If given another chance to write for the series, which albums would 33 1/3 authors focus on the second time around? This anthology features compact essays from past 33 1/3 authors on albums that consume them, but about which they did not write. It explores often overlooked and underrated albums that may not have inspired their 33 1/3 books, but have played a large part in their own musical cultivation. Questions central to the essays include: How has this album influenced your worldview? How does this album intersect with your other creative and critical pursuits? How does this album index a particular moment in cultural history? In your own personal history? Why is the album perhaps under-the-radar, or a buried treasure? Why can't you stop listening to it? Bringing together 33 1/3's rich array of writers, critics, and scholars, this collection probes our taste in albums, our longing for certain tunes, and our desire to hit repeat--all while creating an expansive "must-listen" list for readers in search of unexplored musical territories.

Political campaigning affects numerous realms under the communication umbrella with each channel seeking to influence as many individuals as possible. In higher education, there is a growing scholarly interest in communication issues and subjects, especially on the role of music, in the political arena. Music and Messaging in the African Political Arena provides innovative insights into providing music and songs as an integral part of sending political messages to a broader spectrum of audiences, especially during political campaigns. The content within this publication covers such topics as framing theory, national identity, and ethnic politics, and is designed for politicians, campaign managers, political communication scholars, researchers, and students.

The Hispanic rite, a medieval non-Roman Western liturgy, was practiced across the Iberian Peninsula for over half a millennium and functioned as the most distinct marker of Christian identity in this region. As Christians typically began every liturgical day throughout the year by singing a vespertinus, this chant genre in particular provides a unique window into the cultural and religious life of medieval Iberia. The Hispanic rite has the largest corpus of extant manuscripts of all non-Roman liturgies in the West, which testifies to the importance placed on their transmission through political and cultural upheavals. Its chants, however, use a notational system that lacks clear specification of pitch and has kept them barred from in-depth study. Text, Liturgy and Music in the Hispanic Rite is the first detailed analysis of the interactions between textual, liturgical, and musical variables across the entire extant repertoire of a chant genre central to the Hispanic rite, the vespertinus. By approaching the vespertini through a holistic methodology that integrates liturgy, melody, and text, author Raquel Rojo Carrillo identifies the genre's norms and traces the different shapes it adopts across the liturgical year and on different occasions. In this way, the book offers an unprecedented insight into the liturgical edifice of the Hispanic rite and the daily experience of Christians in medieval Iberia.

This book explores an album of popular music with a remarkable significance to a violent wave of postcolonial tensions in the Netherlands in the 1970s. Several "actions" were claimed by a small number of first-generation descendants of ca. 12,500 reluctant migrants from the young independent state of Indonesia (former Dutch East Indies). Transferred in 1951, this culturally coherent group consisted of ex-Royal Dutch Colonial Army personnel and their families. Their ancient roots in the Moluccan archipelago and their protestant-christian faith defined their minority image. Their sojourn should have been temporary, but frustratingly turned out to be permanent. At the height of strained relations, Massada rose to the occasion. Astaganaga (1978) is a telling example of the will to negotiate a different diasporic Moluccan identity through uplifting contemporary sounds.

A first-ever book on the subject, New York City Blues: Postwar Portraits from Harlem to the Village and Beyond offers a deep dive into the blues venues and performers in the city from the 1940s through the 1990s. Interviews in this volume bring the reader behind the scenes of the daily and performing lives of working musicians, songwriters, and producers. The interviewers capture their voices - many sadly deceased - and reveal the changes in styles, the connections between performers, and the evolution of New York blues. New York City Blues is an oral history conveyed through the words of the performers themselves and through the photographs of Robert Schaffer, supplemented by the input of Val Wilmer, Paul Harris, and Richard Tapp. The book also features the work of award-winning author and blues scholar John Broven. Along with writing a history of New York blues for the introduction, Broven contributes interviews with Rose Marie McCoy, ""Doc"" Pomus, Billy Butler, and Billy Bland. Some of the artists interviewed by Larry Simon include Paul Oscher, John Hammond Jr., Rosco Gordon, Larry Dale, Bob Gaddy, ""Wild"" Jimmy Spruill, and Bobby Robinson. Also featured are over 160 photographs, including those by respected photographers Anton Mikofsky, Wilmer, and Harris, that provide a vivid visual history of the music and the times from Harlem to Greenwich Village and neighboring areas. New York City Blues delivers a strong sense of the major personalities and places such as Harlem's Apollo Theatre, the history, and an in-depth introduction to the rich variety, sounds, and styles that made up the often-overlooked New York City blues scene.

""Is there jazz in China?"" This is the question that sent author Eugene Marlow on his quest to uncover the history of jazz in China. Marlow traces China's introduction to jazz in the early 1920s, its interruption by Chinese leadership under Mao in 1949, and its rejuvenation in the early 1980s with the start of China's opening to the world under Premier Deng Xiaoping. Covering a span of almost one hundred years, Marlow focuses on a variety of subjects--the musicians who initiated jazz performances in China, the means by which jazz was incorporated into Chinese culture, and the musicians and venues that now present jazz performances. Featuring unique, face-to-face interviews with leading indigenous jazz musicians in Beijing and Shanghai, plus interviews with club owners, promoters, expatriates, and even diplomats, Marlow marks the evolution of jazz in China as it parallels China's social, economic, and political evolution through the twentieth and into the twenty-first century. Also featured is an interview with one of the extant members of the Jimmy King Big Band of the 1940s, one of the first major all-Chinese jazz big bands in Shanghai. Ultimately, Jazz in China: From Dance Hall Music to Individual Freedom of Expression is a cultural history that reveals the inexorable evolution of a democratic form of music in a Communist state.

Most die-hard Brazilian music fans would argue that Getz/Gilberto, the iconic 1964 album featuring "The Girl from Ipanema," is not the best bossa nova record. Yet we've all heard "The Girl from Ipanema" as background music in a thousand anodyne settings, from cocktail parties to telephone hold music. So how did Getz/Gilberto become the Brazilian album known around the world, crossing generational and demographic divides? Bryan McCann traces the history and making of Getz/Gilberto as a musical collaboration between leading figure of bossa nova Joao Gilberto and Philadelphia-born and New York-raised cool jazz artist Stan Getz. McCann also reveals the contributions of the less-understood participants (Astrud Gilberto's unrehearsed, English-language vocals; Creed Taylor's immaculate production; Olga Albizu's arresting, abstract-expressionist cover art) to show how a perfect balance of talents led to not just a great album, but a global pop sensation. And he explains how Getz/Gilberto emerged from the context of Bossa Nova Rio de Janeiro, the brief period when the subtle harmonies and aching melodies of bossa nova seemed to distill the spirit of a modernizing, sensuous city. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

The field of Sound Studies has changed and developed dramatically over the last two decades involving a vast and dizzying array of work produced by those working in the arts, social sciences and sciences. The study of sound is inherently interdisciplinary and is undertaken both by those who specialize in sound and by others who wish to include sound as an intrinsic and indispensable element in their research. This is the first resource to provide a wide ranging, cross-cultural and interdisciplinary investigation and analysis of the ways in which researchers use a broad range of methodologies in order to pursue their sonic investigations. It brings together 49 specially commissioned chapters that ask a wide range of questions including; how can sound be used in current academic disciplines? Is sound as a methodological tool indispensable for Sound Studies and what can sound artists contribute to the discourse on methodology in Sound Studies? The editors also present 3 original chapters that work as provocative ‘sonic methodological interventions’ prefacing the 3 sections of the book.

From the mid-1950s through the 1960s, Hungarian composer Gyoergy Ligeti went through a remarkable period of stylistic transition, from the emulation of his fellow countryman Bela Bartok to his own individual style at the forefront of the Western-European avant-garde. Through careful study of the sketches and drafts, as well as analysis of the finished scores, Metamorphosis in Music takes a detailed look at this compositional evolution. Author Benjamin R. Levy includes sketch studies created through transcriptions and reproductions of archival material-much of which has never before been published-providing new, detailed information about Ligeti's creative process and compositional methods. The book examines all of Ligeti's compositions from 1956 to 1970, analyzing little-known and unpublished works in addition to recognized masterpieces such as Atmospheres, Aventures, the Requieim, and the Chamber Concerto. Discoveries from Ligeti's sketches, prose, and finished scores lead to an enriched appreciation of these already multifaceted works. Throughout the book, Levy interweaves sketch study with comments from interviews, counterbalancing the composer's own carefully crafted public narrative about his work, and revealing lingering attachments to older forms and insights into the creative process. Metamorphosis in Music is an essential treatment of a central figure of the musical midcentury, who found his place in a generation straddling the divide between the modern and post-modern eras.

Music scholarship has been rethinking its understanding of Franz Schubert and his work. How might our modern aesthetic values and historical knowledge of Schubert's life affect how we interpret his music? Schubert's Instrumental Music and Poetics of Interpretation demonstrates how updated analysis of Schubert and his instrumental works reveals expressive meaning. In six chapters, each devoted to one or two of Schubert's pieces, René Rusch explores alternate forms of unity and coherence, offers critical assessments of biographical and intertextual influence, investigates narrative, and addresses the gendering of the composer and his music. Rusch's comparative analyses and interpretations address four significant areas of scholarly focus in Schubert studies, including his use of chromaticism, his unique forms, the impact of events in his own life, and the influence of Beethoven. Drawing from a range of philosophical, hermeneutic, historical, biographical, theoretical, and analytical sources, Schubert's Instrumental Music and Poetics of Interpretation offers readers a unique and innovative foray into the poetics of contemporary analysis of Schubert's instrumental music and develops new ways to engage with his repertoire.

Connecting four centuries of political, social, and religious history with fieldwork and language documentation, A Transatlantic History of Haitian Vodou analyzes Haitian Vodou's African origins, transmission to Saint-Domingue, and promulgation through song in contemporary Haiti. Split into two sections, the African chapters focus on history, economics, and culture in Dahomey, Allada, and Hueda while scrutinizing the role of Europeans in fomenting tensions. The political, military, and slave trading histories of the kingdoms in the Bight of Benin reveal the circumstances of enslavement, including the geographies, ethnicities, languages, and cultures of enslavers and enslaved. The study of the spirits, rituals, structure, and music of the region's religions sheds light on important sources for Haitian Vodou. Having royal, public, and private expressions, Vodun spirit-based traditions served as cultural systems that supported or contested power and enslavement. At once suppliers and victims of the European slave trade, the people of Dahomey, Allada, and Hueda deeply shaped the emergence of Haiti's creolized culture. The Haitian chapters focus on Vodou's Rada Rite (from Allada) and Gede Rite (from Abomey) through the songs of Rasin Figuier's Vodou Lakay and Rasin Bwa Kayiman's Guede, legendary rasin compact discs released on Jean Altidor's Miami label, Mass Konpa Records. All the Vodou songs on the discs are analyzed with a method dubbed "Vodou hermeneutics" that harnesses history, religious studies, linguistics, literary criticism, and ethnomusicology in order to advance a scholarly approach to Vodou songs.

‘Sonic intimacy’ is a key concept through which sound, human and technological relations can be assessed in relation to racial capitalism. What is sonic intimacy, how is it changing and what is at stake in its transformation, are questions that should concern us all. Through an analysis of alternative music cultures of the Black Atlantic (reggae sound systems, jungle pirate radio and grime YouTube music videos), Malcolm James critically shows how sonic intimacy pertains to modernity’s social, psychic, spatial and temporal movements. This book explores what is urgently at stake in the development of sonic intimacy for human relations and alternative black and anti-capitalist public politics.

Following the Drums: African American Fife and Drum Music in Tennessee is an epic history of a little-known African American instrumental music form. John M. Shaw follows the music from its roots in West Africa and early American militia drumming to its prominence in African American communities during the time of Reconstruction, both as a rallying tool for political militancy and a community music for funerals, picnics, parades, and dances. Carefully documenting the music's early uses for commercial advertising and sports promotion, Shaw follows the strands of the music through the nadir of African American history during post-Reconstruction up to the form's rediscovery by musicologists and music researchers during the blues and folk revival of the late 1960s and early 1970s. Although these researchers documented the music, and there were a handful of public performances of the music at festivals, the story has a sad conclusion. Fife and drum music ultimately died out in Tennessee during the early 1980s. Newspaper articles from the period and interviews with music researchers and participants reawaken this lost expression, and specific band leaders receive the spotlight they so long deserved. Following the Drums is a journey through African American history and Tennessee history, with a fascinating form of music powering the story.