Colombia, November 1993: a reconstructed old passenger train is carrying one hundred musicians, acrobats and artists on a daring adventure through the heart of a country soaked in violence. Leading this crusade of hope is Manu Chao with his band Mano Negra. Manu's father Ramon Chao is on board to chronicle the journey. 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.

Since its formation as a girl group in 2005, AKB48 has become a phenomenal success and institution in Japan. Having originally recruited fans with photocopied fliers and daily performances in the Akihabara area of Tokyo, AKB48 now saturates Japan. Its members--nearly 800 of them, including five sister groups and four so-called "rival groups" across Japan, as well as six sister groups in other Asian cities--appear in print, broadcast, online, and social media; in advertisements and on products; at home and on the train; on- and off-screen. AKB48's multi-platform omnipresence is characteristic of "idols," whose intimate relationship to fans and appeals to them for support have made the group dominant on the Oricon Yearly Singles Chart in the 2010s; they hold several records, including most consecutive million-selling singles sold in Japan. A unique business model relentlessly monetizes fans' affections through meet-and-greet events and elections, which maximize CD sales, and their saturated presence in the media. At a time when affect is more important than ever in economic, political, and social theory, this book explores the intersection of idols and affect in contemporary Japan and beyond.

This detailed ethnographic study explores the intercultural crafting of contemporary forms of Aboriginal manhood in the world of country, rock and reggae music making in Central Australia. Focusing on four different musical contexts - an Aboriginal recording studio, remote Aboriginal settlements, small non-indigenous towns, and tours beyond the musicians' homeland - the author challenges existing scholarly, political and popular understandings of Australian Aboriginal music, men, and related indigenous matters in terms of radical social, cultural and racial difference. Based on extensive anthropological field research among Aboriginal rock, country and reggae musicians in small towns and remote desert settlements in Central Australia, the book investigates how Aboriginal musicians experience and articulate various aspects of their male and indigenous sense of selves as they make music and engage with indigenous and non-indigenous people, practices, places, and sets of values.Making Aboriginal Men and Music is a highly original, intimate study which advances our understanding of contemporary indigenous and male identity formation within Aboriginal Australian society. Providing new analytical insights for scholars and students in fields such as social and cultural anthropology, cultural studies, popular music, and gender studies, this engaging text makes a significant contribution to the study of indigenous identity formation in remote Australia and beyond.

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.

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.

Divi Zheni identifies itself as a Bulgarian women's chorus and band, but it is located in Boston and none of its members come from Bulgaria. Zlatne Uste is one of the most popular purveyors of Balkan music in America, yet the name of the band is grammatically incorrect. The members of Sviraci hail from western Massachusetts, upstate New York, and southern Vermont, but play tamburica music on traditional instruments. Curiously, thousands of Americans not only participate in traditional music and dance from the Balkans, but in fact structure their social practices around it without having any other ties to the region. In Balkan Fascination, ethnomusicologist Mirjana Lausevic, a native of the Balkans, investigates this remarkable phenomenon to explore why so many Americans actively participate in specific Balkan cultural practices to which they have no familial or ethnic connection. Going beyond traditional interpretations, she challenges the notion that participation in Balkan culture in North America is merely a specialized offshoot of the 1960s American folk music scene. Instead, her exploration of the relationship between the stark sounds and lively dances of the Balkan region and the Americans who love them reveals that Balkan dance and music has much deeper roots in America's ideas about itself, its place in the world, and the place of the world's cultures in the American melting pot. Examining sources that span more than a century and come from both sides of the Atlantic, Lausevic shows that an affinity group's debt to historical movements and ideas, though largely unknown to its members, is vital in understanding how and why people make particular music and dance choices that substantially change their lives.

Refazenda connects a remarkable album by one of the 20th and 21st centuries' great musicians to a dazzling, often unexpected, array of people and places spread across the globe from Brazil to England to Chile to Japan. Critics and fans often project (or impose) desires and interpretations onto Gil that don't seem to fit. This book explores why familiar political and musical categories so often fall flat and explains why serendipity may instead be the best way to approach this mercurial album and the unrepeatable artist who created it. Based on years of listening to, studying, and teaching about Gil, and the author's own encounters with the album around the world, this book argues that Refazenda does, in fact, contain radical messages, though they rarely appear in the form, shape, or places that we might expect. The book also includes the first English-language translations of the album's lyrics, never-discussed-before 1970s Japanese liner notes, and a recounting of a forgotten moment when censors detained Gil during the album's debut tour. 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.

This detailed ethnographic study explores the intercultural crafting of contemporary forms of Aboriginal manhood in the world of country, rock and reggae music making in Central Australia. Focusing on four different musical contexts - an Aboriginal recording studio, remote Aboriginal settlements, small non-indigenous towns, and tours beyond the musicians' homeland - the author challenges existing scholarly, political and popular understandings of Australian Aboriginal music, men, and related indigenous matters in terms of radical social, cultural and racial difference. Based on extensive anthropological field research among Aboriginal rock, country and reggae musicians in small towns and remote desert settlements in Central Australia, the book investigates how Aboriginal musicians experience and articulate various aspects of their male and indigenous sense of selves as they make music and engage with indigenous and non-indigenous people, practices, places, and sets of values.Making Aboriginal Men and Music is a highly original, intimate study which advances our understanding of contemporary indigenous and male identity formation within Aboriginal Australian society. Providing new analytical insights for scholars and students in fields such as social and cultural anthropology, cultural studies, popular music, and gender studies, this engaging text makes a significant contribution to the study of indigenous identity formation in remote Australia and beyond.

The vast majority of films produced by Mumbai's commercial Hindi language film industry - known world-wide as Bollywood - feature songs as a central component of the cinematic narrative. While many critics have addressed the visual characteristics of these song sequences, very few have engaged with their aurality and with the meanings that they generate within the film narrative and within Indian society at large. Because the film songs operate as powerful sonic ambassadors to individual and cultural memories in India and abroad, however, they are significant and carefully-constructed works of art. Bollywood Sounds focuses on the songs of Indian films in their historical, social, and commercial contexts. Author Jayson Beaster-Jones walks the reader through the highly collaborative songs, detailing the contributions of film directors, music directors and composers, lyricists, musicians, and singers. A vital component of film INSERT: Featured in British Forum for Ethnomusicology insert 2014 on broadcast media, Bollywood songs are distributed on soundtracks by music companies, and have long been the most popular music genre in India - even among listeners who rarely see the movies. Through close musical and multimedia analysis of more than twenty landmark compositions, Bollywood Sounds illustrates how the producers of Indian film songs mediate a variety of influences, musical styles, instruments, and performance practices to create this distinctive genre. Beaster-Jones argues that, even from the moment of its inception, the film song genre has always been in the unique position of demonstrating cosmopolitan orientations while maintaining discrete sound and production practices over its long history. As a survey of the music of seventy years of Hindi films, Bollywood Sounds is the first monograph to provide a long-term historical insights into Hindi film songs, and their musical and cinematic conventions, in ways that will appeal both to scholars and newcomers to Indian cinema.

As the Soviet Union stood on the brink of collapse, thousands of Bukharian Jews left their homes from across the predominantly Muslim cities of Central Asia, to reestablish their lives in the United States, Israel and Europe. Today, about thirty thousand Bukharian Jews reside in New York City, settled into close-knit communities and existing as a quintessential American immigrant group. For Bukharian immigrants, music is an essential part of their communal self-definition, and musicians frequently act as cultural representatives for the group as a whole. Greeted with Smiles: Bukharian Jewish Music and Musicians in New York explores the circumstances facing new American immigrants, using the music of the Bukharian Jews to gain entrance into their community and their culture. Author Evan Rapport investigates the transformation of Bukharian identity through an examination of corresponding changes in its music, focusing on three of these distinct but overlapping repertoires - maquom (classical or "heavy" music), Jewish religious music and popular music. Drawing upon interviews, participant observation and music lessons, Rapport interprets the personal perspectives of musicians who serve as community leaders and representatives. By adapting strategies acquired as an ethno-religious minority among Central Asian Muslim neighbors, Bukharian musicians have adjusted their musical repertoire in their new American home. The result is the creation of a distinct Bukharian Jewish American identity-their musical activities are changing the city's cultural landscape while at the same time providing for an understanding of the cultural implications of Bukharian diaspora. Greeted with Smiles is sure to be an essential text for ethnomusicologists and scholars of Jewish and Central Asian music and culture, Jewish-Muslim interaction and diasporic communities.

The Brazilian "berimbau," a musical bow, is most commonly associated with the energetic martial art/dance/game of "capoeira." This study explores the berimbau's stature from the 1950s to the present in diverse musical genres including bossa nova, samba-reggae, MPB (Popular Brazilian Music), electronic dance music, Brazilian art music, and more. Berimbau music spans oral and recorded historical traditions, connects Latin America to Africa, juxtaposes the sacred and profane, and unites nationally constructed notions of Brazilian identity across seemingly impenetrable barriers.

"The Berimbau: Soul of Brazilian Music" is the first work that considers the berimbau beyond the context of capoeira, and explores the bow's emergence as a national symbol. Throughout, this book engages and analyzes intersections of musical traditions in the Black Atlantic, North American popular music, and the rise of global jazz. This book is an accessible introduction to Brazilian music for musicians, Latin American scholars, capoeira practitioners, and other people who are interested in Brazil's music and culture.

Music is one of the most distinctive cultural characteristics of Latin American countries. But, while many people in the United States and Europe are familiar with musical genres such as salsa, merengue, and reggaeton, the musical manifestations that young people listen to in most Latin American countries are much more varied than these commercially successful ones that have entered the American and European markets. Not only that, the young people themselves often have little in common with the stereotypical image of them that exists in the American imagination.
Bridging this divide between perception and reality, Music and Youth Culture in Latin America brings together contributors from throughout Latin America and the US to examine the ways in which music is used to advance identity claims in several Latin American countries and among Latinos in the US. From young Latin American musicians who want to participate in the vibrant jazz scene of New York without losing their cultural roots, to Peruvian rockers who sing in their native language (Quechua) for the same reasons, to the young Cubans who use music to construct a post-communist social identification, this volume sheds new light on the complex ways in which music provides people from different countries and social sectors with both enjoyment and tools for understanding who they are in terms of nationality, region, race, ethnicity, class, gender, and migration status. Drawing on a vast array of fields including popular music studies, ethnomusicology, sociology, and history, Music and Youth Culture in Latin America is an illuminating read for anyone interested in Latin American music, culture, and society."

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.

Over the past two decades, a steady stream of recordings, videos, feature films, and concerts has presented the music of European 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 function successfully within oppressive circumstances. Focusing on the Romani communities in southeastern Europe then moving to the diaspora communities, her book examines the music within these diverse Gypsy communities, the lives and careers of outstanding musicians, and the presentation of music in the electronic media and world music concert circuit. Silverman touches on the way that the Roma exemplify many qualities - rootlessness, 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 of world music, 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.

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

Race and music seem fatally entwined in a way that involves both creative ethnic hybridity and ongoing problems of racism. This book presents a sociological analysis of this enduring relationship and asks: how are ideas of race critical to the understanding of music genres and preferences? What does the 'love of difference' via music contribute to contemporary perspectives of racism? Previous studies of world music have situated it within the dynamics of local/global musical production, the representation of nations and ethnic groups, theories of globalization, hybridization and cultural appropriation. Haynes adds a conceptual and textual shift to these debates by utilizing world music as a lens for examining cultural imaginaries of race and analytical nuances of racialization. The text offers a view of world music from 'within, ' building on original, qualitative, interview-based research with people from the British world music scene. These interviews provide unique insights into the discursive repertoires that underpin contemporary culture, and will make a significant contribution to the mainly theoretical debates about world music.

The Music of Malaysia, first published in Malay in 1997 and followed by an English edition in 2004 is still the only history, appreciation and analysis of Malaysian music in its many and varied forms available in English. The book categorizes the types of music genres found in Malaysian society and provides an overview of the development of music in that country. Analyses of the music are illustrated with many examples transcribed from original field recordings. Genres discussed include theatrical and dance forms, percussion ensembles, vocal and instrumental music and classical music. It is an excellent introduction to and exploration of the country's vibrant musical culture. This new, fully revised and updated edition includes time lines, listening guides and downloadable resources of field recordings that are analysed and discussed in the text.

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.

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.

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.

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.

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."