From bell ringing to fireworks, gongs to cannon salutes, a dazzling variety of sounds and soundscapes marked the China encountered by the West around 1800. These sounds were gathered by diplomats, trade officials, missionaries, and other travelers and transmitted back to Europe, where they were reconstructed in the imaginations of writers, philosophers, and music historians such as Jean-Philippe Rameau, Johann Nikolaus Forkel, and Charles Burney. Thomas Irvine gathers these stories in Listening to China, exploring how the sonic encounter with China shaped perceptions of Europe's own musical development. Through these stories, Irvine not only investigates how the Sino-Western encounter sounded, but also traces the West's shifting response to China. As the trading relationships between China and the West broke down, travelers and music theorists abandoned the vision of shared musical approaches, focusing instead on China's noisiness and sonic disorder and finding less to like in its music. At the same time, Irvine reconsiders the idea of a specifically Western music history, revealing that it was comparison with China, the great "other," that helped this idea emerge. Ultimately, Irvine draws attention to the ways Western ears were implicated in the colonial and imperial project in China, as well as to China's importance to the construction of musical knowledge during and after the European Enlightenment. Timely and original, Listening to China is a must-read for music scholars and historians of China alike.

This generously illustrated book brings together for the first time a significant body of imagery devoted to the traditional, expressive culture of African Americans in the Colonial, Federalist, Antebellum, and Postbellum eras. It features over 250 rare photos, paintings, engravings, and drawings which depict scenes of music, dance, religious storytelling, and secular storytelling.

The Other Classical Musics offers challenging new perspectives on classical music by presenting the history of fifteen parallel traditions. Winner of the Royal Philharmonic Society Music Award for Creative Communication 2015 There is a treasure trove of underappreciated music out there; this book will convince many to explore it. The Economist Whatis classical music? This book answers the question in a manner never before attempted, by presenting the history of fifteen parallel traditions, of which Western classical music is just one. Each music is analysed in terms of itsmodes, scales, and theory; its instruments, forms, and aesthetic goals; its historical development, golden age, and condition today; and the conventions governing its performance. The writers are leading ethnomusicologists, and their approach is based on the belief that music is best understood in the context of the culture which gave rise to it. By including Mande and Uzbek-Tajik music - plus North American jazz - in addition to the better-knownstyles of the Middle East, the Indian sub-continent, the Far East, and South-East Asia, this book offers challenging new perspectives on the word 'classical'. It shows the extent to which most classical traditions are underpinnedby improvisation, and reveals the cognate origins of seemingly unrelated musics; it reflects the multifarious ways in which colonialism, migration, and new technology have affected musical development, and continue to do today. With specialist language kept to a minimum, it's designed to help both students and general readers to appreciate musical traditions which may be unfamiliar to them, and to encounter the reality which lies behind that lazy adjective'exotic'. MICHAEL CHURCH has spent much of his career in newspapers as a literary and arts editor; since 2010 he has been the music and opera critic of The Independent. From 1992 to 2005 he reported on traditional musics all over the world for the BBC World Service; in 2004, Topic Records released a CD of his Kazakh field recordings and, in 2007, two further CDs of his recordings in Georgia and Chechnya. Contributors: Michael Church, Scott DeVeaux, Ivan Hewett, David W. Hughes, Jonathan Katz, Roderic Knight, Frank Kouwenhoven, Robert Labaree, Scott Marcus, Terry E. Miller, Dwight F. Reynolds, Neil Sorrell, Will Sumits, Richard Widdess, Ameneh Youssefzadeh

This anthology to accompany Gateways to Understanding Music is comprised of musical "texts." These broadly defined texts-primarily musical scores-facilitate the integration of score study and music theory into the ethno/musicology curriculum, a necessary focus in the training of the professional musician. As posed by the textbook, the last question in each modular "gateway" is "Where do I go from here?" This resource provides one more opportunity to go beyond the textbook to examine music scores and texts in even greater depth. This anthology is a combination of primary sources for study: musical scores and music transcriptions, along with a few primary source documents and musical exercises.

Critical Themes in World Music is a reader of nine short essays by the authors of the successful Excursions in World Music, Eighth Edition, edited by Timothy Rommen and Bruno Nettl. The essays introduce key and contemporary themes in ethnomusicology-gender and sexuality, coloniality and race, technology and media, sound and space, and more-creating a counterpoint to the area studies approach of the textbook, a longstanding model for thinking about the musics of the world. Instructors can use this flexible resource as a primary or secondary path through the materials, on its own, or in concert with Excursions in World Music, allowing for a more complete understanding that highlights the many continuities and connections that exist between musical communities, regardless of region. Critical Themes in World Music presents a critically-minded, thematic study of ethnomusicology, one that serves to counterbalance, complicate, and ultimately complement the companion textbook.

Modern Jerusalem, a city central to Jewish, Muslim, and Christian religious imaginaries and the political epicenter of the Israeli-Palestinian crisis, is to put it mildly a highly contested space. More surprising, perhaps, is that its musical landscape not only reflects these rifts but also helped to define them as the ancient city transitioned to modernity during the twentieth century. In City of Song: Music and the Making of Modern Jerusalem, author Michael A. Figueroa argues that musical renderings of Jerusalem have been critical to the formation of Israeli political consciousness. The book demonstrates how Israeli songwriters helped to shape their public's territorial imagination- creating images of a city at once heavenly and earthly, that dwells in longing, that must not be forgotten, that compels one to bereave the dead, that represents the fulfilment of prophecy, and that is the site of immense cultural diversity. The dynamic history of its representation in lyrics and music helps dispel any notion that the Israeli-Palestinian crisis is timeless, intractable, and based on static, essential identities; while there are continuities across historical divides, radical change constantly transpires. City of Song combines analyses of musical meaning, political discourse, and public performance over the long twentieth century (1880s-2010) to reveal how the Israeli-Palestinian crisis' territorial fixation on Jerusalem has been constructed, historically contingent, and subject to artistic intervention in modernity. Through a musical history of Jerusalem, Figueroa introduces a novel, humanities-centered approach to one of the world's most contested cities, and one of the defining cultural and political questions of our era.

Taking as a thread the concept of national identity, this book elucidates the sound transformations that have taken place in the world of the Latin American art song since its appearance in the late nineteenth century to the present day. The book focuses in the art songs of Brazil, Argentina, Cuba, Venezuela, Bolivia, Peru, and Colombia. The book addresses the subject of performance practice of the Latin American song and ends with a proposal for its interpretation. In songs, spaces of representation and cathartic tools thought, language and music have been at the service of some interests, fulfilling specific functions in the construction of the nation. In them, we observe that the construction of identity is a continuous, constant and changing process in which different stories are superimposed. Seen this way, songs are historical texts where social interactions are reflected, and the past, the present and the future are constantly negotiated. The book also addresses the subject of performance practice of the Latin American song and ends with a proposal for its interpretation.

Jazz has always been a genre built on the blending of disparate musical cultures. Latin jazz illustrates this perhaps better than any other style in this rich tradition, yet its cultural heritage has been all but erased from narratives of jazz history. Told from the perspective of a long-time jazz insider, Latin Jazz: The Other Jazz corrects the record, providing a historical account that embraces the genre's international nature and explores the dynamic interplay of economics, race, ethnicity, and nationalism that shaped it.

This anthology to accompany Gateways to Understanding Music is comprised of musical "texts." These broadly defined texts-primarily musical scores-facilitate the integration of score study and music theory into the ethno/musicology curriculum, a necessary focus in the training of the professional musician. As posed by the textbook, the last question in each modular "gateway" is "Where do I go from here?" This resource provides one more opportunity to go beyond the textbook to examine music scores and texts in even greater depth. This anthology is a combination of primary sources for study: musical scores and music transcriptions, along with a few primary source documents and musical exercises.

Megawattage sound systems have blasted the electronically enhanced "riddims" and tongue-twisting lyrics of Jamaica's dancehall DJs across the globe. This high-energy "raggamuffin" music is often dissed by old-school roots reggae fans as a raucous degeneration of classic Jamaican popular music. In this provocative study of dancehall culture Carolyn Cooper, Professor of Literary and Cultural Studies at the University of the West Indies, Mona, Jamaica, offers a sympathetic account of the philosophy of a wide range of dancehall DJs: Shabba Ranks, Lady Saw, Ninjaman, Capleton, Buju Banton, Anthony B, Apache Indian. She demonstrates the ways in which the language of dancehall culture, often devalued as mere 'noise, ' articulates a complex understanding of the border clashes that characterise Jamaican society. Cooper also analyses the sound clashes that erupt in the movement of Jamaican dancehall culture across national borders.

Megawattage sound systems have blasted the electronically enhanced riddims and tongue twisting lyrics of Jamaica's dancehall DJs across the globe. This high energy raggamuffin music is often dismissed by old school roots reggae fans as a raucous degeneration of classic Jamaican popular music. In this provocative study of dancehall culture, Cooper offers a sympathetic account of the philosophy of a wide range of dancehall DJs: Shabba Ranks, Lady Saw, Ninjaman, Capleton, Buju Banton, Anthony B and Apache Indian. She demonstrates the ways in which the language of dancehall culture, often devalued as mere 'noise, ' articulates a complex understanding of the border clashes that characterize Jamaican society. Cooper also analyzes the sound clashes that erupt in the movement of Jamaican dancehall culture across national borders. MARKET 1: Media and Cultural Studies; Afro-Caribbean Studies; Popular and Youth Culture; Music; Linguistic

Music, Communities, Sustainability, edited thoughtfully by Huib Schippers and Anthony Seeger, traces the genesis, implementation, and development of the influential 2003 UNESCO Convention on Safeguarding of the Intangible Cultural Heritage and its impact on music practices around the world. With insights from established and emerging scholars who have been there from the early beginnings to those who work with it in communities today, this book tells a riveting story that celebrates the rise in awareness that approaching music as Intangible Cultural Heritage has brought. At the same time, it critiques the discrepancies between ideologies and realities as they emerged across the globe in its first twenty years, and provides perspectives for sound futures for the planet. Gathering such varied perspectives, this essential volume tells a crucial history and expands our understanding of the possibilities and limitations of interventions in music sustainability on a global scale.

The journey that The Beatles made to India in 1968 is considered one of the key events for western pop culture. The journey that The Beatles made to India in 1968 caused an enormous stir in the international media and was fundamental in spreading a certain interest for the East that influenced music, literature, cinema, fashion and customs at the close of that decade. The title, Nothing Is Real, is a famous lyric in The Beatles' song Strawberry Fields Forever, inviting people to search beyond appearances with a spiritual and metaphysical tension. The book invokes that extraordinary moment through reports from the period, historical photographs, artworks by international artists such as Ettore Sottsass, Alighiero Boetti, Francesco Clemente, Luigi Ontani, Aldo Mondino and Julian Schnabel, as well as through album, book and magazine covers..

I Remember is a first-hand account of the world of black American music told by a man who has been part of that world for eighty years. Clyde E. B. Bernhardt worked with a number of bands, including King Oliver, Marion Hard, Cecil Scott, the Bascomb Brothers, and Joe Garland. He started his own band, the Blue Blazers, in 1946 and formed the Harlem Blues and Jazz Band in 1972. The book is a primary document that provides information about a part of the history of American music for which there is little documentation.

Music, Communities, Sustainability, edited thoughtfully by Huib Schippers and Anthony Seeger, traces the genesis, implementation, and development of the influential 2003 UNESCO Convention on Safeguarding of the Intangible Cultural Heritage and its impact on music practices around the world. With insights from established and emerging scholars who have been there from the early beginnings to those who work with it in communities today, this book tells a riveting story that celebrates the rise in awareness that approaching music as Intangible Cultural Heritage has brought. At the same time, it critiques the discrepancies between ideologies and realities as they emerged across the globe in its first twenty years, and provides perspectives for sound futures for the planet. Gathering such varied perspectives, this essential volume tells a crucial history and expands our understanding of the possibilities and limitations of interventions in music sustainability on a global scale.

In 1893 the composer Antonin Dvorak prophesied a "great and noble" school of American classical music based on the searing "negro melodies" he had excitedly discovered since arriving in the United States a year before. But while Black music would found popular genres known the world over, it never gained a foothold in the concert hall. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to Gershwin's Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Leonard Bernstein and Aaron Copland, he looks back to literary figures-Emerson, Melville and Twain-to ponder how American music can connect with a "usable past". The result is a new paradigm, that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Dawson and Florence Price, to redefine the classical canon.

Ethnomusicologists face complex and challenging professional landscapes for which graduate studies in the field do not fully prepare them. The essays in Voices of the Field: Pathways in Public Ethnomusicology, edited by Leon F. Garcia Corona and Kathleen Wiens, provide a reflection on the challenges, opportunities, and often overlooked importance of public ethnomusicology. These essays capture years of experience of fourteen scholars who have simultaneously navigated the worlds within and outside of academia, sharing valuable lessons often missing in ethnomusicological training. Power and organizational structures, marketing, content management and production are among the themes explored as an extension and re-evaluation of what constitutes the field of/in ethnomusicology. Many of the authors in this volume share how to successfully acquire funding for a project, while others illustrate how to navigate non-academic workplaces, and yet others share perspectives on reconciling business-like mindsets with humanistic goals. Grounded in case studies in multiple institutional and geographical locations, authors advocate for the importance and relevance of ethnomusicology in our society at large.

Our day-to-day musical enjoyment seems so simple, so easy, so automatic. Songs instantly emanate from our computers and phones, at any time of day. The tools for playing and making music, such as records and guitars, wait for us in stores, ready for purchase and use. And when we no longer need them, we can leave them at the curb, where they disappear effortlessly and without a trace. These casual engagements often conceal the complex infrastructures that make our musical cultures possible. Audible Infrastructures takes readers to the sawmills, mineshafts, power grids, telecoms networks, transport systems, and junk piles that seem peripheral to musical culture and shows that they are actually pivotal to what music is, how it works, and why it matters. Organized into three parts dedicated to the main phases in the social life and death of musical commodities - resources and production, circulation and transmission, failure and waste - this book provides a concerted archaeology of music's media infrastructures. As contributors reveal the material-environmental realities and political-economic conditions of music and listening, they open our eyes to the hidden dimensions of how music is made, delivered, and disposed of. In rethinking our responsibilities as musicians and listeners, this book calls for nothing less than a reconsideration of how music comes to sound.

This book is the ideal primer for anyone wishing to participate in an "Irish session." This musical gathering is apparently quite different than a blues, jazz or bluegrass jam session in that it is customary at Irish sessions to play in tight unison with the other musicians, adapting appropriate tempos, rhythms, and ornaments in an attempt to fit in with the "groove." The "Irish Session Tune Book" features 300 reels, hornpipes, polkas, slides, and slip-jigs written without chord symbols for the melody instruments commonly played in Irish Sessions. The author shares a wealth of melodies collected over the past 10 years, the majority learned by ear at Irish sessions: fiddle, accordion, tinwhistle, tenor banjo, mandolin, bouzouki, etc. Authentic ornamentation is suggested for each tune with the admonition that ornamentation may vary from region to region and chorus to chorus.

For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline. The second volume of Transforming Ethnomusicology takes as a point of departure the recognition that colonial and environmental damages are grounded in historical and institutional failures to respect the land and its peoples. Featuring Indigenous and other perspectives from Brazil, North America, Australia, Africa, and Europe this volume critically engages with how ethnomusicologists can support marginalized communities in sustaining their musical knowledge and threatened geographies.

Nothing but Noise: Timbre and Musical Meaning at the Edge explores how timbre shapes musical affect and meaning. Integrating perspectives from musicology with the cognitive sciences, author Zachary Wallmark advances a novel model of timbre interpretation that takes into account the bodily, sensorimotor dynamics of sound production and perception. The contribution of timbre to musical experience is clearest in drastic situations where meaning is itself contested; that is, in polarizing contexts of reception where evaluation of "musical" timbre by some listeners collides headlong against a competing claim-that it is just "noise." Taking this ubiquitous moment as a starting point, the book explores affect, reception, and timbre semantics through diverse cultural-historical case studies that frustrate the acoustic and perceptual boundary between musical sound and noise. Nothing but Noise includes chapters on the racial and gender politics in the reception of free jazz saxophone "screaming" in the late 1960s; an analysis of contested timbral ideals in the performance practices of the Japanese shakuhachi flute; and an historical examination of the overlooked role of "brutal" timbres in the moral panic over heavy metal in the eighties and nineties. The book closes with a discussion of the slippery social fault lines separating perceptions of musical sound from noise and the ethical stakes of encountering another's "aural face."

This is the only professional-level Latin fake book ever published! It features nearly 600 pages of the best in contemporary and classic Latin jazz, salsa and Brazilian music, with detailed transcriptions - exactly as recorded - to help bands play in authentic Latin styles. Many tunes include bass lines for each section, piano montunos, and horn counter-lines. Includes a bilingual foreword and vocabulary listing, song lyrics in Spanish, Portuguese and/or English, a rhythm section appendix, sources for the recordings, and convenient spiral binding. Outstanding artists represented include: Ray Barretto, Eddie Palmieri, Ruben Blades, Puerto Rico All-Stars, Tito Puente, Irakere, Los Van Van, Ivan Lins, Tom Jobim, Toninho Horta, Joao Bosco, Milton Nascimento, Airto, Mario Bauza, Dizzy Gillespie, Daniel Ponce, Seis Del Solar, Chick Corea, Arsenio Rodriguez, Celia Cruz, Perez Prado, Orquesta Sensacion, and many more! Includes 177 songs: Afro Blue * Alonzo * Amantes * Amor * Armando's Rumba * Bacchanal * Brasileiro * Cachita * Claudia * Club Morocco * Contigo En La Distancia * Cubanita * Dejame Sonar * Don Quixote * E' * Entregate * Estoy Como Nunca * Frevo * Guarare * Indiferencia * Jogral * Juan Pachanga * Kalinda * La Vida Es Un Sueno * Lagrimas Negras * Lamento Borincano * Linda Chicana * Lo Que Va A Pasar * Midnight Mambo * Novena * Rio * Sabor * Sambadouro * Song for Chano * Soy Antillana * Y Hoy Como Ayer * Y Tu, Que Has Hecho? * more!

For the past four decades, the concept of hypermeter has been routinely applied to eighteenth-century music. But was this concept familiar in the eighteenth century? If so, how is it reflected in writings of eighteenth-century music theorists? And how does it relate to their discussion of phrase structure? In this book, a follow-up to the award-winning Metric Manipulations in Haydn and Mozart, author Danuta Mirka unearthes a number of cues that point to eighteenth-century recognition of what today is called hypermeter, and retraces the line of tradition that led from eighteenth-century music theory to the emergence of the modern concept of hypermeter in the twentieth century. Mirka describes the proto-theory of hypermeter developed by German music theorists, recounts the recent history of this concept in American music theory, evaluates contributions made to it by authors working within different theoretical traditions, and introduces a dynamic model of hypermeter which allows the analyst to trace the effect of hypermetric manipulations in real time. This model is applied in analyses of Haydn's and Mozart's chamber music for strings, which shed a new light upon this celebrated repertoire, but the aim of this book goes far beyond an analytical survey of specific compositions. Rather, it is to offer a systematic classification of hypermetrical irregularities in relation to phrase structure and to give a comprehensive account of the ways in which phrase structure and hypermeter were described by eighteenth-century music theorists, conceived by eighteenth-century composers, and perceived by eighteenth-century listeners.

Offers expansive and intersecting understandings of erotic subjectivity, intimacy, and trauma in performance ethnography and in institutional and disciplinary settings. Focused on research within Africa and the African diaspora, contributors to this volume think through the painful iterations of trauma, systemic racism, and the vestiges of colonial oppression as well as the processes of healing and emancipation that emerge from wounded states. Their chapters explore an acoustemology of intimacy, woman-centered eroticism generated through musical performance, desire and longing in ethnographic knowledge production, and listening as intimacy. On the other end of the spectrum, authors engage with and question the fetishization of race in jazz; examine conceptions of vulgarity and profanity in movement and dance-ethnography; and address pain, trauma, and violation, whether physical, spiritual, intellectual, or political. Authors in this volume strive toward empathetic, ethical, and creative ethnographic engagements that summon vulnerability and healing. They propose pathways to aesthetic, discursive transformation by reorienting conceptions of knowledge as emergent, performative, and sonically enabled. The resulting book explores sensory knowledge that is frequently left unacknowledged in ethnographic work, advancing conversations about performed sonic and somatic modalities through which we navigate our entanglements as engaged scholars.