Jamaica is a small country in the Caribbean, 146 miles wide and populated by fewer than three million people. Nevertheless, it has exerted a more powerful hold on international popular music than any nation besides England and America. From Prince Buster to Burning Spear, Lee "Scratch" Perry to Yellowman, Bob Marley to Shabba Ranks, reggae music is one of the most dynamic and powerful musical forms of the twentieth century. And, as Lloyd Bradley shows in his deft, definitive, and always entertaining book, it is and always has been the people's music. Born in the sound systems of the Kingston slums, reggae was the first music poor Jamaicans could call their own, and as it spread throughout the world, it always remained fluid, challenging, and distinctly Jamaican. Based on six years of research -- original interviews with most of reggae's key producers, musicians, and international players -- and a lifelong enthusiasm for one of the most remarkable of the world's musics, This Is Reggae Music is the definitive history of reggae.

This book is concerned with the repertory of traditional urban song and music of the Korce area in general and more specifically the karakteristike (characteristic) or `distinctive' song associated with Korce city, Albania. The first half of the 20th century marked the climax of an evolution which started in the mid-19th century with the oral tradition of urban song in Korce. While the translation of `Kenga Karakteristike Korcare' into `Korcare Distinctive Song' seems to be an odd name for a genre, it is, however, a translation as close as possible to the original Albanian, denoting the characteristic songs of Korce. The term `characteristic' implies peculiar or specific songs, different not only from the traditional urban song of Korce, but also from any kind of song, whether folk, popular, traditional urban or art, composed and performed among the Korce people. The book also introduces the Korcare urban song and urban lyric song, as well as the Saze music, which were introduced during the Ottoman domination of the Balkans.

"OM", a fundamental meditation sound present in the cultures of Buddhism, is a syllable full of philosophical and transcendental meanings. The category of the Orient, as contrasted, antithetical and complementary to the Occident (West) and its culture, appears to be one of the most interesting and long-lasting issues discussed in the humanities. European fascination with Oriental cultures has found multifaceted manifestations in science, art, fashion and beliefs.Music, as an important element of cultural communication, has always been well suited for transitions and inspirations. The relationship between the Orient and Western music encompasses a wide and fascinating scope of problems, a field of various multidimensional influences which brings an opportunity not only to study particular questions, but also to search for universal and fundamental values. This collection of essays is a result of an International Conference titled "OM: Orient in Music - Music of the Orient", held at the Grazyna and Kiejstut Academy of Music in Lodz, Poland, in March 2016. The volume provides insight into the many ways in which the music of the East and West can be understood and treated by both Western and Eastern scholars.

(Easy Piano Songbook). 20 easy and inspiring arrangements of popular spirituals, including: All My Trials * Deep River * Every Time I Feel the Spirit * Go Down, Moses * Joshua (Fit the Battle of Jericho) * Let Us Break Bread Together * Oh Freedom * Rock-A-My Soul * Swing Low, Sweet Chariot * This Little Light of Mine * Wayfaring Stranger * Were You There? * and more.

The series of volumes of Music from the Tang Court considers a repertory of music at least 1400 years old. During the two centuries before 841 the Japanese Court borrowed a large amount of secular entertainment music from China. This 'Tang Music' (Togaku) survives in Japan in a substantial body of manuscripts, but is transformed in character in contemporary performance. This edition transcribes and comments on the music as it survives in its earliest sources. This process has revealed surprising evidence for ancient interconnections in Asian musics, and the essays in this seventh volume present aspects of this research to date. They provide evidence, for example, of music in a scale of four notes only from Bali and from Ancient China, as well as, most significantly, for the transportation from the Tang capital to Japan of 'several tens of scrolls of music in tablature'.

Time in Indian Music is the first major study of rhythm, metre, and form in North Indian rag, or classical, music. It presents a theoretical model for the organization of time in this repertory, elucidated and illustrated with reference to many musical examples drawn from authentic recorded performances. Written in a clear and intelligible style, it will appeal to anyone interested in Indian aesthetic forms and the study of musical time. The book includes a free CD of authentic recorded performances closely referred to in the text.