As one of the most celebrated musicians of our time, Alicia Keys has enraptured the nation with her heartfelt lyrics, extraordinary vocal range, and soul-stirring piano compositions. Yet away from the spotlight, Alicia has grappled with private heartache over the challenging and complex relationship with her father, the people-pleasing nature that characterized her early career, the loss of privacy surrounding her romantic relationships, and the oppressive expectations of female perfection.

Since her rise to fame, Alicia’s public persona has belied a deep personal truth: she has spent years not fully recognizing or honoring her own worth. After withholding parts of herself for so long, she is at last exploring the questions that live at the heart of her story: Who am I, really? And once I discover that truth, how can I become brave enough to embrace it?

More Myself is part autobiography, part narrative documentary. Alicia’s journey is revealed not only through her own candid recounting, but also through vivid recollections from those who have walked alongside her. The result is a 360-degree perspective on Alicia’s path: from her girlhood in Hell’s Kitchen and Harlem, to the process of self-discovery she’s still navigating.

In More Myself, Alicia shares her quest for truth: about herself, her past, and her shift from sacrificing her spirit to celebrating her worth. With the raw honesty that epitomizes Alicia’s artistry, More Myself is at once a riveting account and a clarion call to readers: to define themselves in a world that rarely encourages a true and unique identity.

Unfaithful Music & Disappearing Ink is the long-awaited memoir from Elvis Costello, one of rock and roll's most iconic stars.

Born Declan Patrick MacManus, Elvis Costello was raised in London and Liverpool, grandson of a trumpet player on the White Star Line and son of a jazz musician who became a successful radio dance band vocalist. Costello went into the family business and had taken the popular music world by storm before he was twenty-four. Costello continues to add to one of the most intriguing and extensive songbooks of the day. His performances have taken him from a cardboard guitar in his front room to fronting a rock and roll band on your television screen and performing in the world's greatest concert halls in a wild variety of company.

Unfaithful Music & Disappearing Ink describes how Costello's career has somehow endured for almost four decades through a combination of dumb luck and animal cunning, even managing the occasional absurd episode of pop stardom. This memoir, written with the same inimitable touch as his lyrics, and including dozens of images from his personal archive, offers his unique view of his unlikely and sometimes comical rise to international success, with diversions through the previously undocumented emotional foundations of some of his best known songs and the hits of tomorrow. The book contains many stories and observations about his renowned co-writers and co-conspirators, though Costello also pauses along the way for considerations on the less appealing side of infamy.

Unfaithful Music & Disappearing Ink is destined to be a classic, idiosyncratic memoir of a singular man.

A self-portrait in 154 songs, by our greatest living songwriter.

In this extraordinary book, with unparalleled candour, Paul McCartney recounts his life and art through the prism of 154 songs from all stages of his career - from his earliest boyhood compositions through the legendary decade of The Beatles, to Wings and his solo albums to the present. Arranged alphabetically to provide a kaleidoscopic rather than chronological account, it establishes definitive texts of the songs' lyrics for the first time and describes the circumstances in which they were written, the people and places that inspired them, and what he thinks of them now.

Presented with this is a treasure trove of material from McCartney's personal archive - drafts, letters, photographs - never seen before, which make this also a unique visual record of one of the greatest songwriters of all time. We learn intimately about the man, the creative process, the working out of melodies, the moments of inspiration. The voice and personality of Paul McCartney sings off every page.

There has never been a book about a great musician like it.

Two long-time friends share an intimate and urgent conversation about life, music and their enduring love of America, with all its challenges and contradictions, in this stunningly-produced expansion of their ground-breaking Higher Ground podcast, featuring more than 350 photographs, exclusive bonus content, and never-before-seen archival material.

Renegades: Born in the USA is a candid, revealing, and entertaining dialogue between President Barack Obama and legendary musician Bruce Springsteen that explores everything from their origin stories and career-defining moments to their country's polarized politics and the growing distance between the American Dream and the American reality. Filled with full-colour photographs and rare archival material, it is a compelling and beautifully illustrated portrait of two outsiders - one Black and one white - looking for a way to connect their unconventional searches for meaning, identity, and community with the American story itself.

It includes:

• Original introductions by President Obama and Bruce Springsteen
• Exclusive new material from the Renegades podcast recording sessions
• Obama's never-before-seen annotated speeches, including his "Remarks at the 50th Anniversary of the Selma to Montgomery Marches
• Springsteen's handwritten lyrics for songs spanning his 50-year-long career
• Rare and exclusive photographs from the authors' personal archives
• Historical photographs and documents that provide rich visual context for their conversation.

Obama and Springsteen discuss marriage and fatherhood, race and masculinity, the lure of the open road and the call back to home. They also compare notes on their favourite protest songs, the most inspiring American heroes of all time, and more. Along the way, they reveal their passion for - and the occasional toll of - telling a bigger, truer story about America throughout their careers, and explore how their fractured country might begin to find its way back toward unity.

Lady Gaga is a once-in-a-decade artist, and the rare instant celebrity whose appearance can become a cultural event. No other music star of the last decade combines the talents Lady Gaga possesses: she’s a genuine singer, composer, songwriter, designer, and performance artist, who uses technology and social media to shape her art and career. In the space of fifteen months, she has become a demographic-smashing pop icon with global reach and impact.

Not since Madonna’s breakout success in the mid-eighties has the world witnessed the advent of a pop-culture provocateur who mixes high-and-low culture, the avant-garde with the accessible, “downtown” authenticity with the sheen of glamorous artifice. She has quickly formed a symbiotic relationship with her rabid fan base who have taken to dressing as she does, imitating her hair and make-up in tribute. Gaga, too, is a cultural shape-shifter, allowing her fans to project their needs, wants, confusions, and desires onto her.

This is a must-read for Gaga fans, who, devoted as they are, know next to nothing about who she is and how she got that way, as well as for anyone who has heard Lady Gaga on television and the radio and is curious about America’s latest over-the-top cultural success story.

At the dawn of the 1990s, as the United States celebrated its victory in the Cold War and sole superpower status by waging war on Iraq and proclaiming democratic capitalism as the best possible society, the 1990s underground punk renaissance transformed the punk scene into a site of radical opposition to American empire. Nazi skinheads were ejected from the punk scene; apathetic attitudes were challenged; women, Latino, and LGBTQ participants asserted their identities and perspectives within punk; the scene debated the virtues of maintaining DIY purity versus venturing into the musical mainstream; and punks participated in protest movements from animal rights to stopping the execution of Mumia Abu-Jamal to shutting down the 1999 WTO meeting. Punk lyrics offered strident critiques of American empire, from its exploitation of the Third World to its warped social relations. Numerous subgenres of punk proliferated to deliver this critique, such as the blazing hardcore punk of bands like Los Crudos, propagandistic crust-punk/dis-core, grindcore and power violence with tempos over 800 beats per minute, and So-Cal punk with its combination of melody and hardcore. Musical analysis of each of these styles and the expressive efficacy of numerous bands reveals that punk is not merely simplistic three-chord rock music, but a genre that is constantly revolutionizing itself in which nuances of guitar riffs, vocal timbres, drum beats, and song structures are deeply meaningful to its audience, as corroborated by the robust discourse in punk zines.

Musical Minorities is the first English-language monograph on the performing arts of an ethnic minority in Vietnam. Living primarily in the northern mountains, the Hmong have strategically maintained their cultural distance from foreign invaders and encroaching state agencies for almost two centuries. They use cultural heritage as a means of maintaining a resilient community identity, one which is malleable to their everyday needs and to negotiations among themselves and with others in the vicinity. Case studies of revolutionary songs, countercultural rock, traditional vocal and instrumental styles, tourist shows, animist and Christian rituals, and light pop from the diaspora illustrate the diversity of their creative outputs. This groundbreaking study reveals how performing arts shape understandings of ethnicity and nationality in contemporary Vietnam. Based on three years of fieldwork, Lonan O Briain traces the circulation of organized sounds that contribute to the adaptive capacities of this diverse social group. In an original investigation of the sonic materialization of social identity, the book outlines the full multiplicity of Hmong music-making through a fascinating account of music, minorities, and the state in a post-socialist context.

Rihanna invites you into her world with this stunning visual autobiography.

From her Barbados childhood to her worldwide tours, from iconic fashion moments to private time with friends and family, the book showcases intimate photographs of her life as an artist, performer, designer, and entrepreneur. Many of these images have never before been published.

This large-format book is 504 pages with 1,050 color images on 3 paper stocks and 7 single- and double-page gatefolds, 9 bound-in booklets, 1 tip-in sheet, and a double-sided, removable poster.

Liverpool has gained a national and international reputation for popular music, most recently recognised in its designation as a UNESCO City of Music. This book examines Liverpool's popular music through the history of the places where it has been performed and examines their role and significance. It explores the richness of Liverpool's live performance scene and tells a story of changing music sites, sounds and experiences. In doing so it highlights music's contribution to the city's history and identity, and in turn shows how the city's architectural and urban form has shaped its musical life and character. The book shows how music is bound up with changes in the social, cultural and economic life of cities more generally, particularly provincial, `post-industrial' cities in the UK, Europe and US. It also highlights the significance of places that enable people to come together and collectively participate in music events. The book touches on groups and artists involved with many diverse musical style and brings new and fascinating information on well-known historic venues such as the Cavern Club and the Blue Angel, as well as new ones such as the Echo Arena. With a glossary of artists and venues, previously unpublished photographs, illustrations and music maps. Liverpool's musical landscapes are investigated in unprecedented detail and depth.

Throughout the 1970s and 1980s, Hollywood studios and record companies churned out films, albums, music videos and promotional materials that sought to recapture, revise, and re-imagine the 1950s. Breaking from the dominant wisdom that casts the trend as wholly defined by Ronald Reagan's politics or the rise of postmodernism, Back to the Fifties reveals how Fifties nostalgia from 1973 to 1988 was utilized by a range of audiences for diverse and often competing agendas. Films from American Graffiti to Hairspray and popular music from Sha Na Na to Michael Jackson shaped-and was shaped by-the complex social, political and cultural conditions of the Reagan Era. By closely examining the ways that "the Fifties" were remade and recalled, Back to the Fifties explores how cultural memory is shaped for a generation of teenagers trained by popular culture to rewind, record, recycle and replay.

Barack Obama flipped the script on more than three decades of conventional wisdom when he openly embraced hip hop-often regarded as politically radioactive-in his presidential campaigns. Just as important was the extent to which hip hop artists and activists embraced him in return. This new relationship fundamentally altered the dynamics between popular culture, race, youth, and national politics. But what does this relationship look like now, and what will it look like in the decades to come? The Hip Hop & Obama Reader attempts to answer these questions by offering the first systematic analysis of hip hop and politics in the Obama era and beyond. Over the course of 14 chapters, leading scholars and activists offer new perspectives on hip hop's role in political mobilization, grassroots organizing, campaign branding, and voter turnout, as well as the ever-changing linguistic, cultural, racial, and gendered dimensions of hip hop in the U.S. and abroad. Inviting readers to reassess how Obama's presidency continues to be shaped by the voice of hip hop and, conversely, how hip hop music and politics have been shaped by Obama, The Hip Hop & Obama Reader critically examines hip hop's potential to effect social change in the 21st century. This volume is essential reading for scholars and fans of hip hop, as well as those interested in the shifting relationship between democracy and popular culture. Foreword: Tricia Rose, Brown University Afterword: Cathy Cohen, University of Chicago

Over the past two decades, a steady stream of recordings, videos, feature films, festivals, and concerts has presented the music of Balkan Gypsies, or Roma, to Western audiences, who have greeted them with exceptional enthusiasm. Yet, as author Carol Silverman notes, "Roma are revered as musicians and reviled as people." In this book, Silverman introduces readers to the people and cultures who produce this music, offering a sensitive and incisive analysis of how Romani musicians address the challenges of discrimination. Focusing on southeastern Europe then moving to the diaspora, her book examines the music within Romani communities, the lives and careers of outstanding musicians, and the marketing of music in the electronic media and "world music" concert circuit. Silverman touches on the way that the Roma exemplify many qualities- adaptability, cultural hybridity, transnationalism-that are taken to characterize late modern experience. Rather than just celebrating these qualities, she presents the musicians as complicated, pragmatic individuals who work creatively within the many constraints that inform their lives. As both a performer and presenter on the world music circuit, Silverman has worked extensively with Romani communities for more than two decades both in their home countries and in the diaspora. At a time when the political and economic plight of European Roma and the popularity of their music are objects of international attention, Silverman's book is incredibly timely.

Music and tourism, both integral to the culture and livelihood of the circum-Caribbean region, have until recently been approached from disparate disciplinary perspectives. Scholars who specialize in tourism studies typically focus on issues such as economic policy, sustainability, and political implications; music scholars are more likely to concentrate on questions of identity, authenticity, neo-colonialism, and appropriation. Although the insights generated by these paths of scholarship have long been essential to study of the region, Sun, Sea, and Sound turns its attention to the dynamics and interrelationships between tourism and music throughout the region. Editors Timothy Rommen and Daniel T. Neely bring together a group of leading scholars from the fields of ethnomusicology, anthropology, mobility studies, and history to develop and explore a framework - termed music touristics - that considers music in relation to the wide range of tourist experiences that have developed in the region. Over the course of eleven chapters, the authors delve into an array of issues including the ways in which countries such as Jamaica and Cuba have used music to distinguish themselves within the international tourism industry, the tourism surrounding music festivals in St. Lucia and New Orleans, the intersections between music and sex tourism in Brazil, and spirituality tourism in Cuba. An indispensable resource for the study of music and tourism in global perspective, Sun, Sea, and Sound is essential reading for scholars and students across disciplines interested in the Caribbean region.

This is the first book to tackle the diverse styles and multiple histories of popular musics in India. It brings together fourteen of the world's leading scholars on Indian popular music to contribute chapters on a range of topics from the classic songs of Bollywood to contemporary remixes, summarized by a reflective afterword by popular music scholar Timothy Taylor. The chapters in this volume address the impact of media and technology on contemporary music, the variety of industrial developments and contexts for Indian popular music, and historical trends in popular music development both before and after the Indian Independence in 1947. The book identifies new ways of engaging popular music in India beyond the Bollywood musical canon, and offers several case studies of local and regional styles of music. The contributors address the subcontinent's historical relationships with colonialism, the transnational market economies, local governmental factors, international conventions, and a host of other circumstances to shed light on the development of popular music throughout India. To illustrate each chapter author's points, and to make available music not easily accessible in North America, the book features an Oxford web music companion website of audio and video tracks.

The first book of its kind, Gender & Rock introduces readers to how gender operates in multiple sites within rock culture, including its music, lyrics, imagery, performances, instruments, and business practices. Additionally, it explores how rock culture, despite a history of regressive gender politics, has provided a place for musicians and consumers to experiment with alternate identities and ways of being. Drawing on feminist and queer scholarship in popular music studies, musicology, cultural studies, sociology, performance studies, literary analysis, and media studies, Gender & Rock provides readers with a survey of the topics, theories, and methods necessary for understanding and conducting analyses of gender in rock culture. Via an intersectional approach, the book examines how the gendering of particular roles, practices, technologies, and institutions within rock culture is related to discourses of race, sexuality, age, and class.

Though the distance between opera and popular music seems immense today, a century ago opera was an integral part of American popular music culture, and familiarity with opera was still a part of American "cultural literacy." During the Ragtime era, hundreds of humorous Tin Pan Alley songs centered on operatic subjects-either directly quoting operas or alluding to operatic characters and vocal stars of the time. These songs brilliantly captured the moment when popular music in America transitioned away from its European operatic heritage, and when the distinction between low- and high-brow "popular" musical forms was free to develop, with all its attendant cultural snobbery and rebellion.
Author Larry Hamberlin guides us through this large but oft-forgotten repertoire of operatic novelties, and brings to life the rich humor and keen social criticism of the era. In the early twentieth-century, when new social forces were undermining the view that our European heritage was intrinsically superior to our native vernacular culture, opera-that great inheritance from our European forebearers-functioned in popular discourse as a signifier for elite culture. Tin Pan Opera shows that these operatic novelty songs availed this connection to a humorous and critical end. Combining traditional, European operatic melodies with the new and American rhythmic verve of ragtime, these songs painted vivid images of immigrant Americans, liberated women, and upwardly striving African Americans, striking emblems of the profound transformations that shook the United States at the beginning of the American century.

Initially branching out of the European contradance tradition, the danzon first emerged as a distinct form of music and dance among black performers in nineteenth-century Cuba. By the early twentieth-century, it had exploded in popularity throughout the Gulf of Mexico and Caribbean basin. A fundamentally hybrid music and dance complex, it reflects the fusion of European and African elements and had a strong influence on the development of later Latin dance traditions as well as early jazz in New Orleans. Danzon: Circum-Caribbean Dialogues in Music and Dance studies the emergence, hemisphere-wide influence, and historical and contemporary significance of this music and dance phenomenon.
Co-authors Alejandro L. Madrid and Robin D. Moore take an ethnomusicological, historical, and critical approach to the processes of appropriation of the danzon in new contexts, its changing meanings over time, and its relationship to other musical forms. Delving into its long history of controversial popularization, stylistic development, glorification, decay, and rebirth in a continuous transnational dialogue between Cuba and Mexico as well as New Orleans, the authors explore the production, consumption, and transformation of this Afro-diasporic performance complex in relation to global and local ideological discourses. By focusing on interactions across this entire region as well as specific local scenes, Madrid and Moore underscore the extent of cultural movement and exchange within the Americas during the late nineteenth and early twentieth-centuries, and are thereby able to analyze the danzon, the dance scenes it has generated, and the various discourses of identification surrounding it as elements in broader regional processes. Danzon is a significant addition to the literature on Latin American music, dance, and expressive culture; it is essential reading for scholars, students, and fans of this music alike."

Arguably the world's most popular partnered social dance form, salsa's significance extends well beyond the Latino communities which gave birth to it. The growing international and cross-cultural appeal of this Latin dance form, which celebrates its mixed origins in the Caribbean and in Spanish Harlem, offers a rich site for examining issues of cultural hybridity and commodification in the context of global migration. Salsa consists of countless dance dialects enjoyed by varied communities in different locales. In short, there is not one dance called salsa, but many. Spinning Mambo into Salsa, a history of salsa dance, focuses on its evolution in three major hubs for international commercial export-New York, Los Angeles, and Miami. The book examines how commercialized salsa dance in the 1990s departed from earlier practices of Latin dance, especially 1950s mambo. Topics covered include generational differences between Palladium Era mambo and modern salsa; mid-century antecedents to modern salsa in Cuba and Puerto Rico; tension between salsa as commercial vs. cultural practice; regional differences in New York, Los Angeles, and Miami; the role of the Web in salsa commerce; and adaptations of social Latin dance for stage performance. Throughout the book, salsa dance history is linked to histories of salsa music, exposing how increased separation of the dance from its musical inspiration has precipitated major shifts in Latin dance practice. As a whole, the book dispels the belief that one version is more authentic than another by showing how competing styles came into existence and contention. Based on over 100 oral history interviews, archival research, ethnographic participant observation, and analysis of Web content and commerce, the book is rich with quotes from practitioners and detailed movement description.

Since 1997, the war in the east of the Democratic Republic of the Congo has taken more than 6 million lives and shapes the daily existence of the nation's residents. While the DRC is often portrayed in international media as an unproductive failed state, the Congolese have turned increasingly to art-making to express their experience to external eyes. Author Cherie Rivers Ndaliko argues that cultural activism and the enthusiasm to produce art exists in Congo as a remedy for the social ills of war and as a way to communicate a positive vision of the country. Ndaliko introduces a memorable cast of artists, activists, and ordinary people from the North-Kivu province, whose artistic and cultural interventions are routinely excluded from global debates that prioritize economics, politics, and development as the basis of policy decision about Congo. Rivers also shows how art has been mobilized by external humanitarian and charitable organizations, becoming the vehicle through which to inflict new kinds of imperial domination. Written by a scholar and activist in the center of the current public policy debate, Necessary Noise examines the uneasy balance of accomplishing change through art against the unsteady background of civil war. At the heart of this book is the Yole!Africa cultural center, which is the oldest independent cultural center in the east of Congo. Established in the aftermath of volcano Nyiragongo's 2002 eruption and sustained through a series of armed conflicts, the cultural activities organized by Yole!Africa have shaped a generation of Congolese youth into socially and politically engaged citizens. By juxtaposing intimate ethnographic, aesthetic, and theoretical analyses of this thriving local initiative with case studies that expose the often destructive underbelly of charitable action, Necessary Noise introduces into heated international debates on aid and sustainable development a compelling case for the necessity of arts and culture in negotiating sustained peace. Through vivid descriptions of a community of young people transforming their lives through art, Ndaliko humanizes a dire humanitarian disaster. In so doing, she invites readers to reflect on the urgent choices we must navigate as globally responsible citizens. The only study of music or film culture in the east of Congo, Necessary Noise raises an impassioned and vibrantly interdisciplinary voice that speaks to the theory and practice of socially engaged scholarship.

Musical Intimacies and Indigenous Imaginaries explores several styles performed in the vital aboriginal musical scene in the western Canadian province of Manitoba, focusing on fiddling, country music, Christian hymnody, and step dancing. In considering these genres and the contexts in which they are performed, author Byron Dueck outlines a compelling theory of musical publics, examines the complex, overlapping social orientations of contemporary musicians, and shows how music and dance play a central role in a distinctive indigenous public culture.
Dueck considers a wide range of contemporary aboriginal performances and venues--urban and rural, secular and sacred, large and small. Such gatherings create opportunities for the expression of distinctive modes of northern Algonquian sociability and for the creative extension of indigenous publicness. In examining these interstitial sites--at once places of intimate interaction and spaces oriented to imagined audiences--this volume considers how Manitoban aboriginal musicians engage with audiences both immediate and unknown; how they negotiate the possibilities mass mediation affords; and how, in doing so, they extend and elaborate indigenous sociability.
Musical Intimacies brings theories of public culture from anthropology and literary criticism into musicological and ethnomusicological discussions while introducing productive new ways of understanding North American indigenous engagement with mass mediation. It is a unique work that will appeal to students and scholars of popular music, musicology, music theory, anthropology, sociology, and cultural studies. It will be necessary reading for students of American ethnomusicology, First Nations and Native American studies, and Canadian music studies.

Moving back through Dewey, Heidegger, Nietzsche, and Rousseau, the lineage of Western music education finds its origins in Plato and Pythagoras. Yet theories not rooted in the ancient Greek tradition are all but absent. A Way of Music Education provides a much-needed intervention, integrating ancient Chinese thought into the canon of music education in a structured, systematized, and philosophical way. The book's three central sources - the Yijing (The Book of Changes), Confucianism, and Daoism - inform author C. Victor Fung's argument: that the human being exists as an entity at the center of an organismic world in which all things and events, including music and music education, are connected. Fung ultimately proposes a new educational philosophy based on three key ideas in Chinese thought: change, balance, and liberation. A unique work, A Way of Music Education offers a universal approach engrained in a specific and ancient cultural tradition.

A keen critic of culture in modern Indonesia, Andrew N. Weintraub shows how a genre of Indonesian music called dangdut evolved from a denigrated form of urban popular music to a prominent role in Indonesian cultural politics and the commercial music industry. Dangdut--named onomatopoetically for the music's characteristic drum sounds "dang" and "dut"--is Indonesia's most popular music, heard in streets and homes, public parks and narrow alleyways, stores and restaurants, and all forms of public transportation. Despite dangdut's tremendous popularity in Indonesia and other parts of Asia, it has seldom received the serious critical attention it deserves.
Dangdut Stories is a social and musical history of dangdut within a range of broader narratives about class, gender, ethnicity, and nation in post-independence Indonesia (1945-present). Quoted material from interviews, detailed analysis of music and song texts, and ethnography of performance illuminate the stylistic nature of the music and its centrality in public debates about Islam, social class relations, and the role of women in postcolonial Indonesia.
Dangdut Stories is the first musicological study to examine the stylistic development of dangdut music itself, using vocal style, melody, rhythm, form, and song texts to articulate symbolic struggles over meaning. Throughout the book the voices and experiences of musicians take center stage in shaping the book's narrative. Dangdut was first developed during the early 1970s, and an historical treatment of the genre's musical style, performance practice, and social meanings is long overdue.

Posthuman Rap listens for the ways contemporary rap maps an existence outside the traditional boundaries of what it means to be human. Contemporary humanity is shaped in neoliberal terms, where being human means being viable in a capitalist marketplace that favors whiteness, masculinity, heterosexuality, and fixed gender identities. But musicians from Nicki Minaj to Future to Rae Sremmurd deploy queerness and sonic blackness as they imagine different ways of being human. Building on the work of Sylvia Wynter, Alexander Weheliye, Lester Spence, LH Stallings, and a broad swath of queer and critical race theory, Posthuman Rap turns an ear especially toward hip hop that is often read as apolitical in order to hear its posthuman possibilities, its construction of a humanity that is blacker, queerer, more feminine than the norm.

Again and again people turn to music in order to assist them make sense of traumatic life events. Music can help process emotions, interpret memories, and create a sense of collective identity. While the last decade has seen a surge in academic studies on trauma and loss in both the humanities and social sciences, how music engages suffering has not often been explored. Performing Pain uncovers music's relationships to trauma and grief by focusing upon the late 20th century in Eastern Europe. The 1970s and 1980s witnessed a cultural preoccupation with the meanings of historical suffering, particularly surrounding the Second World War and the Stalinist era. Journalists, historians, writers, artists, and filmmakers repeatedly negotiated themes related to pain and memory, truth and history, morality and spirituality both during glasnost and the years prior. In the copious amount of scholarship devoted to cultural politics during this era, the activities of avant-garde composers stands largely silent. Performing Pain considers how works by Alfred Schnittke, Galina Ustvolskaya, Arvo Part, and Henryk Gorecki musically address contemporary concerns regarding history and suffering through composition, performance, and reception. Drawing upon theories from psychology, sociology, literary and cultural studies, this book offers a set of hermeneutic essays that demonstrate the ways in which people employ music in order to make sense of historical traumas and losses. Seemingly postmodern compositional choices-such as quotation, fragmentation, and stasis-provide musical analogies to psychological and emotional responses to trauma and grief. The physical realities of embodied performance focus attention on the ethics of pain and representation while these works' inclusion as film music interprets contemporary debates regarding memory and trauma. Performing Pain promises to garner wide attention from academic professionals in music studies as well as an interdisciplinary audience interested in Eastern Europe and aesthetic articulations of suffering.

Analytical and Cross-Cultural Studies in World Music presents intriguing explanations of extraordinary musical creations from diverse cultures across the world. All the authors are experts, deeply engaged in the traditions they describe. They recount the contexts in which the music is created and performed, and then hone in on elucidating how the music works as sound in process. Accompanying the explanatory prose is a wealth of diagrams, transcriptions, recordings, and (online) multimedia presentations, all intended to convey the richness, beauty, and ingenuity of their subjects. The music ranges across geography and cultures--court music of Japan and medieval Europe, pagode song from Brazil, solos by the jazz pianist Thelonius Monk and by the sitar master Budhaditya Mukherjee, form-and-timbre improvisations of a Boston sound collective, South Korean folk drumming, and the ceremonial music of indigenous cultures in North American and Australia--much of which has never been so thoroughly analyzed before. Thus the essays diversify and expand the scope of this book's companion volume, Analytical Studies in World Music, to all inhabited continents and many of its greatest musical traditions. An introduction and an afterword point out common analytical approaches, and present a new way to classify music according to its temporal organization. Two special chapters consider the juxtaposition of music from different cultures: of world music traditions and popular music genres, and of Balinese music and European Art music, raising provocative questions about the musical encounters and fusions of today's interconnected world. For everyone listening in wonderment to the richness of world music, whether listener, creator, or performer, this book will be an invaluable resource and a fount of inspiration.