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Books > Arts & Architecture > Music > Non-Western music, traditional & classical
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The Kumulipo
(Paperback)
Liliuokalani; Contributions by Mint Editions
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The Kumulipo (1897) is a traditional chant translated by
Lili'uokalani. Published in 1897, the translation was written in
the aftermath of Lili'uokalani's attempt to appeal on behalf of her
people to President Grover Cleveland, a personal friend. Although
she inspired Cleveland to demand her reinstatement, the United
States Congress published the Morgan Report in 1894, which denied
U.S. involvement in the overthrow of the Kingdom of Hawaii. The
Kumulipo, written during the Queen's imprisonment in Iolani Palace,
is a genealogical and historical epic that describes the creation
of the cosmos and the emergence of humans, plants, and animals from
"the slime which established the earth." "At the time that turned
the heat of the earth, / At the time when the heavens turned and
changed, / At the time when the light of the sun was subdued / To
cause light to break forth, / At the time of the night of Makalii
(winter) / Then began the slime which established the earth, / The
source of deepest darkness." Traditionally recited during the
makahiki season to celebrate the god Lono, the chant was passed
down through Hawaiian oral tradition and contains the history of
their people and the emergence of life from chaos. A testament to
Lili'uokalani's intellect and skill as a poet and songwriter, her
translation of The Kumulipo is also an artifact of colonization,
produced while the Queen was living in captivity in her own palace.
Although her attempt to advocate for Hawaiian sovereignty and the
restoration of the monarchy was unsuccessful, Lili'uokalani,
Hawaii's first and only queen, has been recognized as a beloved
monarch who never stopped fighting for the rights of her people.
With a beautifully designed cover and professionally typeset
manuscript, this edition of Lili'uokalani's The Kumulipo is a
classic of Hawaiian literature reimagined for modern readers.
What is the place of ethnic minorities in the identity and culture
of the majority? What happens when the colonizer appropriates the
culture of the colonized? Throughout Russia's nineteenth-century
expansion into the Caucasus and Central Asia, Russian intellectuals
struggled with these questions that cut to the core of imperial
identity. Representing Russia's Orient draws on political,
cultural, and social history to tell the story of how Russia's
imperial advancements and encounters with its southern and eastern
neighbors influenced the development of Russian musical identity.
While Russia's ethnic minorities, or inorodtsy, were located at the
geographical and cultural periphery, they loomed large in
composers' musical imagination and became central to the definition
of Russianness itself. Drawing from previously untapped archival
and published materials, including music scores, visual art, and
ethnographies, author Adalyat Issiyeva offers an in-depth study of
Russian musical engagement with oriental subjects. Within a complex
matrix of politics, competing ideological currents, and social and
cultural transformations, some Russian composers and writers
developed multidimensional representations of oriental "others" and
sometimes even embraced elements of Asian musical identity. Mapping
the vast repertoire of bylinas, military and children songs, music
ethnographies, rare collections of Asian folk songs, art songs
inspired by Decembrist literature, and the art music of famous
composers from the Mighty Five and their followers - all set
against the development of oriental studies in Russia - the book
sheds new light on how and why Russians sometimes rejected,
sometimes absorbed and transformed elements of Asian history and
culture in forging their own national identity.
Musical Bows of Southern Africa brings together current scholarly
research that documents a rich regional diversity as well as
cultural relationships in bow music knowledge and contemporary
practices. The book is framed as a critical appraisal of
traditional ethnomusicological studies of the region -
complementing pioneering studies and charting contexts for a
contemporary engagement with bow music as an exchangeable cultural
practice. Each contribution is written by an expert in the field
and collectively demonstrates the multidisciplinary potential of
bow music, highlighting the several fields of knowledge that
intersect with bow music including ethno-organology, applied
ethnomusicology, composition, music literacy, social development,
cultural economics, history, orality, performance and language.
From the mid-20th century to present, the Brazilian art,
literature, and music scene have been witness to a wealth of
creative approaches involving sound. This is the backdrop for
Making It Heard: A History of Brazilian Sound Art, a volume that
offers an overview of local artists working with performance,
experimental vinyl production, sound installation, sculpture, mail
art, field recording, and sound mapping. It criticizes universal
approaches to art and music historiography that fail to recognize
local idiosyncrasies, and creates a local rationale and discourse.
Through this approach, Chaves and Iazzetta enable students,
researchers, and artists to discover and acknowledge work produced
outside of a standard Anglo-European framework.
Awards: Irving Lowens Award, Society for American Music (SAM), 2019
Music in American Culture Award, American Musicological Society
(AMS), 2018 Certificate of Merit for Best Historical Research in
Recorded Country, Folk, Roots, or World Music, Association for
Recorded Sound Collections (ARSC), 2018 Outstanding Achievement in
Humanities and Cultural Studies: Media, Visual, and Performance
Studies, Association for Asian American Studies (AAAS), 2019 The
Chinatown opera house provided Chinese immigrants with an essential
source of entertainment during the pre-World War II era. But its
stories of loyalty, obligation, passion, and duty also attracted
diverse patrons into Chinese American communities Drawing on a
wealth of new Chinese- and English-language research, Nancy Yunhwa
Rao tells the story of iconic theater companies and the networks
and migrations that made Chinese opera a part of North American
cultures. Rao unmasks a backstage world of performers, performance,
and repertoire and sets readers in the spellbound audiences beyond
the footlights. But she also braids a captivating and complex
history from elements outside the opera house walls: the impact of
government immigration policy; how a theater influenced a
Chinatown's sense of cultural self; the dissemination of Chinese
opera music via recording and print materials; and the role of
Chinese American business in sustaining theatrical institutions.
The result is a work that strips the veneer of exoticism from
Chinese opera, placing it firmly within the bounds of American
music and a profoundly American experience.
The Beautiful Music All Around Us presents the extraordinarily rich
backstories of thirteen performances captured on Library of
Congress field recordings between 1934 and 1942 in locations
reaching from Southern Appalachia to the Mississippi Delta and the
Great Plains. Including the children's play song "Shortenin'
Bread," the fiddle tune "Bonaparte's Retreat," the blues "Another
Man Done Gone," and the spiritual "Ain't No Grave Can Hold My Body
Down," these performances were recorded in kitchens and churches,
on porches and in prisons, in hotel rooms and school auditoriums.
Documented during the golden age of the Library of Congress
recordings, they capture not only the words and tunes of
traditional songs but also the sounds of life in which the
performances were embedded: children laugh, neighbors comment,
trucks pass by. Musician and researcher Stephen Wade sought out the
performers on these recordings, their families, fellow musicians,
and others who remembered them. He reconstructs the sights and
sounds of the recording sessions themselves and how the music
worked in all their lives. Some of these performers developed
musical reputations beyond these field recordings, but for many,
these tracks represent their only appearances on record: prisoners
at the Arkansas State Penitentiary jumping on "the Library's
recording machine" in a rendering of "Rock Island Line"; Ora Dell
Graham being called away from the schoolyard to sing the jump-rope
rhyme "Pullin' the Skiff"; Luther Strong shaking off a hungover
night in jail and borrowing a fiddle to rip into "Glory in the
Meetinghouse." Alongside loving and expert profiles of these
performers and their locales and communities, Wade also untangles
the histories of these iconic songs and tunes, tracing them through
slave songs and spirituals, British and homegrown ballads, fiddle
contests, gospel quartets, and labor laments. By exploring how
these singers and instrumentalists exerted their own creativity on
inherited forms, "amplifying tradition's gifts," Wade shows how a
single artist can make a difference within a democracy. Reflecting
decades of research and detective work, the profiles and abundant
photos in The Beautiful Music All Around Us bring to life largely
unheralded individuals--domestics, farm laborers, state prisoners,
schoolchildren, cowboys, housewives and mothers, loggers and
miners--whose music has become part of the wider American musical
soundscape. The hardcover edition also includes an accompanying CD
that presents these thirteen performances, songs and sounds of
America in the 1930s and '40s.
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.
The EPMOW Genre volumes contain entries on the genres of music that
have been or currently are popular in countries and communities all
over the world. Included are discussions on cultural, historical
and geographic origins; technical musical characteristics;
instrumentation and use of voice; lyrics and language; typical
features of performance and presentation; historical development
and paths and modes of dissemination; influence of technology, the
music industry and political and economic circumstances; changing
stylistic features; notable and influential performers; and
relationships to other genres and sub-genres. This volume, on the
music of Sub-Saharan Africa, features a wide range of entries and
in-depth essays. All entries conclude with a bibliography,
discographical references and discography, with additional
information on sheet music listings and visual recordings. Written
and edited by a team of distinguished popular music scholars and
professionals, this is an exceptional resource on the history and
development of popular music. This and all other volumes of the
Encyclopedia are now available through an online version of the
Encyclopedia:
https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW.
A general search function for the whole Encyclopedia is also
available on this site. A subscription is required to access
individual entries. Please see:
https://www.bloomsburypopularmusic.com/for-librarians.
In Listening for Africa David F. Garcia explores how a diverse
group of musicians, dancers, academics, and activists engaged with
the idea of black music and dance's African origins between the
1930s and 1950s. Garcia examines the work of figures ranging from
Melville J. Herskovits, Katherine Dunham, and Asadata Dafora to
Duke Ellington, Damaso Perez Prado, and others who believed that
linking black music and dance with Africa and nature would help
realize modernity's promises of freedom in the face of fascism and
racism in Europe and the Americas, colonialism in Africa, and the
nuclear threat at the start of the Cold War. In analyzing their
work, Garcia traces how such attempts to link black music and dance
to Africa unintentionally reinforced the binary relationships
between the West and Africa, white and black, the modern and the
primitive, science and magic, and rural and urban. It was, Garcia
demonstrates, modernity's determinations of unraced,
heteronormative, and productive bodies, and of scientific truth
that helped defer the realization of individual and political
freedom in the world.
51 italian folk songs from Cilento, 3 story and 1 poem. Serenade,
work songs, tarantella, religious songs from real old singers
around Campania area called Cilento.
Hip-Hop Within and Without the Academy explores why hip-hop has
become such a meaningful musical genre for so many musicians,
artists, and fans around the world. Through multiple interviews
with hip-hop emcees, DJs, and turntablists, the authors explore how
these artists learn and what this music means for them in their
lives. This research reveals how hip-hop is used by many
marginalized peoples around the world to help express their ideas
and opinions, and even to teach the younger generation about their
culture and tradition. In addition, this book dives into how
hip-hop is currently being studied in higher education and
academia. In the process, the authors reveal the difficulties
inherent in bringing this kind of music into institutional contexts
and acknowledge the conflicts that are present between hip-hop
artists and academics who study the culture. Building on the notion
of bringing hip-hop into educational settings, the book discusses
how hip-hop is currently being used in public school settings, and
how educators can include and embrace hip-hop's educational
potential more fully while maintaining hip-hop's authenticity and
appealing to young people at the same time. In sum, this book
reveals how hip-hop's universal appeal can be harnessed to help
make general and music education more meaningful for contemporary
youth.
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