Migrating Music considers the issues around music and cosmopolitanism in new ways. Whilst much of the existing literature on world music' questions the apparently world-disclosing nature of this genre -- but says relatively little about migration and mobility -- diaspora studies have much to say about the latter, yet little about the significance of music. In this context, this book affirms the centrality of music as a mode of translation and cosmopolitan mediation, whilst also pointing out the complexity of the processes at stake within it. Migrating music, it argues, represents perhaps the most salient mode of performance of otherness to mutual others, and as such its significance in socio-cultural change rivals -- and even exceeds -- literature, film, and other language and image-based cultural forms. This book will serve as a valuable reference tool for undergraduate and postgraduate students with research interests in cultural studies, sociology of culture, music, globalization, migration, and human geography.

World Music: A Global Journey, Fifth Edition, explores the diversity of musical expression around the world, taking students across the globe to experience cultural traditions that challenge the ear, the mind, and the spirit. It surveys world music within a systematic study of the world's major cultures, supported by a strong pedagogical framework. Providing historical and cultural overviews of the world's seven continents, and fortified by in-depth studies of varied musical traditions, World Music: A Global Journey is known for its student-friendly approach and lively visits to "sites" that host musics of the world. The robust companion website with audio is ideal for online coursework. FEATURES Easy-to-follow proven chapter structure, organized by geographic region Listening Guides, detailed maps, and hundreds of colorful photos, with more than two dozen new images Coverage of an eclectic blend of world musics, including both popular and traditional music New "Inside Look" entries spotlight distinguished ethnomusicologists and musicians, such as Patricia Shehan-Campbell, Oleg Kruglyakov, Chan E. Park, Vivek Virani, and Mia Gormandy New "Musical Markers" feature that summarizes key musical elements of each audio example New site visiting Georgia, a new "Explore More" feature focused on Slovenian Polka, a new track for North Indian Raga with sitar, and much more New streamed music delivery! Hosted on the book's dedicated website Audiobook-extra value! Presented by chapter on the book website Used in classrooms around the globe, World Music: A Global Journey, Fifth Edition, is an internationally acclaimed and best-selling fundamental resource for students and instructors to begin their exploration of world music and culture. www.routledge.com/cw/miller

The first cultural history of the Philippines during the twentieth century, Musical Renderings of the Philippine Nation focuses on the relationships between music, performance, and ideologies of nation. Spanning the hundred years from the Filipino-American War to the 1998 Centennial celebration of the nation's independence from Spain, the book has added emphasis on the period after World War II. Author Christi-Anne Castro describes the narratives of nation embedded in several major musical genres, such as classical music and folkloric song and dance, and enacted by the most well-known performers of the country, including Bayanihan, The Philippine National Dance Company and the Philippine Madrigal Singers. Castro delves into the ideas and works of prominent native composers, from the popular art music of Francisco Santiago and Lucio San Pedro to the People Power anthem of 1986 by Jim Paredes of the group Apo Hiking Society. Through both archival research and ethnographic fieldwork, Castro reveals how individuals and groups negotiate with and contest the power of the state to define the nation as a modern and hybrid entity within a global community.

London, 1820. The British capital is a metropolis that overwhelms dwellers and visitors alike with constant exposure to all kinds of sensory stimulation. Over the next two decades, the city's tumult will reach new heights: as population expansion places different classes in dangerous proximity and ideas of political and social reform linger in the air, London begins to undergo enormous infrastructure change that will alter it forever. It is the London of this period that editors Roger Parker and Susan Rutherford pinpoint in this book, which chooses one broad musical category--voice--and engages with it through essays on music of the streets, theaters, opera houses, and concert halls; on the raising of voices in religious and sociopolitical contexts; and on the perception of voice in literary works and scientific experiments with acoustics. Emphasizing human subjects, this focus on voice allows the authors to explore the multifaceted issues that shaped London, from the anxiety surrounding the city's importance in the musical world at large to the changing vocal imaginations that permeated the epoch. Capturing the breadth of sonic stimulations and cultures available--and sometimes unavoidable--to residents at the time, London Voices, 1820-1840 sheds new light on music in Britain and the richness of London culture during this period.

What do such artists as Bob Marley, Fela Anikulapo Kuti, Nina Simone, and Sun Ra have in common? All created uniquely powerful musical art that had a profound effect on their audiences. Through their music and their lives they became forces for liberation, challenging the established order and inspiring people around the world to look at life in new ways. So great was their originality that to a large extent they created their own musical genres, and listeners claim the music leads them to a higher state of being.

"Great Spirits: Portraits of Life-Changing World Music Artists" presents personal encounters with some of the most interesting and important musical artists of the past fifty years--Bob Marley, Fela Anikulapo Kuti, Nina Simone, Sun Ra, Augustus Pablo, the Neville Brothers, Yabby You, and Nadia Gamal. Based on the author's meetings and interviews with these giants, the pieces reveal the unique essence of each musician as a person, as an artist, and as a force for social change. Spanning the realms of jazz, blues, reggae, gospel, African, and Middle Eastern music, these artists epitomize musical creation at its highest level.

Clark has masterfully collected thirteen essays that discuss the various aspects of Tex Mex, Central American and Latin American music. In this essential book, significantly musical personalities, including Carmen Miranda and Bob Marley, are discussed. Vast in scope, the contributors engage with divergent musical styles from Latin dance crazes to the national rock of Argentina.

Situating Salsa offers the first comprehensive consideration of salsa music and its social impact, in its multiple transnational contexts. It consists of thirteen newly commissioned essays and four reprinted essays that explore the diffusion of this popular sound from its Hispanic Caribbean origins to audiences around the world. Drawing upon interviews, field observations, oral histories, personal memoirs, archival resources, and musical analysis, the volume sheds new light on current debates about race and ethnicity, class hierarchy, gender roles, and generational differences.

Clark has masterfully collected thirteen essays that discuss the various aspects of Tex Mex, Central American and Latin American music. In this essential book, significantly musical personalities, including Carmen Miranda and Bob Marley, are discussed. Vast in scope, the contributors engage with divergent musical styles from Latin dance crazes to the national rock of Argentina.

This collection of articles traces the history of Brazilian pop music through the 20th century. It focuses on how traditional Brazilian musical styles have been influenced by international popular music - including jazz, rock, and rap-to form new hybrid styles. For anyone interested in the history and scope of Brazilian music, this volume is a must read.

'Maybe it was the best adventure I ever had.' - Manu Chao Colombia, November 1993: A reconstructed old passenger train, bespangled with yellow butterflies, is carrying one hundred musicians, acrobats and artists on a daring adventure through the heart of a country soaked in violence. The intention is to put on free shows for locals at railway stations along the way: vibrant spectacles involving music, trapeze, tattoo-art, an ice museum and, star of the show, Roberto the fire-breathing dragon. Leading this crusade of hope is Manu Chao with his band Mano Negra. Ramon Chao is on board to chronicle the journey. As the train climbs 1,000 kilometres from Santa Marta on the Caribbean Coast to Bogota in the Altiplano, Ramon keeps one eye on the fluctuating morale of the train's eccentric cargo, and the other on the ever-changing physical and social landscape. As the papa of the train, he endures personal discomfort, internal strife, derailments, stowaways, disease, guerrillas and paramilitaries.When the train arrives in Aracataca, the real-life Macondo of One Hundred Years of Solitude, Mano Negra disintegrates, leaving Manu to pick up the pieces with those determined to see this once-in-a-lifetime adventure through to the end. "The Train of Ice and Fire" is a book about hope and dreams in troubled times. It is about a father accompanying his son through an experience which will change his life. But most of all it is about Colombia, the flora, the fauna, the history, the politics and, more than any of that, it is a book about people.

More than simply a paragon of Brazilian samba, Dona (Lady) Ivone Lara's 1981 Sorriso Negro (translated to Black Smile) is an album deeply embedded in the political and social tensions of its time. Released less than two years after the Brazilian military dictatorship approved the Lei de Anistia (the "Opening" that put Brazil on a path toward democratic governance), Sorriso Negro reflects the seminal shifts occurring within Brazilian society as former exiles reinforced notions of civil rights and feminist thought in a nation under the iron hand of a military dictatorship that had been in place since 1964. By looking at one of the most important samba albums ever recorded (and one that also happened to be authored by a black woman), Mila Burns explores the pathbreaking career of Dona Ivone Lara, tracing the ways in which she navigated the tense gender and race relations of the samba universe to ultimately conquer the masculine world of samba composers. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-basedbooks and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

Popular World Music, Second Edition introduces students to popular music genres and artists from around the world. Andrew Shahriari discusses international music styles familiar to most students-Reggae, Salsa, K-Pop, and more-with a comprehensive listening-oriented introduction to mainstream musical culture. Each chapter focuses on specific music styles and their associated geographic origin, as well as best-known representative artists, such as Bob Marley, Carmen Miranda, ABBA, and Ladysmith Black Mambazo. The text assumes no prior musical knowledge and emphasizes listening as a pathway to learning about music and culture. The subject matter fulfills core, general education requirements found today in the university curriculum. The salient musical and cultural features associated with each example are discussed in detail to increase appreciation of the music, its history, and meaning to its primary audience. NEW to this edition Updates to content to reflect recent developments in resources and popular music trends. Contributing authors in additional areas, including Folk Metal, Chinese Ethnic Minority Rock, and Trinidadian Steel Drum and Soca. "Artist Spotlight" sections highlighting important artists, such as Mary J. Blige, Bob Marley, Tito Puente, Enya, Umm Kulthum and more. "Ad-lib Afterthought" sections and "Questions to Consider" to prompt further discussion of each chapter. Lots of new photos! Updated and additional website materials for students and instructors.

An expert explains and analyzes the beloved art form An iconic symbol of Spain, flamenco has become a global phenomenon. Peter Manuel offers English-language readers a rare portrait of the music’s history, styles, and cultural impact. Beginning with flamenco’s Moorish and Roma influences, Manuel follows the music’s evolution through its consolidation in the mid-1800s and on to the vibrant contemporary scene. An investigation of flamenco’s major song-types looks at rhythm and compás, guitar technique, and many other aspects of the music while Manuel’s description and analysis of the repertoire range from soleares and bulerías to tangos. His overview of contemporary flamenco culture provides insight into issues that surround the music, including globalization, gender dynamics, notions of ownership, and the ongoing debates on purity versus innovation and the relative roles played by Gitanos and non-Gitanos. Multifaceted and entertaining, Flamenco Music is an in-depth study of the indelible art form that inspires enthusiasts and practitioners around the world.

The fifteen essays of Performing History glimpse the diverse ways music historians "do" history, and the diverse ways in which music histories matter. This book's chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that "tell," "enact," or "perform" war histories; operatic works that works that "tell," "enact," or "perform" power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading "between the lines" to access other voices than those provided by mainstream interpretation or traditional musicology.

World Music Pedagogy, Volume VI: School-Community Intersections provides students with a resource for delving into the meaning of "world music" across a broad array of community contexts and develops the multiple meanings of community relative to teaching and learning music of global and local cultures. It clarifies the critical need for teachers to work in tandem with community musicians and artists in order to bridge the unnecessary gulf that often separates school music from the music of the world beyond school and to consider the potential for genuine collaborations across this gulf. The five-layered features of World Music Pedagogy are specifically addressed in various school-community intersections, with attention to the collaboration of teachers with local community artist-musicians and with community musicians-at-a-distance who are available virtually. The authors acknowledge the multiple routes teachers are taking to enable and encourage music learning in community contexts, such as their work in after-school academies, museums and libraries, eldercare centers, places of worship, parks and recreation centers, and other venues in which adults and children gather to learn music, make music, and become convivial through music This volume suggests that the world's musical cultures may be found locally, can be tapped virtually, and are important in considerations of music teaching and learning in schools and community contexts. Authors describe working artists and teachers, scenarios, vignettes, and teaching and learning experiences that happen in communities and that embrace the role of community musicians in schools, all of which will be presented with supporting theoretical frameworks.

Today, teachers and performers of Turkish classical music intentionally cultivate melancholies, despite these affects being typically dismissed as remnants of the Ottoman Empire. Melancholic Modalities is the first in-depth historical and ethnographic study of the practices socialized by musicians who enthusiastically teach and perform a present-day genre substantially rooted in the musics of the Ottoman court and elite Mevlevi Sufi lodges. Author Denise Gill analyzes how melancholic music-making emerges as pleasurable, spiritually redeeming, and healing for both the listener and performer. Focusing on the diverse practices of musicians who deploy and circulate melancholy in sound, Gill interrogates the constitutive elements of these musicians' modalities in the context of emergent neoliberalism, secularism, political Islamism, Sufi devotionals, and the politics of psychological health in Turkey today. In an essential contribution to the study of ethnomusicology and psychology, Gill develops rhizomatic analyses to allow for musicians' multiple interpretations to be heard. Melancholic Modalities uncovers how emotion and musical meaning are connected, and how melancholy is articulated in the world of Turkish classical musicians. With her innovative concept of "bi-aurality," Gill's book forges new possibilities for the historical and ethnographic analyses of musics and ideologies of listening for music scholars.

In Tokyo in the early 1990s, an indie band called Flipper's Guitar was at the forefront of a new wave in Japanese popular music known as Shibuya-kei. The band's founder, Keigo Oyamada, would go on to produce, under the name Cornelius, a series of albums that are among the most innovative in Japanese popular music of the past two decades. Oyamada's third album under his Cornelius alter-ego, Fantasma (1997), played a key role in putting J-pop on the world map for Western music fans, and Oyamada himself is today one of the most respected figures in the Japanese music industry. This book tells the story of Fantasma's emergence from the Shibuya-kei scene and considers the wider impact of Oyamada's work both internationally and on Japanese popular music today. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

Dapha, or dapha bhajan, is a genre of Hindu-Buddhist devotional singing, performed by male, non-professional musicians of the farmer and other castes belonging to the Newar ethnic group, in the towns and villages of the Kathmandu Valley, Nepal. The songs, their texts, and their characteristic responsorial performance-style represent an extension of pan-South Asian traditions of raga- and tala-based devotional song, but at the same time embody distinctive characteristics of Newar culture. This culture is of unique importance as an urban South Asian society in which many traditional models survive into the modern age. There are few book-length studies of non-classical vocal music in South Asia, and none of dapha. Richard Widdess describes the music and musical practices of dapha, accounts for their historical origins and later transformations, investigates links with other South Asian traditions, and describes a cultural world in which music is an integral part of everyday social and religious life. The book focusses particularly on the musical system and structures of dapha, but aims to integrate their analysis with that of the cultural and historical context of the music, in order to address the question of what music means in a traditional South Asian society.

This book traces the particularities of music migration and tourism in different global settings, and provides current, even new perspectives for ethnomusicological research on globalizing musics in transit. The dual focus on tourism and migration is central to debates on globalization, and their examination-separately or combined-offers a useful lens on many key questions about where globalization is taking us: questions about identity and heritage, commoditization, historical and cultural representation, hybridity, authenticity and ownership, neoliberalism, inequality, diasporization, the relocation of allegiances, and more. Moreover, for the first time, these two key phenomena-tourism and migration-are studied conjointly, as well as interdisciplinary, in order to derive both parallels and contrasts. While taking diverse perspectives in embracing the contemporary musical landscape, the collection offers a range of research methods and theoretical approaches from ethnomusicology, anthropology, cultural geography, sociology, popular music studies, and media and communication. In so doing, Musics in Transit provides a rich exemplification of the ways that all forms of musical culture are becoming transnational under post-global conditions, sustained by both global markets and musics in transit, and to which both tourists and diasporic cosmopolitans make an important contribution.

Ombra is the term which applies to an operatic scene involving the appearance of an oracle or demon, witches, or ghosts. Such scenes can be traced back to the early days of opera and were commonplace in the seventeenth century in Italy and France. Operas based on the legends of Orpheus, Iphigenia, and Alcestis provide numerous examples of ombra and extend well into the eighteenth century. Clive McClelland's Ombra: Supernatural Music in the Eighteenth Century is an in-depth examination of ombra and is many influences on classical music performance. McClelland reveals that ombra scenes proved popular with audiences not only because of the special stage effects employed, but also due to increasing use of awe-inspiring musical effects. By the end of the eighteenth century the scenes had come to be associated with an elaborate set of musical features including slow, sustained writing, the use of flat keys, angular melodic lines, chromaticism and dissonance, dotted rhythms and syncopation, tremolando effects, unexpected harmonic progressions, and unusual instrumentation, especially involving trombones. It is clearly distinct from other styles that exhibit some of these characteristics, such as the so-called 'Sturm und Drang' or 'Fantasia.' Futhermore, parallels can be drawn between these features and Edmund Burke's 'sublime of terror,' thus placing ombra music on an important position in the context of eighteenth-century aesthetic theory.

Focusing on female idols' proliferation in the South Korean popular music (K-pop) industry since the late 1990s, Gooyong Kim critically analyzes structural conditions of possibilities in contemporary popular music from production to consumption. Kim contextualizes the success of K-pop within Korea's development trajectories, scrutinizing how a formula of developments from the country' rapid industrial modernization (1960s-1980s) was updated and re-applied in the K-pop industry when the state had to implement a series of neoliberal reformations mandated by the IMF. To that end, applying Michel Foucault's discussion on governmentality, a biopolitical dimension of neoliberalism, Kim argues how the regime of free market capitalism updates and reproduces itself by 1) forming a strategic alliance of interests with the state, and 2) using popular culture to facilitate individuals' subjectification and subjectivation processes to become neoliberal agents. As to an importance of K-pop female idols, Kim indicates a sustained utility/legacy of the nation's century-long patriarchy in a neoliberal development agenda. Young female talents have been mobilized and deployed in the neoliberal culture industry in a similar way to how un-wed, obedient female workers were exploited and disposed on the sweatshop factory floors to sustain the state's export-oriented, labor-intensive manufacturing industry policy during its rapid developmental stage decades ago. In this respect, Kim maintains how a post-feminist, neoliberal discourse of girl power has marketed young, female talents as effective commodities, and how K-pop female idols exert biopolitical power as an active ideological apparatus that pleasurably perpetuates and legitimates neoliberal mantras in individuals' everyday lives. Thus, Kim reveals there is a strategic convergence between Korea's lingering legacies of patriarchy, developmentalism, and neoliberalism. While the current K-pop literature is micro-scopic and celebratory, Kim advances the scholarship by multi-perspectival, critical approaches. With a well-balanced perspective by micro-scopic textual analyses of music videos and macro-scopic examinations of historical and political economy backgrounds, Kim's book provides a wealth of intriguing research agendas on the phenomenon, and will be a useful reference in International/ Intercultural Communication, Political Economy of the Media, Cultural/ Media Studies, Gender/ Sexuality Studies, Asian Studies, and Korean Studies.

Critiques and calls for reform have existed for decades within music education, but few publications have offered concrete suggestions as to how things might be done differently. Motivated by a desire to do just that, College Music Curricula for a New Century considers what a more inclusive, dynamic, and socially engaged curriculum of musical study might look like in universities. Editor Robin Moore creates a dialogue among faculty, administrators, and students about what the future of college music instruction should be and how teachers, institutions, and organizations can transition to new paradigms. Including contributions from leading figures in ethnomusicology, music education, theory/composition, professional performance, and administration, College Music Curricula for a New Century addresses college-level curriculum reform, focusing primarily on performance and music education degrees, and offer ideas and examples for a more inclusive, dynamic, and socially engaged curriculum of applied musical study. This book will appeal to thoughtful faculty looking for direction on how to enact reform, to graduate students with investment in shaping future music curricula, and to administrators who know change is on the horizon and seek wisdom and practical advice for implementing change. College Music Curricula for a New Century reaches far beyond any musical subdiscipline and addresses issues pertinent to all areas of music study.