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.

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.

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.

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.

(Book). Through anecdotal biographies and evocative photos, this book by jazz author extraordinaire Scott Yanow portrays every key Afro-Cuban Jazz innovator past and present, plus other jazz artists influenced by this infectious music. Also includes reviews and ratings of recordings that make (or don't make) the cut, and essays packed with historical insight not found in other guides. Musicians covered include: Tito Puente, Cal Tjader, Willie Bobo, Machito, Poncho Sanchez, Chucho Valdes, Arturo Sandoval, Mongo Santamaria, Gato Barbieri, Eddie Palmieri, and many more.

Patrick Barbier's entertaining and authoritative book is the first full study of the subject in the context of the baroque period. Covering the lives of more than sixty singers from the end of the sixteenth century to the nineteenth, he blends history and anecdote as he examines their social origins and backgrounds, their training and debuts, their brilliant careers their relationship with society and the Church, and their decline and death. The castrati became a legend that still fascinates us today. Thousands flocked to hear and see these singing hybrids - part man, part woman, part child - who portrayed virile heroes on the operatic stage, their soprano or contralto voices weirdly at variance with their clothes and bearing. The sole surviving scratchy recording tells us little of the extraordinary effect of those voices on their audiences - thrilling, unlike any sound produced by the normal human voice. Illustrated with photographs and engravings, the book ranges from the glories of patronage and adulation to the darker side of a fashion that exploited the sons of poor families, denied them their manhood and left them, when they were old, to decline into poverty and loneliness. It is a story that will intrigue opera-lovers and general readers alike, superbly told by a writer who has researched his subject with the thoroughness of a true enthusiast.

Since its founding in 1964, the United Republic of Tanzania has used music, dance, and other cultural productions as ways of imagining and legitimizing the new nation. Focusing on the politics surrounding Swahili musical performance, Kelly Askew demonstrates the crucial role of popular culture in Tanzania's colonial and postcolonial history.
As Askew shows, the genres of "ngoma" (traditional dance), "dansi" (urban jazz), and "taarab" (sung Swahili poetry) have played prominent parts in official articulations of "Tanzanian National Culture" over the years. Drawing on over a decade of research, including extensive experience as a "taarab" and "dansi" performer, Askew explores the intimate relations among musical practice, political ideology, and economic change. She reveals the processes and agents involved in the creation of Tanzania's national culture, from government elites to local musicians, poets, wedding participants, and traffic police. Throughout, Askew focuses on performance itself--musical and otherwise--as key to understanding both nation-building and interpersonal power dynamics.

In Roots of the Revival: American and British Folk Music in the 1950s, Ronald D. Cohen and Rachel Clare Donaldson present a transatlantic history of folk's midcentury resurgence that juxtaposes the related but distinct revivals that took place in the United States and Great Britain.
After setting the stage with the work of music collectors in the nineteenth century, the authors explore the so-called recovery of folk music practices and performers by Alan Lomax and others, including journeys to and within the British Isles that allowed artists and folk music advocates to absorb native forms and facilitate the music's transatlantic exchange. Cohen and Donaldson place the musical and cultural connections of the twin revivals within the decade's social and musical milieu and grapple with the performers' leftist political agendas and artistic challenges, including the fierce debates over "authenticity" in practice and repertoire that erupted when artists like Harry Belafonte and the Kingston Trio carried folk into the popular music mainstream.
From work songs to skiffle, from the Weavers in Greenwich Village to Burl Ives on the BBC, Roots of the Revival offers a frank and wide-ranging consideration of a time, a movement, and a transformative period in American and British pop culture.

Since the thirteenth century, the sitar-a stringed, plucked instrument of India-has transformed into an instrument beloved by millions in its country of origin as well as all over the world. "The Journey of the Sitar in Indian Classical Music" details the origin, history, and playing styles of this unique stringed instrument.

Dr. Swarn Lata relies on more than thirty-five years of experience teaching sitar to students from diverse cultures and communities as well as extensive research from libraries, museums, temples, and musicologists to compile a comprehensive guidebook filled with fascinating facts about the sitar. In a carefully organized format, Lata offers an in-depth examination of the meaning of musical instruments, the styles of different "gharanas," and the place of the sitar in Indian classical music.

Music is an extraordinary medium of expression that has the capability to bring the world together. This step-by-step guidebook shares a one-of-akind study of a unique instrument that produces a beautiful sound while providing an unforgettable spiritual experience to all who listen.

The "Samaveda" contains the earliest tradition of music from India, which is largely Rigvedic textual material in a form arranged for singing in the solemn Srauta ritual. Since the first editions by Theodor Benfey (1848) and Satyavrata Samasrami (1874-1899), there has been no complete, accented edition that has also included all of its important commentaries. In this work, B. R. Sharma presents an accented edition that is based on manuscripts collected from all over India and Europe. Its "Padapatha," and the commentaries of "Madhava," "Bharatasvamin," and "Sayana" comprise three volumes totaling 2,500 pages. These volumes contain the Purvarcika and Uttararcika portions of the text. The third volume complete with the indexes and a detailed introduction to the whole work will be published soon.

The seven ethnomusicologists who contributed to this volume discuss the role and impact of applied ethnomusicology in a variety of public and private sectors, including the commercial music industry, archives and collections, public folklore programs, and music education programs at public schools. Public Ethnomusicology, Education, Archives, and Commerce is the third of three paperback volumes derived from the original Oxford Handbook of Applied Ethnomusicology. The Handbook can be understood as an applied ethnomusicology project: as a medium of getting to know the thoughts and experiences of global ethnomusicologists, of enriching general knowledge and understanding about ethnomusicologies and applied ethnomusicologies in various parts of the world, and of inspiring readers to put the accumulated knowledge, understanding, and skills into good use for the betterment of our world.

Sound Relations delves into histories of Inuit musical life in Alaska to register the significance of sound as integral to self-determination and sovereignty. Offering radical and relational ways of listening to Inuit performances across a range of genres-from hip hop to Christian hymnody and traditional drumsongs to funk and R&B -author Jessica Bissett Perea registers how a density (not difference) of Indigenous ways of musicking from a vast archive of presence sounds out entanglements between structures of Indigeneity and colonialism. This work dismantles stereotypical understandings of "Eskimos," "Indians," and "Natives" by addressing the following questions: What exactly is "Native" about Native music? What does it mean to sound (or not sound) Native? Who decides? And how can in-depth analyses of Native music that center Indigeneity reframe larger debates of race, power, and representation in twenty-first century American music historiography? Instead of proposing singular truths or facts, this book invites readers to consider the existence of multiple simultaneous truths, a density of truths, all of which are culturally constructed, performed, and in some cases politicized and policed. Native ways of doing music history engage processes of sound worlding that envision otherwise, beyond nation-state notions of containment and glorifications of Alaska as solely an extraction site for U.S. settler capitalism, and instead amplifies possibilities for more just and equitable futures.

A mold-breaking memoir of Asian American identity, political activism, community, and purpose. Not Yo' Butterfly is the intimate and unflinching life story of Nobuko Miyamoto-artist, activist, and mother. Beginning with the harrowing early years of her life as a Japanese American child navigating a fearful west coast during World War II, Miyamoto leads readers into the landscapes that defined the experiences of twentieth-century America and also foregrounds the struggles of people of color who reclaimed their histories, identities, and power through activism and art. Miyamoto vividly describes her early life in the racialized atmosphere of Hollywood musicals and then her turn toward activism as an Asian American troubadour with the release of A Grain of Sand-considered to be the first Asian American folk album. Her narrative intersects with the stories of Yuri Kochiyama and Grace Lee Boggs, influential in both Asian and Black liberation movements. She tells how her experience of motherhood with an Afro-Asian son, as well as a marriage that intertwined Black and Japanese families and communities, placed her at the nexus of the 1992 Rodney King riots-and how she used art to create interracial solidarity and conciliation. Through it all, Miyamoto has embraced her identity as an Asian American woman to create an antiracist body of work and a blueprint for empathy and praxis through community art. Her sometimes barbed, often provocative, and always steadfast story is now told.

The songs in this book are a sampling of the urban folk songs of Greece during the first half of the 20th century. They are the creative expression of an urban subculture whose members the Greeks commonly called rebetes. These rebetes were people living a marginal and often underworld existence on the fringes of established society, disoriented and struggling to maintain themselves in the developing industrial ports, despised and persecuted by the rest of society. And it is the hardships and suffering of these people, their fruitless dreams, their current loves and their lost loves that these songs are about, and underlying them all, their jaunty, tough will to survive.The appeal of these songs, often compared to the American blues, is that the conflicts they express are not exclusively Greek conflicts, they are everybody's; and they are still unresolved in urban Greece as in urban Anywhere.

Responding to growing international interest in Yoruba culture, practitioners of bata performance - a centuries-old drumming, dancing, and singing tradition from southwestern Nigeria - have presented themselves to the world as an emblem of traditional Nigeria. Locally, however, the market for bata has been declining as it plays less of a ritual role and opportunities for performance have dwindled. Debra L. Klein's lively ethnography explores this disjunction, in the process revealing the world of the bata artists and the global culture market that helps to sustain their art. "Yoruba Bata Goes Global" describes the dramatic changes and reinventions of traditional bata performance in recent years, showing how they are continually recreated, performed, and sold. Klein delves into the lives of Yoruba musicians, focusing on their strategic collaborations with artists, culture brokers, researchers, and entrepreneurs worldwide, and she explores how reinvigorated performing ensembles are beginning to parlay success on the world stage into increased power and status within Nigeria. Klein's study of the interwoven roles of innovation and tradition will interest scholars of anthropology; African, global, and cultural studies; and ethnomusicology alike.

"Tony Allen" is the autobiography of legendary Nigerian drummer Tony Allen, the rhythmic engine of Fela Kuti's Afrobeat. Conversational, inviting, and packed with telling anecdotes, Allen's memoir is based on hundreds of hours of interviews with the musician and scholar Michael E. Veal. It spans Allen's early years and career playing highlife music in Lagos; his fifteen years with Fela, from 1964 until 1979; his struggles to form his own bands in Nigeria; and his emigration to France.

Allen embraced the drum set, rather than African handheld drums, early in his career, when drum kits were relatively rare in Africa. His story conveys a love of his craft along with the specifics of his practice. It also provides invaluable firsthand accounts of the explosive creativity in postcolonial African music, and the personal and artistic dynamics in Fela's Koola Lobitos and Africa 70, two of the greatest bands to ever play African music.

What does it mean to play "someone else's music"? Intimate Distance delves into this question through a focus on Bolivian musicians who tour Japan playing Andean music and Japanese audiences, who often go beyond fandom to take up these musical forms as hobbyists and even as professional musicians. Michelle Bigenho conducted part of her ethnographic research while performing with Bolivian musicians as they toured Japan. Drawing on interviews with Bolivian musicians as well as Japanese fans and performers of these traditions, Bigenho explores how transcultural intimacy is produced at the site of Andean music and its performances.Bolivians and Japanese involved in these musical practices often express narratives of intimacy and racial belonging that reference shared but unspecified indigenous ancestors. Along with revealing the story of Bolivian music's route to Japan and interpreting the transnational staging of indigenous worlds, Bigenho examines these stories of closeness, thereby unsettling the East-West binary that often structures many discussions of cultural difference and exotic fantasy.

As contemporary Tambu music and dance evolved on the Caribbean island of Curacao, it intertwined sacred and secular, private and public cultural practices, and many traditions from Africa and the New World. As she explores the formal contours of Tambu, Nanette de Jong discovers its variegated history and uncovers its multiple and even contradictory origins. De Jong recounts the personal stories and experiences of Afro-Curacaoans as they perform Tambu some who complain of its violence and low-class attraction and others who champion Tambu as a powerful tool of collective memory as well as a way to imagine the future."

Francis Maes's comprehensive and imaginative book introduces the general public to the scholarly debate that has revolutionized Russian music history over the past two decades. Based on the most recent critical literature, A History of Russian Music summarizes the new view of Russian music and provides a solid overview of the relationships between artistic movements and political ideas. The revision of Russian music history may count as one of the most significant achievements of recent musicology. The Western view used to be largely based on the ideas of Vladimir Stasov, a friend and confidant of leading nineteenth-century Russian composers who was more a propagandist than a historian. With the deconstruction of Stasov's interpretation, stereotyped views have been replaced by a fuller understanding of the conditions and the context in which composers such as Tchaikovsky, Mussorgsky, and Stravinsky created their oeuvres. Even the more recent history of Soviet music, in particular the achievement of Dmitry Shostakovich, is being assessed on new documentary grounds. A more complex conception of Russian music develops as Maes explores the cultural and historical milieu from which great works have emerged. Questioning and re-examining traditional views, the author considers the personal development of composers, the relationship of art to social and political ideals in Russia, and the ideologies behind musical research.