Vikram Sampath sheds light on the role and impact of The Gramophone Company's early recording expeditions on Indian classical music by examining the phenomenon through a socio-cultural, historical and musical lens. The book features the indefatigable stories of the women and their experiences in adapting to recording technology.

1) explores Judeo-Spanish folksong repertoire in a group of case studies, 2) surveys the basics of Judeo-Spanish (Sephardic) history and culture, the historiography of the folksong in Ladino 3) illustrates a methodology of combining archival research and ethnography and assembling the information bits to constitute the song's "sonic ruin"

- Offers a diverse snapshot of current studies of music notation as material culture, encompassing a wide range of methodological approaches - Broad historical and regional/stylistic scope, covering material from the middle ages to the present

Musical Instruments presents the first comprehensive survey to explain how Western musical instruments work, how they developed historically, how they are manufactured, and how they are used to make music. After introducing the nature of sounds and production mechanisms, the authors survey each family in turn, covering acoustical features, historical development of instrument forms, sizes and shapes in current use, the manufacturing processes, and commonly-used playing techniques. The full index and glossary also contain definitions of technical terms and notes on instruments not included in the text, making this the essential reference for everyone researching and working with musical instruments and performance.

Heitor Villa-Lobos's Bachianas Brasileiras demonstrates how the composer achieved his own Brazilian neoclassical style in a group of works, nine suites in total, that is arguably one of the best examples of homage to J.S. Bach's music in the twentieth century. In this book, the corpus of Bachianas Brasileiras is contextualised and critically examined according to its structure and intertextual aspects, as well as its relationship to Bach's music, Brazilian popular music, and other works by contemporaries of Villa Lobos. A range of musical examples illustrate instances of the selected topics in the works, encompassing urban Brazilian popular music such as the choro, Brazilian northeast and afro rhythms, and citation of folkloric melodies. Dudeque's comprehensive examination of the Bachianas Brasileiras will be invaluable for scholars and researchers of music theory and analysis.

This book vibrantly demonstrates how the study of music allows for identification and interpretation of the forces that form Taiwanese society, from politics and policy to reactions to and assertions of such policies. Contributors to this edited volume explore how music shapes life - and life shapes music - in Taiwan, focusing on subjects ranging from musical life under Japanese colonial rule (1895-1945) through to the contemporary creations of Indigenous musicians, popular music performance and production, Christian religious music, traditional ritual music and theatre, conceptions about sound and noise, and garbage truck music's role in reducing household waste. The volume's twelve chapters present diverse approaches to their sounding subjects, some deeply rooted in the methods and concerns explored by Taiwan's first generation of ethnomusicologists. Others employ current social theories. Presenting a window into the cultural lives of the residents of this multicultural, politically contested island, Resounding Taiwan will appeal to students and scholars of musicology and ethnomusicology, anthropology and Asian studies more widely.

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.

Music in Conflict studies the complex relationship of musical culture to political life in Palestine-Israel, where conflict has both shaped and claimed the lives of Palestinians and Jews. In the context of the geography of violence that characterizes the conflict, borders and boundaries are material and social manifestations of the ways in which the production of knowledge is conditioned by political and structural violence. Ethical and aesthetic positions that shape artistic production in this context are informed by profound imbalances of power and contingent exposure to violence. Viewing expressive culture as a potent site for understanding these dynamics, the book examines the politics of sound to show how music-making reflects and forms identities, and in the process, shapes communities. The ethnography is based on fieldwork conducted in Israel and the West Bank in 2011-2012 and other excursions since then. Author has "followed the conflict" by "following the music," from concert halls to demonstrations, mixed-city community centers to Palestinian refugee camp children's clubs, alternative urban scenes and even a checkpoint. In all the different contexts presented, the monograph is thematically and theoretically underpinned by the ways in which music is used to culturally assert or reterritorialize both spatial and social boundaries in a situation of conflict.

This volume, first published in 2002, presents a sophisticated analysis of the musical instruments, repertoires, musicians and ensembles, and symbolism of the ritual music of Shamans of Seoul, Korea. Placed firmly in a social and historical context, it shows that Shamanism, considered superstition by many today, is alive and well in Seoul in a rich tradition reaching back to the Choson Dynasty (1392-1910), the capital of which was Hanyang (now Seoul). The instruments, dress and other accoutrements of courtly life from the Choson Dynasty have been taken up, although transformed, in contemporary rituals among spirit-possessed Shamans. Through a comparison of Hanyang kut - the rituals of the Hanyang Shamans - and the ritual practice of Inner Asian Shamans, and through an analysis of the relations of spirit-possession music rituals to musok, the indigenous religion of Korea, Seo sheds light on the role of music, spiritual practice and culture in present-day Korea.

Music Saved Them, They Say: Social Impacts of Music-Making and Learning in Kinshasa (DR Congo) explores the role music-making has played in community projects run for young people in the poverty-stricken and often violent surroundings of Kinshasa, the capital city of the Democratic Republic of the Congo. The musicians described here - former gang members and so-called "witch children" living on the streets - believe music was vital in (re)constructing their lives. Based on fieldwork carried out over the course of three-and-a-half years of research, the study synthesizes interviews, focus group sessions, and participant observation to contextualize this complicated cultural and social environment. Inspired by those who have been "saved by music", Music Saved Them, They Say seeks to understand how structured musical practice and education can influence the lives of young people in such difficult living conditions, in Kinshasa and beyond. "... a tribute to the persistence, engagement and courage of the people in these projects, who can be proud that their work is now exposed to a global audience, not just of researchers but also to practitioners around the world who could learn from and be inspired by these hitherto unknown projects." -John Sloboda, Research Professor, Guildhall School of Music & Drama "This book is very moving but never sentimental, one of the best accounts of music's real transformative capacities that I have come across." -Lucy Green, Emerita Professor of Music Education, University College London Institute of Education

Afrosonic Life explores the role sonic innovations in the African diaspora play in articulating methodologies for living the afterlife of slavery. Developing and extending debates on Afrosonic cultures, the book attends to the ways in which the acts of technological subversion, experimentation and production complement and interrupt the intellectual project of modernity. Music making processes such as dub, turntablism, hip-hop dj techniques and the remix, innovate methods of expressing subjecthoods beyond the dominant language of Western "Man" and the market. These sonic innovations utilize sound as a methodology to institute a rehumanizing subjectivity in which sound dislodges the hierarchical ordering of racial schemas. Afrosonic Life is invested in excavating and elaborating the nuanced and novel ways of music making and sound creation found in the African diaspora.

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.

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.

"Everything But Bach, Beethoven and Brahms," comprises this multicultural repertoire guide for pianists, composers, music teachers and students, world music enthusiasts and scholars. It identifies pieces in the contemporary solo piano literature which show world music influences not traditionally associated with the standard repertoire of Western European art music. The resulting annotated bibliography therefore includes pieces which use or attempt to emulate non-Western scales, modes, folk tunes, rhythmic, percussive or harmonic devices and timbres. Axford highlights the music cultures of the Middle East and North Africa, Sub-Saharan Africa, India, the Far East, Indonesia, Oceania, ethnic North America, Latin America and Spain, and Eastern Europe, Russia, and Scandinavia. Separate bibliographies for each world music region show examples of contemporary solo piano pieces that demonstrate some of the traditional musical influences associated with the region.

In 2003, the Korean singing tradition of p'ansori joined the Representative List of the Intangible Cultural Heritage of Humanity, a distinctive honor bestowed by the United Nations Educational, Scientific, and Cultural Organization. P'ansori is a music genre-an oral tradition comprising arias and narratives. Often the individual singer acts out the story of young and old, good and bad, and male and female. In Korean P'ansori Singing Tradition: Development, Authenticity, and Performance History, Yeonok Jang studies the periodical developments and changes in the performance context, vocal developments, singing style, audience involvement, contemporary performance, cinematic history, and private and government sponsorship of p'ansori. Covering the period from the early development of p'ansori, including the origins and early formation of the genre, to contemporary performance, Jang surveys this remarkable genre of storytelling, song, theater, and performance. Throughout, she considers not only issues of historical context but also questions of cultural identity, past and present. Researchers in the fields of Korean studies, folk music, oral history, ethnic music, narrative and theatrical music, and cultural studies will find this work of significant value.

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.

The essays in New Mansions for Music: Performance, Pedagogy and Criticism look at one of the most ancient and rigorous classical musical traditions of India, the Karnatik music system, and the kind of changes it underwent once it was relocated from traditional spaces of temples and salons to the public domain. Nineteenth-century Madras led the way in the transformation that Karnatik music underwent as it encountered the forces of modernization and standardization. This study also contributes to our understanding of the experience of modernity in India through the prism of music. The role of Madras city as patron and custodian of the performing arts, especially classical music offers an invaluable perspective on the larger processes of modernization in India. As the title suggests, the areas of classical music, which were most influenced by these developments were pedagogy or modes of musical transmission, performance conventions and criticism or music appreciation. Once the urban elite demanded the widening of the teaching of classical music, traditional modes of music instruction underwent a major change involving a breakdown of the gurushishya parampara or the tradition wherein the teacher imparted knowledge to a chosen few. Caste and kinship were important determining factors for the selection of these shishyas or students, but in modern institutions like the universities these boundaries had to be demolished. Simultaneously, the public staging of music brought the performer into a new relationship with his audience, especially as the art form became subject to validation and criticism by the newly emerging music critic. In an immensely readable book peppered with anecdotes and conversations with leading musicians and critics of the day, as well as humorous visual representations, part caricature, part satirical, the author describes a rapidly changing society and its new look in early twentieth century Madras.

What makes hundreds of listeners cheer ecstatically at the same instant during a live concert by Egyptian diva Umm Kulthum? What is the unspoken language behind a taqsim (traditional instrumental improvisation) that performers and listeners implicitly know? How can Arabic music be so rich and diverse without resorting to harmony? Why is it so challenging to transcribe Arabic music from a recording? Inside Arabic Music answers these and many other questions from the perspective of two "insiders" to the practice of Arabic music, by documenting a performance culture and a know-how that is largely passed on orally. Arabic music has spread across the globe, influencing music from Greece all the way to India in the mid-20th century through radio and musical cinema, and global popular culture through Raqs Sharqi, known as "Bellydance" in the West. Yet despite its popularity and influence, Arabic music, and the maqam scale system at its heart, remain widely misunderstood. Inside Arabic Music de-mystifies maqam with an approach that draws theory directly from practice, and presents theoretical insights that will be useful to practitioners, from the beginner to the expert - as well as those interested in the related Persian, Central Asian, and Turkish makam traditions. Inside Arabic Music's discussion of maqam and improvisation widens general understanding of music as well, by bringing in ideas from Saussurean linguistics, network theory, and Lakoff and Johnson's theory of cognition as metaphor, with an approach parallel to Gjerdingen's analysis of Galant-period music - offering a lens into the deeper relationships among music, culture, and human community.

Focussing on music traditions, these essays explore the policy, ideology and practice of preservation and promotion of East Asian intangible cultural heritage. For the first time, Japan, Korea, China and Taiwan - states that were amongst the first to establish legislation and systems for indigenous traditions - are considered together. Calls to preserve the intangible heritage have recently become louder, not least with increasing UNESCO attention. The imperative to preserve is, throughout the region, cast as a way to counter the perceived loss of cultural diversity caused by globalization, modernization, urbanization and the spread of the mass media. Four chapters - one each on China, Korea, Taiwan and Japan - incorporate a foundational overview of preservation policy and practice of musical intangible cultural heritage at the state level. These chapters are complemented by a set of chapters that explore how the practice of policy has impacted on specific musics, from Confucian ritual through Kam big song to the Okinawan sanshin. Each chapter is based on rich ethnographic data collected through extended fieldwork. The team of international contributors give both insider and outsider perspectives as they both account for, and critique, policy, ideology and practice in East Asian music as intangible cultural heritage.

Unwritten Literature of Hawaii: The Sacred Songs of the Hula (1909) is a collection of hulas and essays by Nathaniel B. Emerson. Translating previously unwritten songs, interviewing native Hawaiians, and consulting the works of indigenous historians, Emerson provides an entertaining and authoritative look at one of Hawaii's most cherished traditions. "For an account of the first hula we may look to the story of Pele. On one occasion that goddess begged her sisters to dance and sing before her, but they all excused themselves, saying they did not know the art. At that moment in came little Hiiaka, the youngest and the favorite. [...] When banteringly invited to dance, to the surprise of all, Hiiaka modestly complied. The wave-beaten sand-beach was her floor, the open air her hall; Feet and hands and swaying form kept time to her improvisation." As an American born in Hawaii who played a major role in the annexation of the islands as an author of the 1887 Constitution of the Hawaiian Kingdom, Emerson likely saw himself as a unifying figure capable of interpreting for an English-speaking audience the ancient and sacred tradition of the hula, a Polynesian dance often accompanied with instruments and chanting or singing. Combining critical analysis with samples of popular hulas in both Hawaiian and English, Emerson works to preserve part of the rich cultural heritage of the Hawaiian Islands. With a beautifully designed cover and professionally typeset manuscript, this edition of Nathaniel B. Emerson's Unwritten Literature of Hawaii: The Sacred Songs of the Hula is a classic of Hawaiian literature reimagined for modern readers.

Presenting the latest research in the area, this volume explores the fundamental concept of qupai , melodic models upon which most traditional Chinese instrumental music (and some vocal music) is based. The greater part of the traditional instrumental repertoire has emerged from qupai models by way of well-established 'variation' techniques. These melodies and techniques are alive today and still performed in 'silk-bamboo' types of ensemble music, zheng , pipa and other solo traditions, all opera types, narrative songs, and Buddhist and Daoist ritual music. With a view toward explaining qupai as a musical system, contributors explore the concept from multiple directions, notably its historic development, patterns of structural organization, compositional usage in Kunqu classical opera, influence on the growth of traditional ensemble and solo repertoires, and indeed on 19th-century European music as well. Related essays examine the use of shan'ge folksongs as qupai models in one local opera tradition and the controversial relationship between qupai forms and the metrically-organized banqiang forms of organization in Beijing opera. The final three essays are focused upon traditional suite forms in which qupai and non-qupai tunes are mixed, examples drawn from the Minnan nanguan repertoire, Jiangnan 'silk-bamboo' tradition and the ritual music of North China.This is the first Western-language study on the nature and background of the qupai tradition, and the methods by which model melodies have been varied in creation of repertoire. The volume is essential reading for East Asian music specialists and contributes to the fields of ethnomusicology, musicology, music theory, music composition, and Chinese music and performing arts.

SamulNori is a percussion quartet which has given rise to a genre, of the same name, that is arguably Korea's most successful 'traditional' music of recent times. Today, there are dozens of amateur and professional samulnori groups. There is a canon of samulnori pieces, closely associated with the first founding quartet but played by all, and many creative evolutions on the basic themes, made by the rapidly growing number of virtuosic percussionists. And the genre is the focus of an abundance of workshops, festivals and contests. Samulnori is taught in primary and middle schools; it is part of Korea's national education curriculum. It has dedicated institutes, and there are a number of workbooks devoted to helping wannabe 'samulnorians'. It is a familiar part of Korean performance culture, at home and abroad, in concerts but also in films and theatre productions. SamulNori uses four instruments: kkwaenggwari and ching small and large gongs, and changgo and puk drums. These are the instruments of local percussion bands and itinerant troupes that trace back many centuries, but samulnori is a recent development of these older traditions: it was first performed in February 1978. This volume explores this vibrant percussion genre, charting its origins and development, the formation of the canon of pieces, teaching and learning strategies, new evolutions and current questions relating to maintaining, developing, and sustaining samulnori in the future.

This volume of nine essays draws together leading scholars in anthropology, social history, musicology, and ethnomusicology to address the roles and functions of music in the Chinese ritual context. How does music, one of a constellation of essential performative elements in almost all rituals, empower an officiant, legitimate an officeholder, create a heightened state of awareness, convey a message, or produce a magical outcome, a transition, a transformation? After an introduction by the volume editors, Bell Yung proposes a theoretical framework for dealing with Chinese ritual sound. A group of three essays focuses on the music for rituals that create political and social legitimacy followed by a second group of essays considering the music associated with rites of passage. Two essays then deal with the music accompanying rituals of propitiation. In all these cases, music is seen to play a critical role, if not the core of the ritual.

Few other nations have undergone as profound a change in their social, political, and cultural life as Mongolia did in the twentieth century. Beginning the century as a largely rural, nomadic, and tradition-oriented society, the nation was transformed by the end of this century into a largely urban, post-industrial, and cosmopolitan one. This study seeks to understand the effects that Western-inspired modernity has had on the nature of cultural tradition in the country, focusing in particular on development of the morin khuur or "horse-head fiddle," a two-stringed bowed folk lute that features a horse s head carved into its crown. As well as being one of the most popular instruments in the contemporary national musical culture, it has also become an icon of Mongolian national identity and a symbol of the nation s ancient cultural heritage. In its modern form, however, the horse-head fiddle reflects the values of a modern, cosmopolitan society that put it profoundly at odds with those of the traditional society. In so doing, it also reflects the cosmopolitan nature of the nation s contemporary national musical culture. "