A biography of the Malian musician Salif Keita

Native American Musicians From Choctaw, Winnebago, Sioux, And Seminole Heritage. Portraits Include Panther Josie Billie, Robert Henry, Charlie Billie, Mrs. John Tiger, Billie Stewart, Sidney Wesley, Mary Hickman, Henry Thunder, And Siya Ka.

Young sarod players Amaan and Ayaan Ali Khan have grown up surrounded by music and musicians. In this tribute to the masters of Indian classical music, both instrumental and vocal, they take us through their encounters with fifty musicians from the twentieth century, exploring the world of both Hindustani and Carnatic music. Filled with personal anecdotes and musical appraisals, and accompanied by a CD selection of some of the finest recorded performances, this book takes you through the best of Indian classical music. Interspersed with some rare photographs from the authors' personal collection as well as descriptions and details of every recording they have discussed, this book is a keepsake for the connoisseur and a comprehensive introduction to the beginner.

Originally published in 1867, this book is a collection of songs of African-American slaves. A few of the songs were written after the emancipation, but all were inspired by slavery. The wild, sad strains tell as the sufferers themselves could, of crushed hopes, keen sorrow and a dull daily misery, which covered them as hopelessly as the fog from the rice swamps. On the other hand the words breathe a trusting faith in the life after to which their eyes seem constantly turned.

Originally published in 1867, this book is a collection of songs of African-American slaves. A few of the songs were written after the emancipation, but all were inspired by slavery. The wild, sad strains tell, as the sufferers themselves could, of crushed hopes, keen sorrow, and a dull, daily misery, which covered them as hopelessly as the fog from the rice swamps. On the other hand, the words breathe a trusting faith in the life after, to which their eyes seem constantly turned.

Two Hundred And Fifty Tunes And Texts With An Introduction And Notes.

This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

At the dawn of the twenty-first century, the Nor-tec phenomenon emerged from the border city of Tijuana, and through modern Internet technology quickly conquered a global audience. Marketed as a kind of "ethnic" electronic dance music, Nor-tec samples sounds of traditional music from the north of Mexico, transforming these sounds through computer technology used in European and American techno music and electronica. Mostly middle-class artists in their thirties, and with few exceptions all from Tijuana, Nor-tec musicians tend to avoid the mainstream music industry's channels, distributing works instead through the underground, global means of the Internet, enabling a loyal international following to grow rapidly. Perched on the border between Mexico and the United States, Tijuana has media links to both countries, with peoples, currencies, and cultural goods -perhaps especially music- from both sides circulating intensely within the city. Tijuana's older residents and their more mobile, cosmopolitan-minded children thus engage in a constant struggle with identity and nationality, appropriation and authenticity. Nor-tec music in its very composition encapsulates this city's struggle. It resonates with issues felt on the global level, while holding vastly different meanings to the variety of communities that embrace it. In Nor-tec Rifa!, Alejandro L. Madrid crafts a fascinating account of this music and the city that fostered its birth. With an impressive hybrid of musicology, ethnomusicology, cultural and performance studies, urbanism, and border studies, Nor-tec Rifa! offers compelling insights into the cultural production of Nor-tec as it stems from ortena, banda, and grupera traditions. The book is also amongst the first to offer detailed accounts of Nor-tec music's composition process.

Detailed Account Of The Sun Dance Based On Information From The Elders.

Native American Musicians From Choctaw, Winnebago, Sioux, And Seminole Heritage. Portraits Include Panther Josie Billie, Robert Henry, Charlie Billie, Mrs. John Tiger, Billie Stewart, Sidney Wesley, Mary Hickman, Henry Thunder, And Siya Ka.

A little more than fifty years ago, in 1955, Ali Akbar Khan issued an LP called "Music of India: Morning and Evening Ragas", with spoken introduction by violinist Yehudi Menuhin. Until then, Indian music was terra incognita in the West. When the same album was reissued as a CD in 1995, under the title "Then and Now", it was nominated for a Grammy. Between "then and now" has been the explosive influence of Indian music and culture in the West. Words such as karma, yoga, raga, nirvana, all once unknown here, have entered the language. Most famously, the wonders of the Indian - musical world were spread by George Harrison and the Beatles. The music also had a profound effect on Mickey Hart and the Grateful Dead, John McLaughlin (Mahavishnu Orchestra), the Byrds, John Coltrane and many others. The annus mirabilis 1967 saw the Maharishi Mahesh Yogi spreading the wonders of transcendental meditation, Swami Prabhupada founding the International Society for Krishna Consciousness in New York City and the growing influence of Ravi Shankar. Four years later, George Harrison organized the groundbreaking Concert for Bangladesh, the first charity event of rock. Shankar had already wowed audiences at the Monterey Pop Festival, and he achieved stardom at the Madison Square Garden event (where Westerners, new to the sounds they heard, applauded after the musicians had finished tuning their instruments!). Peter Lavezzoli, a Buddhist and a musician, has a rare ability to articulate the personal feeling of music and at the same time narrate a history. In his discussion on Indian - music theory, he demystifies musical structures, foreign instruments, terminology and the Eastern - musical framework. Lavezzoli has interviewed more than a score of musicians, including Ravi Shankar, Ali Akbar Khan, David Crosby, Philip Glass, Zakir Hussain, Mickey Hart, Zubin Mehta, and John McLaughlin. These interviews add an unforgettable immediacy and authority throughout the book. The chapters on the relationships between Indian music and jazz, rock and electronic music will be judged definitive. A glossary and rare photos further enhance a fascinating story.

This scarce antiquarian book is a selection from Kessinger Publishings Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the worlds literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

During the long dry season, Tupuri men and women in northern Cameroon gather in gurna camps outside their villages to learn the songs that will be performed at widely attended celebrations to honor the year s dead. The gurna provides a space for them to join together in solidarity to care for their cattle, fatten their bodies, and share local stories. But why does the gurna remain meaningful in the modern nation-state of Cameroon? In Journey of Song, Clare A. Ignatowski explores the vitality of gurna ritual in the context of village life and urban neighborhoods. She shows how Tupuri songs borrow from political discourse on democracy in Cameroon and make light of human foibles, publicize scandals, promote the prestige of dancers, and provide an arena for powerful social commentary on the challenges of modern life. In the context of broad social change in Africa, Ignatowski explores the creative and communal process by which local livelihoods and identities are validated in dance and song."

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

1925. An introductory study into Indian music. Contents: Works on Indian Music; Practical Experts; History of Indian Music; Sur Adhaya, Law of Tones; Tala Adhaya, Law of Rhythm or Time; Ast Adhaya (Law of Musical Instruments); Raga Adhaya, Law of Tunes; and Tales of Indian Music.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

From the red earth of the reservation to the glitter of the Grammys(, the heartfelt music of Native America is getting into the mainstream. This informative and entertaining book includes profiles of some of the major Native artists, activists, and performers such as Robbie Robertson, Rita Coolidge, Bill Miller, Hank Williams III, and Joey Ramone. 44 photos. (Music)

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

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, 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 serious ethnomusicological study of Malagasy music, Recollecting from the Past evokes the complex sound and performative aesthetic in Madagascar called maresaka. Maresaka pertains not only to musical expression but extends into ways of remembering the past, aesthetics of everyday life, and Malagasy concepts of self and community.
Ron Emoff focuses on tromba spirit possession ceremonies in which Malagasy use devotional practice as an occasion to expressively re-figure worlds often impeded by colonialism and postcolonial phenomena, extreme material poverty, and widespread illness. Malagasy not only preserve the past, but they interpret, revalue and transform it to their own ends. Music is crucial to these performances since powerful ancestral spirits will not enter into the present if not enticed by masterful musical performances, and so music itself provides a complex symbolic system with which Malagasy can recall and reconstruct the past. This groundbreaking study will be of interest to readers in the fields of anthropology, ethnomusicology, cultural studies, African studies, postcolonial and performance studies.

This book offers the first English translation of a body of highly esoteric, mystical poetry and songs associated with the Khartabhajas - a Bengali sect devoted to Tantrism, an Indian religious movement that employs deliberately shocking sexual language and rituals. The period from the late eighteenth to the early nineteenth century, during which these lyrics were written, was an era of change, experimentation, and transition from the older medieval styles to the new literary forms of "modern" Bengal. The highly original songs presented here are an important part of this transitional period, reflecting the search for new literary forms and experimentation in new poetic styles.

"If you don't go, don't hinder me. I am leaving this place. I would like company. If I have to travel alone, don't get in my way".

How do you survive leaving everything you know to try to reconstruct your life and future in a new way? What do you carry with you on your journey to the new place?

Migration as a theme looms large in twentieth-century African American life. Bernice Johnson Reagon uses this theme as a centering structure for four essays that examine different genres of African American sacred music as they manifested themselves throughout the twentieth century and within her own personal life. The first essay examines the evolution of gospel music by looking at the work of Charles Albert Tindley, Thomas Andrew Dorsey, Reverend Smallwood Williams, Roberta Martin, Pearl William Jones, and Richard Smallwood. In the next essay Reagon relates the story of Deacon William Reardon and the prayer bands that carried the tradition of South Carolina spirituals through the twentieth century in the communities of Washington, D.C., and Baltimore. The concert spiritual tradition is the subject of the third essay, and the final essay explores how stories about African American women of the nineteenth century became a source of strength for Reagon in her development as an African American woman, singer, fighter, and scholar.