For the modern West, Bali has long served as an icon of exotic pre-modern innocence. Yet the reality of modern Bali stands in stark contrast to this prevailing and enduring image, a contrast embodied by a movement of local musical experimentation, musik kontemporer, which emerged in the 1970s and which still thrives today. In Radical Traditions, author Andrew Clay McGraw shows how music kontemporer embodies the tensions between culture as represented and lived, between the idea of Balinese culture and the experience of living it. Through a highly interdisciplinary approach informed by ethnomusicology, cultural studies, postcolonial studies, anthropology, and theater studies, McGraw presents an all-encompassing social and musical history of musik kontemporer, and its intersections with class, ethnicity, and globalization. As the first English language monograph on this important Indonesian musical genre, Radical Traditions is an essential resource for anyone fascinated by modern Indonesian and Balinese music and culture.

How does the immediate experience of musical sound relate to processes of meaning construction and discursive mediation?
This question lies at the heart of the studies presented in Experience and Meaning in Music Performance, a unique multi-authored work that both draws on and contributes to current debates in a wide range of disciplines, including ethnomusicology, musicology, psychology, and cognitive science. Addressing a wide range of musical practices from Indian raga and Afro-Brazilian Congado rituals to jazz, rock, and Canadian aboriginal fiddling, the coherence of this study is underpinned by its three main themes: experience, meaning, and performance. Central to all of the studies are moments of performance: those junctures when sound and meaning are actually produced. Experience-what people do, and what they feel, while engaging in music-is equally important. And considered alongside these is meaning: what people put into a performance, what they (and others) get out of it, and, more broadly, how discourses shape performances and experiences of music. In tracing trajectories from moments of musical execution, this volume a novel and productive view of how cultural practice relates to the experience and meaning of musical performance.
A model of interdisciplinary study, and including access to an array of audio-visual materials available on an extensive companion website, Experience and Meaning in Music Performance is essential reading for scholars and students of ethnomusicology and music psychology.

n the wake of the wartime experience of sexual slavery for the Japanese military during the Asia-Pacific War (1930-45), Korean survivors lived under great pressure not to speak about what had happened to them. These sexual slaves were known as "comfort women," and this book brings us into the lives of three of them: Pak Duri, Mun Pilgi, and Bae Chunhui. Over the course of seven years, author Joshua Pilzer worked with these now-elderly women, living alongside of them, smoking with them, eating with them, singing and playing with them, documenting and trying to understand their worlds of song. Hearts of Pine focuses on the selves and social lives that these three women cultivated through song. During four decades of post-war public secrecy about the comfort women system, song served for these women as both a private and a public means of coping with their trauma - each used song in a different way to reckon with their experiences and to forge a new sense of self. In the 1990s a nationalist movement arose in South Korea to seek redress from the Japanese government and to tend to the previously-shunned comfort women survivors in their old age. Suddenly these women, and many others like them, found themselves pulled from the margins of society and thrust into the very center of the public cultural spotlight. Appearing on television and radio as well as at political events and protest rallies, the "comfort women grandmothers" collectively functioned as an emblem of the horrors Japan inflicted on long "enslaved" Korea - a Korea that had now overcome Japanese domination. But while the women were to stand forward as symbols of Korea's triumph over metaphorical enslavement, they were still not enabled to speak of the details of their own actual enslavement, as these horrors remained too disturbing for the public to tolerate - the public did not want to hear about what the comfort women had suffered, only that they had, like Korea herself, survived. Yet in the face of the selective interests and forces of the public cultural imagination, and directly into the media spotlights of South Korean public culture itself, all three of these women continued to use song as a means of expressing publicly that which they were not supposed to talk about. Through the intimate and tenderly crafted portraits of three off-beat old women in a South Korean old age home (who made routine appearances on national television and radio), Hearts of Pine addresses basic questions about the power of music vis-a-vis other forms of social expression, illuminates the history of Korean music in the twentieth century, and tells a new history of the "comfort women" system and postwar South Korean public culture.

Ofrece ejercicios y melodA-as para: Estudios del Pedal * Escalas cromAticas y menores * Arreglos fAciles de algunas piezas clAsicas * Ejercicios rA-tmicos y mAs. [Spanish]
[The Michael Aaron Piano Course Lesson books have been completely re-engraved, expanded (adding more definitions of musical terms and more musical pieces), updated (with modernized artwork), and re-edited (with less emphasis on fingerings and more on note-reading)].

Embodying Mexico examines two performative icons of Mexicanness--the Dance of the Old Men and Night of the Dead of Lake Patzcuaro--in numerous manifestations, including film, theater, tourist guides, advertisements, and souvenirs. Covering a ninety-year period from the postrevolutionary era to the present day, Hellier-Tinoco's analysis is thoroughly grounded in Mexican politics and history, and simultaneously incorporates choreographic, musicological, and dramaturgical analysis.
Exploring multiple contexts in Mexico, the USA, and Europe, Embodying Mexico expands and enriches our understanding of complex processes of creating national icons, performance repertoires, and tourist attractions, drawing on wide-ranging ethnographic, archival, and participatory experience. An extensive companion website illustrates the author's arguments through audio and video."

Origins of Cuban Music and Dance: Changui is the first in-depth study of changui, a style of music and dance in Guantanamo, Cuba. Changui is analogous to blues in the United States and is a crucible of Cuban Creole culture. Benjamin Lapidus describes changui and its relationship to the roots of son, Cuba's national genre and the style of music that contributed to the development of salsa, in Eastern Cuba. He also highlights the connections between Afro-Haitian music and Cuban popular music through changui, connections with the Caribbean that have been largely overlooked in the past. After an initial historical discussion about the region of Guantanamo and the inter-connectedness of its various musical styles with a focus on changui, Lapidus discusses the technical aspects of the genre as practiced within the region and beyond. He considers the socio-historical importance of its lyrics, presenting numerous musical transcriptions that explain how the music is structured, as well as providing background stories to songs. In a chapter unique to this book and a first in Cuban musicology and ethnography, Lapidus describes years of festivals and musical competitions to show how local musical identity takes shape, particularly when encountering national narratives of music history. The volume concludes with a comparison between changui and son, as well as a bibliography, discography, and videography.

Over the past four decades, the spectacular, "globalized" aspects of cultural circulation have received the majority of scholarly - and consumer - attention, particularly in the study of South Asian music. Ethnomusicologists increasingly cast their studies in transnational terms, in part to take account of these emerging, globally mediated forms and their localized counterparts. As a result, a broad range of community-based and other locally-focused performance traditions in the regions of South Asia have remained relatively unexplored. markets have fostered the development of an aesthetic based The authors of Theorizing the Local provide a challenging and compelling counter-perspective to the overwhelming attention paid to the "globalized," arguing for the sustained value of comparative microstudies which are not concerned primarily with the flow of capital and neoliberal politics. What does it mean, they ask, for musical activities to be local in an increasingly interconnected world? What are the motivations for theoretical thought, and how are theoretical formulations instigated by the needs of performers, agents promoting regional identity, efforts to sustain or counter gender conventions, or desires to compete? To what extent can theoretical activity be localized to the very acts of making music, interacting, and composing? intriguing-often music sharing common melodic, harmonic, or Theorizing the Local offers unusual glimpses into rich musical worlds of south and west Asia, worlds which have never before been presented in a single volume. The authors cross the traditional borders of scholarship and region, exploring in unmatched detail a vast array of musical practices and significant ethnographic discoveries extending from Nepal to India, India to Sri Lanka, Pakistan to Iran. Enriched by audio and video tracks on the extensive companion website, Theorizing the Local represents an important and necessary addition to the study of South Asian musical traditions and a broader understanding of 21st century music of the world.

World Music Pedagogy, Volume I: Early Childhood Education is a resource for music educators to explore the intersection of early childhood music pedagogy and music in cultural contexts across the world. Focusing on the musical lives of children in preschool, kindergarten, and grade 1 (ages birth to 7 years), this volume provides an overview of age-appropriate world music teaching and learning encounters that include informal versus formal teaching approaches and a selection of musical learning aids and materials. It implements multimodal approaches encompassing singing, listening, movement, storytelling, and instrumental performance. As young children are enculturated into their first family and neighborhood environments, they can also grow into ever-widening concentric circles of cultural communities through child-centered encounters in music and the related arts, which can serve as a vehicle for children to know themselves and others more deeply. Centered around playful engagement and principles of informal instruction, the chapters reveal techniques and strategies for developing a child's musical and cultural knowledge and skills, with attention to music's place in the development of young children. This volume explores children's perspectives and capacities through meaningful (and fun!) engagement with music.

World Music Pedagogy, Volume III: Secondary School Innovations provides a rationale and a resource for the implementation of World Music Pedagogy in middle and high school music classes, grades 7-12 (ages 13-18). Such classes include secondary general music, piano, guitar, songwriting, composition/improvisation, popular music, world music, music technology, music production, music history, and music theory courses. This book is not a depository of ready-made lesson plans but rather a tool to help middle and high school teachers to think globally in the music classroom. Strategies and techniques of World Music Pedagogy are promoted by discussions of a multicultural music education, descriptive vignettes of realistic teaching environments, conversations with culture-bearers/pedagogues, and prompts for self-reflection. This volume approaches important issues of multicultural education and social justice that are often neglected in music education texts-proving to be a valuable resource for both nascent music educators and veteran practitioners alike.

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.

Powerful and embracive, The Transformation of Black Music explores the full spectrum of black musics over the past thousand years as Africans and their descendants have traveled around the globe making celebrated music both in their homelands and throughout the Diaspora. Authors Samuel A. Floyd, Melanie Zeck, and Guthrie Ramsey brilliantly discuss how the music has blossomed, permeated present traditions, and created new practices. As a companion to the ground-breaking The Power of Black Music, this text brilliantly situates emerging, morphing, and influential black musics in a broader framework of cultural, political, and social histories. Grappling with subjects frequently omitted from traditional musical texts, The Transformation of Black Music is guided by more than just the ideals of inclusivity and representation. This work covers overlooked topics that include classical musicians of African descent, and builds upon the contributions of esteemed predecessors in the field of black music study. Providing a sweeping list of figures rarely included in conventional music history and theory textbooks, the text elucidates the findings of ethnomusicologists, cultural historians, Americanists, Africanists, and anthropologists, and weaves these accounts into a powerful and informative narrative. Taking its readers on a journey - one that has never been attempted in a single volume alone - this book reflects the musical phenomena generated by forced African migration and collective memory, and considers the kinds of powerful stories that these musics were meant to tell. Filling in critical musical and historical gaps previously ignored, authors Floyd, Zeck, and Ramsey infuse an engaging musical dialogue with a deeper understanding of the interrelationships between black musical genres and mainstream music. The Transformation of Black Music will solidify not only the inestimable value of black musics, but also the importance and relevance of black music research to all musical endeavors.

One of the defining aspects of music is that it exists in time. From clapping to dancing, toe-tapping to head-nodding, the responses of musicians and listeners alike capture the immediacy and significance of the musical beat. This Companion explores the richness of musical time through a variety of perspectives, surveying influential writings on the topic, incorporating the perspectives of listeners, analysts, composers, and performers, and considering the subject across a range of genres and cultures. It includes chapters on music perception, visualizing rhythmic notation, composers' writings on rhythm, rhythm in jazz, rock, and hip-hop. Taking a global approach, chapters also explore rhythmic styles in the music of India, Africa, Bali, Latin America and the Caribbean, and Indigenous music of North and South America. Readers will gain an understanding of musicians' approaches to performing complex rhythms of contemporary music, and revealing insights into the likely future of rhythm in music.

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.

Trance events have an uncanny ability to capture an era, and captivate an audience of travellers occupying the eternal theatre of the dance floor. As this book shows, the tendency within psytrance is to thwart the passage of time, to prolong the night, for those who adopt a liminal lifestyle. Amid the hustle and hubris of the psytrance carnival there is a peaceful repose that you sometimes catch when you've drifted into a sea of outstretched limbs, bodies swaying like a field of sunflowers in a light breeze. And you feel intense joy in this fleeting moment. You are the moment. You are inside the flow. You are all. Embodying the poetry of dance, you are living evidence that nothing lasts. And this is a deep revelation of the mystical function of trance. It is difficult to emerge from this little death, because one does not want the party to end. But it must end, even so that it can recommence - so that one can return to repeat the cycle. The result of fifteen years of research in over a dozen countries, this book applies a sharp lens on a little understood global dance culture that has mushroomed all over the world since its beginnings in the diverse psychedelic music scenes flourishing in Goa in the 1970s and 1980s. The paramount expression of this movement has been the festival, from small parties to major international events such as Portugal's Boom Festival, which promotes itself as a world-summit of visionary arts and trance, a "united tribe of the world". Via first-hand accounts of the scenes, events and music of psychedelic trance in Australia, Israel, Germany, Italy, the UK, the US, Turkey and other places, the book thoroughly documents this transnational movement with its diverse aesthetic roots, multiple national translations and internal controversies. As a multi-sited ethnography and an examination of the digital, chemical, cyber and media assemblage constituting psytrance, the book explores the integrated role that technology and spirituality have played in the formation of this visionary arts movement and shows how these event-cultures accommodate rites of risk and consciousness, a complex circumstance demanding revision of existing approaches to ritual, music and culture.

As part of the Gottingen-based research project Minor Transmission of Polyphonic Music Before 1550 in German-Speaking Areas, Martin Staehelin, has systematically indexed previously unknown late medieval sources from Germany and Switzerland."

World Music Pedagogy, Volume II: Elementary Music Education delves into the theory and practices of World Music Pedagogy with children in grades 1-6 (ages 6-12). It specifically addresses how World Music Pedagogy applies to the characteristic learning needs of elementary school children: this stage of a child's development-when minds are opening up to broader perspectives on the world-presents opportunities to develop meaningful multicultural understanding alongside musical knowledge and skills that can last a lifetime. This book is not simply a collection of case studies but rather one that offers theory and practical ideas for teaching world music to children. Classroom scenarios, along with teaching and learning experiences, are presented within the frame of World Music Pedagogy. Ethnomusicological issues of authenticity, representation, and context are addressed and illustrated, supporting the ultimate goal of helping children better understand their world through music.

From the storied ache of mbube harmonies of the '40s to the electronic boom of kwaito and the amapiano and house explosion of the '00s, this book explores vignettes taken from across South Africa's popular music history. There are moments in time where music can be a mighty weapon in the fight for freedom. Disguised in a danceable hook or shouted for the world to hear, artists have used songs to deliver important truths and bring listeners together in the face of a segregated reality. In the grip of the brutal apartheid era, South Africa crafted its own idiosyncratic popular musical vernacular that operated both as sociopolitical tool and realm of escape. In a country with 11 official languages, music had the power to unite South Africans in protest. Artists bloomed a new idyll from the branches of countless storied musical traditions, and in turn found themselves banned or exiled-the profoundly foolish epiphany that music can exist both within the pleasure of itself and for serving a far greater purpose.

Small Musical Worlds in the Mediterranean is a pioneering book-length study of the complex topics of identity, ethnicity and global processes in children's musical lives in the Republic of Cyprus - a Mediterranean country during its post-colonial era. What is it about this country's musical enculturation that made musical identity such a potent element in Greek Cypriot children's worlds? How is history, tradition, modernity, ethnic fluidity, syncretism and diversification in the Mediterranean negotiated in the construction of musical 'self' and 'other' in children's daily lives? This book, through a journey of 'fieldwork at home', discusses how children select, reject, reproduce and transform meanings and create new ones at the micro-level of their lives through which individuals and groups define themselves and others. Towards this exploration, musical identity in childhood is discussed in terms of cultural production and reproduction, human expression, inter-relating and learning. Ethnographic vignettes of children's musical practices and direct words add depth and humour to the flow of the book. This study is a synthesis of ethnomusicology, musical anthropology, education and folklore in which the author effectively weaves together theories of musical enculturation and identity, sociocultural learning and human agency. The book will be invaluable to scholars interested in musical enculturation, musical identities, children's contextual musical practices, ethnicity, globalization studies, music education and Mediterranean studies.

This book brings insights to begin a new examination of the human musical experience. The world of music is rich with artifacts that make us want to know the correlations of these artifacts and the human socio-cultural milieu. In this text, Dr. Akombo has defined and re-examined both music and dance from a global perspective. He has endeavored to portray music and dance as a composite whole by considering them inherent in every culture. While in some cultures music means sound and body movement, in others, dance means body movement and sound. This book surveys music and dance around the world and tries to put dance and music back to the context in which they were first created by humans: as a composite whole to coexist and compliment each other in an attempt to complete the human sphere. The book presents and shows the connection of the two units of music and dance as complimenting each other and also that the human experience of music and dance is timeless.

The voice of Amália Rodrigues (1920-1999), the “Queen of Fado� and Portugal’s most celebrated diva, was extraordinary for its interpretive power, soul wrenching timbre, and international reach. Amalia à l’Olympia (1957) is an album made from recordings of her first performances at the fabled Olympia Music Hall in Paris in 1956. This album, which was issued for multiple national markets (including: France; USA; Japan; Britain; the Netherlands) catapulted Amália Rodrigues into the international limelight. During its time, this album held the potential for international listeners, outside of Portugal, to represent Portugal, while also standing in for cosmopolitanism, the glamorous city of Paris, and to present a sonorous voyage in sound. This book introduces readers to the voice of Amália Rodrigues and to the genre of the Portuguese fado, offering a primer in how to listen to both. It unpacks this iconic album and the voice, sound, style, and celebrity of Amália Rodrigues. It situates this album within a historical context marked by cold war Atlanticist diplomacy, Portugal’s dictatorial regime, and the emergence of new forms of media, travel, and tourism.In so doing, it examines processes that shaped the internationalization of peripheral popular musics and the making of female vocal stardom in the mid-20th century.

World Music Pedagogy, Volume III: Secondary School Innovations provides a rationale and a resource for the implementation of World Music Pedagogy in middle and high school music classes, grades 7-12 (ages 13-18). Such classes include secondary general music, piano, guitar, songwriting, composition/improvisation, popular music, world music, music technology, music production, music history, and music theory courses. This book is not a depository of ready-made lesson plans but rather a tool to help middle and high school teachers to think globally in the music classroom. Strategies and techniques of World Music Pedagogy are promoted by discussions of a multicultural music education, descriptive vignettes of realistic teaching environments, conversations with culture-bearers/pedagogues, and prompts for self-reflection. This volume approaches important issues of multicultural education and social justice that are often neglected in music education texts-proving to be a valuable resource for both nascent music educators and veteran practitioners alike.

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.

This is the only book on the market designed to show guitarists how to play authentic accompaniments in all the main Brazilian styles. On the accompanying CD, Nelson plays each exercise so the student can clearly hear and see what his role in this beautiful music is. There are also fingerboard diagrams for people who are not great readers. Nelson has been singer/songwriter Joao Bosco's accompanist for many years, one of the most prestigious gigs in Brazil. Endorsed by Tonino Horta and Joe Diorio, among others.

To witness war is, in large part, to hear it. And to survive it is, among other things, to have listened to it-and to have listened through it. Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq is a groundbreaking study of the centrality of listening to the experience of modern warfare. Based on years of ethnographic interviews with U.S. military service members and Iraqi civilians, as well as on direct observations of wartime Iraq, author J. Martin Daughtry reveals how these populations learned to extract valuable information from the ambient soundscape while struggling with the deleterious effects that it produced in their ears, throughout their bodies, and in their psyches. Daughtry examines the dual-edged nature of sound-its potency as a source of information and a source of trauma-within a sophisticated conceptual frame that highlights the affective power of sound and the vulnerability and agency of individual auditors. By theorizing violence through the prism of sound and sound through the prism of violence, Daughtry provides a productive new vantage point for examining these strangely conjoined phenomena. Two chapters dedicated to wartime music in Iraqi and U.S. military contexts show how music was both an important instrument of the military campaign and the victim of a multitude of violent acts throughout the war. A landmark work within the study of conflict, sound studies, and ethnomusicology, Listening to War will expand your understanding of the experience of armed violence, and the experience of sound more generally. At the same time, it provides a discrete window into the lives of individual Iraqis and Americans struggling to orient themselves within the fog of war.