Who are "the folk" in folk music? This book traces the musical culture of these elusive figures in Britain and the US during a crucial period of industrialization from 1870 to 1930, and beyond to the contemporary alt-right. Drawing on a broad, interdisciplinary range of scholarship, The Folk examines the political dimensions of a recurrent longing for folk culture and how it was called upon for radical and reactionary ends at the apex of empire. It follows an insistent set of disputes surrounding the practice of collecting, ideas of racial belonging, nationality, the poetics of nostalgia, and the pre-history of European fascism. Deeply researched and beautifully written, Ross Cole provides us with a biography of a people who exist only as a symptom of the modern imagination, and the archaeology of a landscape directing flows of global populism to this day.

Unique and complex in style, traditional Chinese music forms a fascinating part of China's cultural heritage. This accessible, illustrated introduction to Chinese music takes the reader through the 8000-year history of China's musical instruments, the diversity of Chinese folk music, the development of China's famous operas and the modern Chinese music industry. From classical to contemporary styles, Jin Jie explores the influence that Chinese music has had around the world.

This volume makes available, for the first time in English, some of the major writings of the Romanian ethnomusicologist Constantin Brailoiu. Despite the size and importance of his work and the fact that he was one of the leading ethnomusicologists of his day, Brailoiu has hitherto remained little known to English-speaking scholars. A. L. Lloyd has performed a valuable service by translating a collection of some of his most important theoretical works. These works are the product of meticulous fieldwork and methodological reflection. Brailoiu's broad-minded approach to both the musicological and sociological problems confronted has ensured that they remain indispensable material for all ethnomusicologists.

How can a traditional music with little apparent historical connection to Berlin become a way of hearing and making sense of the bustling German capital in the twenty-first century? In Sounding Jewish in Berlin, author Phil Alexander explores the dialogue between the city's contemporary klezmer scene and the street-level creativity that has become a hallmark of Berlin's decidedly modern urbanity and cosmopolitanism. By tracing how klezmer music engages with the spaces and symbolic meanings of the city, Alexander sheds light on how this Eastern European Jewish folk music has become not just a product but also a producer of Berlin. This engaging study of Berlin's dynamic Yiddish music scene brings together ethnomusicology, cultural studies, and urban geography to evoke the sounds, atmospheres, and performance spaces through which klezmer musicians have built a lively set of musical networks in the city. Transcending a restrictive framework that considers this music solely in the context of troubled German-Jewish history and notions of guilt and absence, Alexander shows how Berlin's current klezmer community-a diverse group of Jewish and non-Jewish performers-imaginatively blend the genre's traditional musical language with characteristically local tones to forge an adaptable and distinctively twenty-first-century version of klezmer. Ultimately, the music's vital presence in Berlin is powerful evidence that if traditional music is to remain audible amid the noise of the urban, it must become a meaningful part of that noise.

Arsenio Rodr\u00edguez was one of the most important Cuban musicians of the twentieth century. In this first scholarly study, ethnomusicologist David F. Garc\u00eda examines Rodr\u00edguez's life, including the conjunto musical combo he led and the highly influential son montuno style of music he created in the 1940s. Garc\u00eda recounts Rodr\u00edguez's battle for recognition at the height of \u0022mambo mania\u0022 in New York City and the significance of his music in the development of salsa. With firsthand accounts from relatives and fellow musicians, Arsenio Rodr\u00edguez and the Transnational Flows of Latin Popular Music follows Rodr\u00edguez's fortunes on several continents, speculating on why he never enjoyed wide commercial success despite the importance of his music. Garc\u00eda focuses on the roles that race, identity, and politics played in shaping Rodr\u00edguez's music and the trajectory of his musical career. His transnational perspective has important implications for Latin American and popular music studies.

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.

"Tony Allen" is the autobiography of legendary Nigerian drummer Tony Allen, the rhythmic engine of Fela Kuti's Afrobeat. Conversational, inviting, and packed with telling anecdotes, Allen's memoir is based on hundreds of hours of interviews with the musician and scholar Michael E. Veal. It spans Allen's early years and career playing highlife music in Lagos; his fifteen years with Fela, from 1964 until 1979; his struggles to form his own bands in Nigeria; and his emigration to France.

Allen embraced the drum set, rather than African handheld drums, early in his career, when drum kits were relatively rare in Africa. His story conveys a love of his craft along with the specifics of his practice. It also provides invaluable firsthand accounts of the explosive creativity in postcolonial African music, and the personal and artistic dynamics in Fela's Koola Lobitos and Africa 70, two of the greatest bands to ever play African music.

The Blue Ridge Mountains of North Carolina are the heart of a region where traditional music and dance are performed and celebrated as nowhere else in America. This guide puts readers on the trail to discover many sites where the unique musical legacy thrives, covering bluegrass and stringband music, clogging, and other traditional forms of music and dance. The book includes stories of the legendary music of the Blue Ridge Mountains, maps, and contact information for the featured sites, as well as color illustrations and profiles of prominent musicians and music traditions. Chapters are organized county by county, and sidebars include interviews with and profiles of performers, information about various performance styles, and a brief history of Blue Ridge music. The updated second edition adds three new music venues, along with updated information on the almost sixty music sites in Western North Carolina profiled in the previous edition. Also included are new full-color photos, a new artist profile, and a CD of twenty-six classic songs from the mountains and the foothills.

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.

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.

This is the story of a particular Javanese group of 'matching' musical instruments called the gamelan Digul, and their creator, the Indonesian musician and political activist Pontjopangrawit (1893-ca. 1965). He was a superb Javanese court musician, who had entertained at the of king Paku Buwana X as a child. In this magnificent artistic environment he learned how to build gamelans, and also became a sought-after teacher. Involved in radical political activities, Pontjopangrawit was arrested in 1926 for his participation in the movement to free Indonesia from Dutch rule, and spent the next six years in the notorious Dutch East Indies prison camp at Boven Digul. Made in 1927 entirely from 'found' materials in the prison camp, including pans and eating utensils, the gamelan Digul became a symbol for the independence movement long after Pontjopangrawit's own release in 1932. In the 1940s, it was transported to Australia, where the Dutch and their prisoners took refuge from the Japanese invaders. At first interned as enemy aliens by the Australian government, the ex-Digulists were finally released. Cultural activities within the Australian Indonesian community involving the gamelan Digul served to create sympathy and interest for Indonesia's independence, which was granted in 1945. Tragically, Pontjopangrawit himself was later arrested by the Indonesian goverment during the 1965 revolution, and died in custody. This book's musical and political discussions will interest all those concerned with Indonesian and Southeast Asian music, performing arts, history and culture as well as the beginnings of Australian-Indonesian friendship. Margaret Kartomi, AM, FAHA, Dr. Phil, is the Professor ofMusic at Monash University. She has published over a hundred articles and several books, annotated CDs and LP records on the music of various parts of Indonesia and other ethnomusicological topics. She was elected a member of the Australian Academy of Humanities i

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.

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.

For artists, creativity plays a powerful role in understanding, confronting, and negotiating the crises of the present. Seeding the Tradition explores conflicting creativities in traditional music in Ho Chi Minh City, the Mekong Delta, and the Vietnamese diaspora, and how they influence contemporary southern Vietnamese culture. The book centers on the ways in which musicians of don ca tai tu, a "music for diversion," practice creativity or sang tao in early 21st-century southern Vietnam. These musicians draw from long-standing theories of primarily Daoist creation while adopting strategically from and also reacting to a western neo-liberal model of creativity focused primarily - although not exclusively - on the individual genius. They play with metaphors of growth, development, and ruin to not only maintain their tradition but keep it vibrant in the rapidly-shifting context of modern Vietnam. With ethnographic descriptions of zither lessons in Ho Chi Minh City, outdoor music cafes in Can Tho, and television programs in Dong Thap, Seeding the Tradition offers a rich description of southern Vietnamese sang tao and suggests revised approaches to studying creativity in contemporary ethnomusicology.

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

The exciting adventures of Filipino entertainer Luis Borromeo and the Javanese Miss Riboet, in vaudeville and Malay opera respectively, tell an important story of Southeast Asia's 1920s Jazz Age. Borromeo and Riboet were leading figures in the development of a localised hybrid popular culture, surrounded by the elusive phenomena of modernity, cosmopolitanism and nationalism. These two artists are exemplary of the pioneering cultural brokers of the time, who connected the arts, tradition and modernity, the foreign and the local, becoming the first stars of a new popular culture. Audiences seized this popular culture-situated somewhere between high art and banal entertainment-to channel emancipatory activities, to articulate social critique and to propagate an inclusive nationalism without being radically anti-colonial. By the early 1930s, this social potency was lost due to political polarization, an exclusive nationalism and a global economic crisis, ending years of cultural renaissance. Leaning on cultural studies and the work on cosmopolitanism and modernity by Henry Jenkins and Joel Kahn, popular culture is critically examined here as a contradictory social phenomenon. As Southeast Asia's urban multi-ethnic middle-classes emerged as both consumers and producers of a new in-between culture, the book challenges notions of Southeast Asia's popular culture as low brow entertainment created by elites and commerce to manipulate the masses.

Who are "the folk" in folk music? This book traces the musical culture of these elusive figures in Britain and the US during a crucial period of industrialization from 1870 to 1930, and beyond to the contemporary alt-right. Drawing on a broad, interdisciplinary range of scholarship, The Folk examines the political dimensions of a recurrent longing for folk culture and how it was called upon for radical and reactionary ends at the apex of empire. It follows an insistent set of disputes surrounding the practice of collecting, ideas of racial belonging, nationality, the poetics of nostalgia, and the pre-history of European fascism. Deeply researched and beautifully written, Ross Cole provides us with a biography of a people who exist only as a symptom of the modern imagination, and the archaeology of a landscape directing flows of global populism to this day.

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.

Examines the economic and spatial importance of performance arts in West Africa through a close analysis of the masquerade culture of Calabar, the capital city of Nigeria's Cross River State. Driving into urban Calabar, one is struck by two imposing, monumental rectangular columns, operating not unlike ancient triumphal arches, framing the entrance into Nigeria's capital city of the Cross River State. Relief carvings of Calabar's renowned masking characters adorn the monument. The icons, dramatically captured in choreographic poses, freezing the maskers in time, enshrine masquerade as the city's heritage and past identity. Far from being merely "traditional" and relegated to an earlier time, the Calabar-based masquerades explored in this book demonstrate a contemporary and global context indicative of the changing patterns of city life. While the topic of cultural change is not necessarily new to African art history and cultural studies, few scholars or writers have attempted to understand why African arts so readily change. This book, the first full-length monograph addressing contemporary art in Calabar, explains the fluidity and thriving nature of masquerade by analyzing the ways in which masking is steeped in economic transaction and how street performances have become more public and spatially calculated. By unraveling the urban layers of masquerade arts and their performances, this book shows how so-called traditional culture gains new roles or currencies within a contemporary, city-based context.