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.

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.

In Roma Music and Emotion, author Filippo Bonini Baraldi forges a much-needed theory of music, emotion, and empathy from an anthropological perspective, addressing the failure of the prevailing psychological theories on music and emotion to account for non-western musical cultures. Bonini Baraldi, having spent years among the Hungarian Roma of rural Transylvania, presents compelling ethnographic descriptions of their weddings, funerals, community celebrations, and intimate family gatherings. Based on extensive field research and informed by hypotheses drawn from the cognitive sciences, the anthropology of art, and aesthetics, Roma Music and Emotion analyzes why Roma musicians cry along with music and how they arouse specific feelings in their audiences. Translated by Margaret Rigaud and written in clear prose, Roma Music and Emotion makes an important ethnomusicological contribution to theoretical discussions of the relationship between music and emotion.

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.

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 first volume of Transforming Ethnomusicology focuses on ethical practice and collaboration, examining the power relations inherent in ethnography and offering new strategies for transforming institutions and ethnographic methods. These reflections on the broader framework of ethnomusicological practice are complemented by case studies that document activist approaches to the study of music in challenging contexts of poverty, discrimination, and other unjust systems.

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.

Dancing Women: Choreographing Corporeal Histories of Hindi Cinema, an ambitious study of two of South Asia's most popular cultural forms - cinema and dance - historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, sexuality, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the "women's question" via new mobilities corpo-realized by dancing women. Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the "choreomusicking body" and "dance musicalization," aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic "techno-spectacles," Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women.

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.

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..

"Gamelan" is the first study of the music of Java and the development of the gamelan to take into account extensive historical sources and contemporary cultural theory and criticism. An ensemble dominated by bronze percussion instruments that dates back to the twelfth century in Java, the gamelan as a musical organization and a genre of performance reflects a cultural heritage that is the product of centuries of interaction between Hindu, Islamic, European, Chinese, and Malay cultural forces.
Drawing on sources ranging from a twelfth-century royal poem to the writing of a twentieth-century nationalist, Sumarsam shows how the Indian-inspired contexts and ideology of the Javanese performing arts were first adjusted to the Sufi tradition and later shaped by European performance styles in the eighteenth and nineteenth centuries. He then turns to accounts of gamelan theory and practice from the colonial and postcolonial periods. Finally, he presents his own theory of gamelan, stressing the relationship between purely vocal melodies and classical gamelan composition.

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.

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.

These are the letters of a great love story. In 1917, the Czech composer Leos JanA A A ek met Kamila StA

sslovA while on holiday at LuhaA A ovice, a spa resort in Moravia. He was sixty-three and locked in a loveless marriage; she was twenty-six, the wife of an antique dealer frequently away from home. After the holiday, JanA A A ek began writing to StA

sslovA . Undeterred by her lack of interest in his work and her spasmodic replies, he continued to send her letters until his death eleven years later. An extraordinarily self-revealing portrait emerges of an isolated artist at the height of his creative powers and the beginning of his international fame. It is also a portrait of a lonely man who, as the years went by, came to fantasize about StA

sslovA as his true "wife"--the inspiration for many of the works of his old age.

Most of these letters were suppressed until changing conditions in Czechoslovakia allowed their full publication in 1990. John Tyrrell has edited and translated a comprehensive selection, concentrating on the almost daily letters of the final eighteen months. Supported by a diary of meetings between JanA A A ek and StA

sslovA, a decoding of the erotic references in the letters, and a selection of mostly unknown photographs, this remarkable book breathes life into the story one of the greatest of operatic composers and provides vital clues to the nature of his creative genius.

Originally published in 1994.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905."

Gila Flam offers a penetrating insider's look at a musical culture previously unexplored---the song repertoire created and performed in the Lodz ghetto of Poland. Drawing on interviews with survivors and on library and archival materials, the author illustrates the general themes of the Lodz repertoire and explores the nature of Holocaust song. Most of the songs are presented here for the first time. "An extremely accurate and valuable work. There is nothing like it in either the extensive holocaust literature or the ethnomusicology literature." -- Mark Slobin, author of Chosen Voices: The Story of the American Cantorate

Singing a Hindu Nation is a study of rags>riya kirtan, a western Indian performance medium that combines song, Hindu philosophical discourse, and nationalist storytelling. Beginning during the anti-colonial movement of the late nineteenth-century, performers of rags>riya kirtan led masses of Marathi-speaking people in temples and streets, and they have continued to preach and sing nationalism as devotion in the post-colonial era, and into the twenty-first century. In this book, author Anna Schultz demonstrates how, through this particular form of musical performance, the political becomes devotional, and explores why it motivates people to action and violence. Through both historical and ethnographic studies, Schultz shows that rags>riya kirtan has been especially successful in combining these two realms because kirtankars perform as representatives of the divine sage Narad, thereby infusing their nationalist messages with ritual weight. By speaking and singing in regional idioms with rich associations for Maharashtrian congregations, they use music to combine political and religious signs in ways that seem natural and desirable, promoting embodied experiences of nationalist devotion. As the first monograph on music and Hindu-nationalism, Singing a Hindu Nation presents a rare glimpse into the lives and performance worlds of nationalists on the margins of all-India political parties and cultural organizations, and is an essential resource for ethnomusicologists, as well as scholars of South Asian studies, religion, and political theory.

Singing a Hindu Nation is a study of rags>riya kirtan, a western Indian performance medium that combines song, Hindu philosophical discourse, and nationalist storytelling. Beginning during the anti-colonial movement of the late nineteenth-century, performers of rags>riya kirtan led masses of Marathi-speaking people in temples and streets, and they have continued to preach and sing nationalism as devotion in the post-colonial era, and into the twenty-first century. In this book, author Anna Schultz demonstrates how, through this particular form of musical performance, the political becomes devotional, and explores why it motivates people to action and violence. Through both historical and ethnographic studies, Schultz shows that rags>riya kirtan has been especially successful in combining these two realms because kirtankars perform as representatives of the divine sage Narad, thereby infusing their nationalist messages with ritual weight. By speaking and singing in regional idioms with rich associations for Maharashtrian congregations, they use music to combine political and religious signs in ways that seem natural and desirable, promoting embodied experiences of nationalist devotion. As the first monograph on music and Hindu-nationalism, Singing a Hindu Nation presents a rare glimpse into the lives and performance worlds of nationalists on the margins of all-India political parties and cultural organizations, and is an essential resource for ethnomusicologists, as well as scholars of South Asian studies, religion, and political theory.

** Music in Turkey is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. **
Music in contemporary Turkey is inextricably linked to the history of the Republic of Turkey and the complex histories of the Ottoman Empire and numerous other empires that preceded it. It is also an ideal avenue for introducing one of the most vibrant multicultural areas in the Middle East. Turkey is home to a rich variety of highly localized musical traditions--comprised of regional repertoires, instruments, performance practices, and dances--bound together by a strong sense of national identity. The first brief, stand-alone volume to explore the musical and cultural traditions of this region, Music in Turkey places the diverse sounds of the country (and the Middle East at large) in their social contexts.
Author Eliot Bates employs four themes in his survey of Turkish music:
* The role of music in forming a national consciousness about local and regional cultures
* How changes in musical meaning pertain to changes in contemporary Turkish society
* The process of arrangement, where technology is creatively used to revitalize and modernize traditional music
* How today's Anatolian musical instrument performance and construction are linked to local, regional, and national identities
The author draws on his extensive regional fieldwork, offering accounts of local performances, interviews with key performers, and vivid illustrations.
Music in Turkey is ideal for introductory undergraduate courses in world music or ethnomusicology and for upper-level courses on Middle Eastern music and/or culture. Packaged with a 70-minute CD containing musical examples, the text features numerous listening activities that actively engage students with the music. The companion website includes supplementary materials for instructors.

This ground-breaking book is the first-ever study of the role played in musical history by song collectors. This is the first-ever book about song collectors, music's unsung heroes. They include the Armenian priest who sacrificed his life to preserve the folk music which the Turks were trying to erase in the 1915 Genocide; the prisoner in a Nazi concentration camp who secretly noted down the songs of doomed Jewish inmates; the British singer who went veiled into Afghanistan to learn, record and perform the music the Taliban wanted to silence. Some collectors have been fired by political idealism - Bartok championing Hungarian peasant music, the Lomaxes bringing the blues out of Mississippi penitentiaries, and transmitting them to the world. Many collectors have been priests - French Jesuits noting down labyrinthine forms in eighteenth-century Beijing, English vicars tracking songs in nineteenth-century Somerset. Others have been wonderfully colourful oddballs. Today's collectors are striving heroically to preserve endangered musics, whether rare forms of Balinese gamelan, the wind-band music of Chinese villages, or the sophisticated polyphony of Central African Pygmies. With globalisation, urbanisation and Westernisation causing an irreversible erosion of the world's musical diversity, Michael Church suggests we may be seeing folk music's 'end of history'. Old forms are dying as the conditions for their survival - or replacement - disappear; the death of villages means the death of village musical culture. This ground-breaking book is the sequel to the author's award-winning The Other Classical Musics, and it concludes with an inventory of the musics now under threat, or already lost for ever.

Most of us the world over do not know much about the nuclear experience, let alone the 70,000 Korean victims of the atomic bomb or their arts of life and survival. Quietude: A Musical Anthropology of "Korea's Hiroshima" gives new insight into the overlooked and abused people who have lived and died on the margins of East Asian modernity. This book is an ethnography of Korean first- and second-generation victims of the atomic bombing of Japan focused on the everyday arts that make life possible and worthwhile. Author Joshua D. Pilzer recounts the stories and songs of atomic bomb survivors and their children in Hapcheon, Korea, offering a corrective to the enduring, multifaceted neglect and marginalization they have faced. Struck by the quiet of "Korea's Hiroshima," Pilzer sheds light on its many sources: notions of Japanese soft-spokenness, vocal disability, the quiet contemplation of texts, the changes to the human heart as one grows older, the experience of war, social marginalization, traumatic experience, and various social movement discourses. He considers victims' uses of voice, speech, song, and movement in the struggle for national and global recognition, in the ongoing work of negotiating the traumatic past, and in the effort to consolidate and maintain selves and relationships in the present.

Male-centered theology, a dearth of men in the pews, and an overrepresentation of queer males in music ministry: these elements coexist within the spaces of historically black Protestant churches, creating an atmosphere where simultaneous heteropatriarchy and "real" masculinity anxieties, archetypes of the "alpha-male preacher", the "effeminate choir director" and homo-antagonism, are all in play. The "flamboyant" male vocalists formed in the black Pentecostal music ministry tradition, through their vocal styles, gestures, and attire in church services, display a spectrum of gender performances - from "hyper-masculine" to feminine masculine - to their fellow worshippers, subtly protesting and critiquing the otherwise heteronormative theology in which the service is entrenched. And while the performativity of these men is characterized by cynics as "flaming," a similar musicalized "fire" - that of the Holy Spirit - moves through the bodies of Pentecostal worshippers, endowing them religio-culturally, physically, and spiritually like "fire shut up in their bones". Using the lenses of ethnomusicology, musicology, anthropology, men's studies, queer studies, and theology, Flaming?: The Peculiar Theo-Politics of Fire and Desire in Black Male Gospel Performance observes how male vocalists traverse their tightly-knit social networks and negotiate their identities through and beyond the worship experience. Author Alisha Jones ultimately addresses the ways in which gospel music and performance can afford African American men not only greater visibility, but also an affirmation of their fitness to minister through speech and song.

not sold separately

Peter Kivy presents a selection of his new and recent writings on the philosophy of music, a subject to which he has for many years been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, in a way that will attract the interest of philosophical and musical readers alike.

This Element explores the circulation of musical instruments, practices, and thought in premodern Eurasia at the crossroads of empires and nomadic cultures. It takes into consideration mechanisms of transmission, appropriation, adaptation, and integration that helped shape musical traditions that are perceived as culturally and geographically distinct yet are historically linked. The five stories featured here range from the geographically diverse performing groups during the Sui and Tang era, to the elusive musical world of Kucha in the Tarim Basin; from the fragmentary history of a single instrument linked to the Turkic peoples across Eurasia, to the transcontinental circulation of sound-making automata, including the organ, on both east-west and north-south axes. Within the conceptual background of cultural encounter and exchange, this Element provides possible strategies for integrating such information into the historical tapestry of Eurasian transcontinental networks as explored in other Elements in the series.

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.