How did Korea with a relatively small-scale music industry come to create a vibrant pop culture scene that would enthrall not only young Asian fans but also global audiences from diverse racial and generational backgrounds? From idol training to fan engagement, from studio recording to mastering choreographic sequences, what are the steps that go into the actual production and promotion of K-pop? And how can we account for K-pop's global presence within the rapidly changing media environment and consumerist culture in the new millennium? As an informed guide for finding answers to these questions, The Cambridge Companion to K-Pop probes the complexities of K-pop as both a music industry and a transnational cultural scene. It investigates the meteoric ascent of K-pop against the backdrop of increasing global connectivity wherein a distinctive model of production and consumption is closely associated with creativity and futurity.

Includes a new chapter on John Cage. Alex Ross's award-winning international best-seller, 'The Rest is Noise: Listening to the Twentieth Century', has become a contemporary classic, establishing him as one of our most popular and acclaimed cultural historians; this is his much anticipated next book on the subject of music. In 'Listen To This' Alex Ross, the music critic for the New Yorker, looks both backwards and forwards in time, capturing essential figures and ideas in classical music history, as well as giving an alternative view of recent pop music that emphasizes the power of the individual musical voice. After relating his first encounter with classical music, Ross vibrantly sketches canonical composers such as Schubert, Verdi and Brahms; gives us in-depth interviews wth modern pop masters such as Bjork and Radiohead; and introduces us to music students at a Newark high school and to indie-rock hipsters in Beijing. In his essay 'Chacona, Lamento, Walking Blues', Ross brilliantly retells hundreds of years of music history - from Renaissance dance to Led Zeppelin - through a few iconic bass lines of celebration and lament. Whether his subject is Mozart or Bob Dylan, Ross writes in a style at once erudite and lively, showing how music expresses the full complexity of the human condition. He explains how pop music can achieve the status of high art and how classical music can become a vital part of the wider contemporary culture. Witty, passionate and brimming with insight, 'Listen to This' teaches us to listen more closely.

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

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.

From the beginning of her career in 1935 to her death in 1963 and right up to the present, Edith Piaf has been recognized as unique and iconic. She is France's most celebrated and mythified singing star across the world. Recital 1961 explores her most important album: the live recording of her comeback concert at the Paris Olympia on 29 December 1960, which unveiled her keynote song, 'Non je ne regrette rien' (No Regrets). It examines the content, context and significance of the concert in relation to Piaf's career, her life and her celebrity. What was so special about the performance and why did the ecstatic audiences, that night and at the subsequent performances in 1961, find it so powerful and moving? The book dissects the live show, the album and the songs that feature on it, and at a deeper level their place in the invention of the public Piaf we know today - asking why, more than a century after her birth and 60 years after her death, we still remember her, listen to her and commemorate her around the world.

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.

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.

Antonio Carlos Jobim has been called the greatest of all contemporary Brazilian songwriters. He wrote both popular and serious music and was a gifted piano, guitar and flute player. One of the key figures in the creation of the bossa nova style, Jobim's music made a lasting impression worldwide, and many of his songs are now standards of the popular music repertoire. In The Music of Antonio Carlos Jobim, one of the first extensive musicological analyses of the Brazilian composer, Peter Freeman examines the music, philosophy and circumstances surrounding the creation of Jobim's popular songs, instrumental compositions and symphonic works. Freeman attempts to elucidate not only the many musical influences that formed Jobim's musical output, but also the stylistic peculiarities that were as much the product of a gifted composer as the rich musical environment and heritage that surrounded him.

Leipzig, Germany, is renowned as the city where Johann Sebastian Bach worked as a church musician until his death in 1750, and where Felix Mendelssohn Bartholdy directed the famed Gewandhaus orchestra until his own death in 1847. But the century in between these events was critically important as well. During this period, Leipzig's church music enterprise was convulsed by repeated external threats-a growing middle class that viewed music as an object of public consumption, religious and political tumult, and the chaos of the Seven Years and Napoleonic wars. Jeffrey S. Sposato's Leipzig After Bach examines how these forces changed church and concert life in Leipzig. Whereas most European cities saw their public concerts grow out of secular institutions such as a royal court or an opera theater, neither of these existed when Leipzig's first subscription concert series, the Grosse Concert, was started in 1743. Instead, the city had a thriving Lutheran church-music enterprise that had been brought to its zenith by Bach. Paid subscription concerts therefore found their roots in Leipzig's church music tradition, with important and unique results. These included a revolving door between the Thomaskantor position and the Gewandhaus directorship, as well as public concerts with a distinctly sacred flavor. Late in the century, as church attendance faltered and demand for subscription concerts rose, the Gewandhaus dominated the musical life of Leipzig, influencing church music programming in turn. Examining liturgical documents, orchestral programs, and dozens of unpublished works of church and concert music, Leipzig After Bach sheds new light on a century that redefined the relationship between sacred and secular musical institutions.

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.

Proceedings of the International Conference of Composers attended by SCEG at the Stratford Festival, Stratford, Ontario in August 1960.

Gamelan and American academic institutions have maintained their close association for more than sixty years. Elizabeth A. Clendinning illuminates what it means to devote one's life to world music ensemble education by examining the career and community surrounding the Balinese-American performer and teacher I Made Lasmawan. Weaving together stories of Indonesian and American practitioners, colleagues, and friends, Clendinning shows the impact of academic world music ensembles on the local and transnational communities devoted to education and the performing arts. While arguing for the importance of such ensembles, Clendinning also spotlights how performers and educators use them to create stable and rewarding artistic communities. Cross-cultural ensemble education emerges as a worthy goal for students and teachers alike, particularly at a time when people around the world express more enthusiasm about raising walls to keep others out rather than building bridges to invite them in.

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.

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.

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.

'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.

As West Africa's oldest form of popular music, Highlife was the soundtrack of the independence era and its influence still resonates widely today. Highlife Giants is an intimate portrait of the pioneering artistes of West Africa's vibrant music scene from the 1920s onwards. It is packed full of inside information from interviews with stars including E.T Mensah, Kofo Ghanaba, Bobby Benson and Ignace De Souza, revealing priceless behind-the-scene moments such as Louis Armstrong giving Eddie Okonta a trumpet with a golden mouthpiece after seeing him perform. Together with an illuminating account of Highlife's instruments, rhythms and influences, Highlife Giants comprehensively charts the development of this rich and varied popular music, which has come to influence contemporary West African music such as Afrobeat and hiplife. Highlife remains crucial in generating social commentary and protest, and contributing to the consolidation of a pan-African musical identity. This book will enthrall readers wishing to delve into the rich musical history of West Africa.

A RADIO 4 BOOK OF THE WEEK 'Full of delightful nuggets' Guardian online 'Entertaining, informative and philosphical ... An essential read' All About History 'Extraordinary range ... All the world and more is here' Evening Standard 165 million years ago saw the birth of rhythm. 66 million years ago came the first melody. 40 thousand years ago Homo sapiens created the first musical instrument. Today music fills our lives. How we have created, performed and listened to music throughout history has defined what our species is and how we understand who we are. Yet it is an overlooked part of our origin story. The Musical Human takes us on an exhilarating journey across the ages - from Bach to BTS and back - to explore the vibrant relationship between music and the human species. With insights from a wealth of disciplines, world-leading musicologist Michael Spitzer renders a global history of music on the widest possible canvas, from global history to our everyday lives, from insects to apes, humans to artificial intelligence. 'Michael Spitzer has pulled off the impossible: a Guns, Germs and Steel for music' Daniel Levitin 'A thrilling exploration of what music has meant and means to humankind' Ian Bostridge

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.

How did Korea with a relatively small-scale music industry come to create a vibrant pop culture scene that would enthrall not only young Asian fans but also global audiences from diverse racial and generational backgrounds? From idol training to fan engagement, from studio recording to mastering choreographic sequences, what are the steps that go into the actual production and promotion of K-pop? And how can we account for K-pop's global presence within the rapidly changing media environment and consumerist culture in the new millennium? As an informed guide for finding answers to these questions, The Cambridge Companion to K-Pop probes the complexities of K-pop as both a music industry and a transnational cultural scene. It investigates the meteoric ascent of K-pop against the backdrop of increasing global connectivity wherein a distinctive model of production and consumption is closely associated with creativity and futurity.

The definitive survey, combining current scholarship with a vibrant narrative. Carefully informed by feedback from dozens of scholars, it remains the book that students and teachers trust to explain what's important, where it fits and why it matters. Peter Burkholder weaves a compelling story of people, their choices and the western musical tradition that emerged. From chant to hip-hop, he connects past to present to create a context for tomorrow's musicians.