnographic, anthropological, musicological, and popular studies of sub-Saharan African music from the 1890s to the present. The bibliography is organized into six basic sections. Section one covers works on cultural policy and the performing arts in sub-Saharan Africa, while section two provides a selected guide to works on ethnomusicology. Section three, the largest, deals with general works and regional/country studies of traditional sub-Saharan musics, defined most simply as the local village or rural musics of West, Central, Southern, and East Africa. General and regional/country studies of African pop music as well as biographical and critical studies of 275 popular musicians and groups are covered in section four. Section five focuses on the acculturated or art music traditions of Africa's Westernized elite, citing both general works and biographical/critical studies on African composers and performers. The sixth, and final, music section covers general studies on African church, or liturgical music. The items cited in these six sections range from books, dissertations, unpublished papers, and periodical and newspaper articles, to films, videotapes, and audiotapes in all of the major Western languages as well as several African ones. The three appendixes deal, respectively, with reference works on African music and culture; archives and research centers; and a selected discography listing both traditional and popular music recordings and outlets where they may be found. Four indexes--ethnic group, subject, artist and author--complete the work and provide a key to its 5,800 entries. By covering works from 1732 to the present, African Music offers not only the most up-to-date scholarship on the subject, but also the most comprehensive coverage currently available. It offers a much-needed, and long overdue resource for students, scholars, and librarians seeking to understand the musics of sub-Saharan Africa.

Still a highly visible figure, Joan Baez has long been known for social activism and her support of people victimized by poverty and political misfortune. To trace her career is comparable to tracing the social history of her time, and it is often difficult to separate the political activist from the musician. This volume is a comprehensive reference guide to her life and career. A biography concisely summarizes her achievements, while annotated entries detail her work in music and film. Entries provide critical commentary, and a bibliography cites and annotates additional works.

In 1960, when Joan Baez was just 19 years old, she had already signed a contract with Vanguard Records and released her first, and perhaps most influential, album of folk songs, DEGREESIJoan Baez DEGREESR. Her rapid rise in music seemed effortless, and she quickly became a symbol of the blossoming youth culture. She easily filled a niche within the music industry and became the first female artist to achieve massive international success as a folk singer. Still a highly visible figure, she has long been known for social activism and her support of people victimized by poverty and political misfortune.

Through a concise biography and extensive annotated entries, this volume is a comprehensive guide to Joan Baez's tremendous contribution to music and to American social history. The opening biography explores the formative years of her career, her early successes, and her continuing achievements as an artist who has grown with the times and who continues to record compelling new music. Because it is so difficult to separate the activist from the musician, it also discusses her political contributions and her lasting influence. The chapters that follow are devoted to her recordings and to her films, with entries in each chapter providing full information for individual performances. Entries include release dates, songs, songwriters, musicians, production credits, review excerpts, and critical commentary.

Applied studies scholarship has triggered a not-so-quiet revolution in the discipline of ethnomusicology. The current generation of applied ethnomusicologists has moved toward participatory action research, involving themselves in musical communities and working directly on their behalf. The essays in The Oxford Handbook of Applied Ethnomusicology, edited by Svanibor Pettan and Jeff Todd Titon, theorize applied ethnomusicology, offer histories, and detail practical examples with the goal of stimulating further development in the field. The essays in the book, all newly commissioned for the volume, reflect scholarship and data gleaned from eleven countries by over twenty contributors. Themes and locations of the research discussed encompass all world continents. The authors present case studies encompassing multiple places; other that discuss circumstances within a geopolitical unit, either near or far. Many of the authors consider marginalized peoples and communities; others argue for participatory action research. All are united in their interest in overarching themes such as conflict, education, archives, and the status of indigenous peoples and immigrants. A volume that at once defines its field, advances it, and even acts as a large-scale applied ethnomusicology project in the way it connects ideas and methodology, The Oxford Handbook of Applied Ethnomusicology is a seminal contribution to the study of ethnomusicology, theoretical and applied.

Based on extensive fieldwork and documentary research in China, this book is a chronicle of the musical history of Lijiang County in China's southern Yunnan Province. It focuses on Dongjing music, a repertoire borrowed from China's Han ethnic majority by the indigenous Naxi inhabitants of Lijiang County. Used in Confucian worship as well as in secular entertainment, Dongjing music played a key role the Naxi minority's assimilation of Han culture over the last 200 years. Prized for its complexity and elegance, which set it apart from "rough" or "simpler" indigenous Naxi music, Dongjing played an important role in defining social relationships, since proficiency in the music and membership in the Dongjing associations signified high social status and cultural refinement. In addition, there is a strong political component in its examination of the role of indigenous music in the relation of a socialist state to its ethnic minorities.
The first in English on this rich musical tradition, this book is also unique in providing a complete history of the music in a single region in China over the twentieth century. It integrates individual, local, and national histories with musical experience and musical change. Ethnic music in China provides a vivid example of the tremendous cultural changes over the past century, and the tradition continues to evolve as China encourages ethnic diversity within a unified socialist nation. The book includes a case study of China's tourist trade and its policies toward minorities.

Claiming Diaspora explores the thriving contemporary musical culture of Asian/Chinese America. Ranging from traditional operas to modern instrumental music, from ethnic media networks to popular music, from Asian American jazz to the work of recent avant-garde composers, author Su Zheng reveals the rich and diverse musical activities among Chinese Americans and tells of the struggles and creative searches by Chinese Americans to gain a foothold in the American cultural terrain. In doing so, she not only tells their stories, but also examines the transnational and racialized experiences of this musical culture, challenging us to take a fresh look at the increasingly plural and complex nature of American cultural identity. Until recently, two intersected models have dominated studies of Asian American cultural expressions. The notion of "claiming America" has been a fundamental political strategy for the Asian American movement; while the Americanization model for European immigrants has minimized the impact of the "old country" on immigrant life and cultural expression. In Claiming Diaspora, Zheng critically analyzes the controversies surrounding these two models. She unveils the fluid and evolving nature of music in Chinese America, discussing current cultural struggles, while acknowledging an unavoidable connection to a history of Asian exclusion in the U.S. Furthermore, Zheng breaks from traditional approaches which have portrayed the music of non-Western people as rooted and immobile to examine the concept of "diaspora" in the context of Asian American experiences and cultural theories of space, place, and displacement. She calls into question the contested meaning of "Asian American" and "Asian American cultural identity" in cultural productions, and builds a comprehensive picture of community and cultural transformation in Chinese and Asian America. Zheng taps unpublished historical sources of immigrant narrative songs, extensive fieldwork in New York City and China, in-depth interviews in which musicians narrate their life stories and music experiences, and her own longstanding involvement as community member, musician, presenter, and cultural broker. The book delineates the introduction of each music genre from its homeland and its subsequent development in New York, and explains how Chinese Americans express their cultural longings and belongings. Ultimately, Zheng reveals how Chinese American musical activities both reflect and contribute to local, national, and transnational cultural politics.

First published in 1932, Cecil Sharp's English Folk-Songs from the Southern Appalachians contains 274 songs -- ballads, songs, hymns, nursery songs, jigs, and play-party games -- with 968 tunes, collected between 1916 and 1918 from traditional singers in the mountains of Virginia, North Carolina, Kentucky, and Tennessee. It remains one of the foundational collections of American folk music.

In this powerful new study Mary Ellison demonstrates the unique role of black music as an articulation of black aspirations and fears, and as a reaction to a range of social, economic, and political realities. She reveals black music as a soundtrack for life in all its complexity. Through a very close examination of lyrics, musical style, and form in black music throughout history, Ellison brings to light a genre of music varied in its intentions and impact; a catalyst for activism and a stimulus for changing attitudes. The book is organized around topical issues and explores such themes as black power, revolution, socialism, black feminism, and world peace. One of the few books on music and social change to deal specifically with black music, this volume begins by tracing all black music to its African roots. In subsequent chapters, the author illustrates how these roots are evident in the lyrics of black music written in the United States, the West Indies, and West Africa. The book is organized around topical issues and explores such themes as black power, revolution, socialism, black feminism, and world peace. Students and scholars of popular culture, black studies, sociology, and political science will find Lyrical Protest a source of stimulating ideas.

What did popular song mean to people across the world during the First World War? For the first time, song repertoires and musical industries from countries on both sides in the Great War as well as from neutral countries are analysed in one exciting volume. Experts from around the world, and with very different approaches, bring to life the entertainment of a century ago, to show the role it played in the lives of our ancestors. The reader will meet the penniless lyricist, the theatre chain owner, the cross-dressing singer, fado composer, stage Scotsman or rhyming soldier, whether they come from Serbia, Britain, the USA, Germany, France, Portugal or elsewhere, in this fascinating exploration of showbiz before the generalization of the gramophone. Singing was a vector for patriotic support for the war, and sometimes for anti-war activism, but it was much more than that, and expressed and constructed debates, anxieties, social identities and changes in gender roles. This work, accompanied by many links to online recordings, will allow the reader to glimpse the complex role of popular song in people's lives in a period of total war.

By the mid-1920s, the Harlem Renaissance was underway. As an effort to secure economic, social, and cultural equality with white citizens, the Renaissance years were a proving period for black composers and performers. Black Music in the Harlem Renaissance explores black music in the United States and England during the 1920s and its relationship to other arts of the time. The first collection on the subject, Black Music in the Harlem Renaissance seeks to revise previous assumptions about music during this era. The book features essays on various subjects including musical theatre, Duke Ellington, black music and musicians in England, concert singers and the interrelationships between black painters and music. In addition, the book includes a music bibliography of works composed during the period.

The last century has seen radical social changes in Ireland, which have impacted all aspects of local life but none more so than traditional Irish music, an increasingly important identity marker both in Ireland and abroad. The author focuses on a small village in County Clare, which became a kind of pilgrimage site for those interested in experiencing traditional music. He begins by tracing its historical development from the days prior to the influx of visitors, through a period called "the Revival," in which traditional Irish music was revitalized and transformed, to the modern period, which is dominated by tourism. A large number of incomers, locally known as "blow-ins," have moved to the area, and the traditional Irish music is now largely performed and passed on by them. This fine-grained ethnographic study explores the commercialization of music and culture, the touristic consolidation and consumption of "place," and offers a critique of the trope of "authenticity," all in a setting of dramatic social change in which the movement of people is constant.

This new study of British popular music shows how it engages with class in mythical ways that allow audiences to perform class-based identities. Case studies on folk rock, punk and indie rock show how this performance works and explore the implications for listeners and audiences.

Reissuing works originally published between 1968 and 1995, this fascinating collection of books on song and culture and folk music more widely is a superb resource in cultural studies, history and music in one place. Some works look at the contribution of an individual to the understanding of folk singing, or the songs and stories from one region, while others take a wider look at the spread within the Anglo-American folk music sphere. Nearly all books contain tunes and lyrics related to their topics and between them present a great display of the scholarship in this deeply interesting area.

Music historian Irene Heskes takes a topical and chronological approach to present an exhaustive examination of the history, form and meaning of Jewish musical traditions. Chapters include: Documenting the Heritage; Bible, Liturgy, and Cantorial Art; The Musical Heritage of Sephardic and Oriental Jewry; Music of Mysticism and Piety; The Yiddish Musical World of Eastern Europe; The Holocaust Era; America; The Music of Zion and Israel; Composers and Compositions; and Women.

The sensational content of folk ballads makes them especially attractive to young adults. In this fascinating study of folk ballads and their evolution, you'll explore various renditions of such popular songs as Frankie and Johnny, Stagolee, Pretty Polly, and Barbara Allen, as well as lesser known ballads (e.g., Lord Thomas and Fair Annet, Twa Sisters, and King Orfeo). You'll learn about the origins of the stories, how they have developed and changed over time, traveled throughout countries and across oceans, and ultimately evolved into literary forms, such as poetry, novels, and graphic novels, many of which are directed at young adults. Citing numerous critical interpretations and commentary, this book offers great insight into this genre of popular folk literature.

After an introduction to the form and its place in history, the author explores various types of ballads (e.g., child ballads, border ballads, broadside ballads). An examination of modern and contemporary re-workings of ballads, organized by themes, comprises the heart of the book. Ballad types covered include: tragic love stories, murder ballads, otherworld beings, tricks and disguises, and ballads from other cultures. Oral origins and history, critical interpretations, re-workings, and current recordings are included for each ballad; along with a list of resources.

Written from the perspective of a scholar and performer, Traditional Music and Irish Society investigates the relation of traditional music to Irish modernity. The opening chapter integrates a thorough survey of the early sources of Irish music with recent work on Irish social history in the eighteenth century to explore the question of the antiquity of the tradition and the class locations of its origins. Dowling argues in the second chapter that the formation of what is today called Irish traditional music occurred alongside the economic and political modernization of European society in the late eighteenth and early nineteenth centuries. Dowling goes on to illustrate the public discourse on music during the Irish revival in newspapers and journals from the 1880s to the First World War, also drawing on the works of Pierre Bourdieu and Jacques Lacan to place the field of music within the public sphere of nationalist politics and cultural revival in these decades. The situation of music and song in the Irish literary revival is then reflected and interpreted in the life and work of James Joyce, and Dowling includes treatment of Joyce's short stories A Mother and The Dead and the 'Sirens' chapter of Ulysses. Dowling conducted field work with Northern Irish musicians during 2004 and 2005, and also reflects directly on his own experience performing and working with musicians and arts organizations in order to conclude with an assessment of the current state of traditional music and cultural negotiation in Northern Ireland in the second decade of the twenty-first century.

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.

First published in 1932, Cecil Sharp's English Folk-Songs from the Southern Appalachians contains 274 songs -- ballads, songs, hymns, nursery songs, jigs, and play-party games -- with 968 tunes, collected between 1916 and 1918 from traditional singers in the mountains of Virginia, North Carolina, Kentucky, and Tennessee. It remains one of the foundational collections of American folk music.