A provocative account of the development of modern national culture in India using classical music as a case study. Janaki Bakhle demonstrates how the emergence of an "Indian" cultural tradition reflected colonial and exclusionary practices, particularly the exclusion of Muslims by the Brahmanic elite, which occurred despite the fact that Muslims were the major practiti oners of the Indian music that was installed as a "Hindu" national tradition. This book lays bare how a nation's imaginings--from politics to culture--reflect rather than transform societal divisions.

My Neighbor Totoro is a long-standing international icon of Japanese pop culture that grew out of the partnership between the legendary animator Miyazaki Hayao and the world-renowned composer Joe Hisaishi. A crucial step in the two artists' collaboration was the creation of the album, My Neighbor Totoro: Image Song Collection, with lyrics penned by Miyazaki and Nakagawa Rieko, a famed children's book author, and music composed by Hisaishi. The album, released in 1987 prior to the opening of the film, served not only as a promotional product, but also provided Miyazaki with concrete ideas about the characters and the themes of the film. This book investigates the extent to which Hisaishi's music shaped Miyazaki's vision by examining the relationship between the images created by Miyazaki and the music composed by Hisaishi, with special emphasis on their approaches to nostalgia, one of the central themes of the film.

Alastair Riddell's band Space Waltz was a short-lived one-album New Zealand rock act who hit gold with a #1 hit single in October 1974 with the song 'Out On The Street' but thereafter failed to achieve anything even close to that feat. While relegated to one-hit-wonder status in the eyes of many, to this day Riddell and Space Waltz epitomize the mid-1970s heyday of glam rock in New Zealand. But in truth their impact went far beyond this. Their generationally divisive nation-wide debut on the hugely popular MOR television talent quest Studio One/New Faces demonstrated the power of mass media exposure - they were instantly signed to a record deal with industry giant EMI - while Riddell's controversial gender-bending image provided a cultural crossroads that greatly impacted the wider youth culture of Aotearoa New Zealand. In addition, while the album's most famous track, 'Out On The Street,' is rightly regarded as New Zealand's glam rock anthem, the wider album demonstrates a compositional and musical depth that goes far beyond glam rock and into the realm of sophisticated progressive rock, ultimately providing an unlikely and highly unique musical amalgam.

An ethnographic study of music, performance, migration, and circulation, Singing Across Divides examines how forms of love and intimacy are linked to changing conceptions of political solidarity and forms of belonging, through the lens of Nepali dohori song. The book describes dohori: improvised, dialogic singing, in which a witty repartee of exchanges is based on poetic couplets with a fixed rhyme scheme, often backed by instrumental music and accompanying dance, performed between men and women, with a primary focus on romantic love. The book tells the story of dohori's relationship with changing ideas of Nepal as a nation-state, and how different nationalist concepts of unity have incorporated marginality, in the intersectional arenas of caste, indigeneity, class, gender, and regional identity. Dohori gets at the heart of tensions around ethnic, caste, and gender difference, as it promotes potentially destabilizing musical and poetic interactions, love, sex, and marriage across these social divides. In the aftermath of Nepal's ten-year civil war, changing political realities, increased migration, and circulation of people, media and practices are redefining concepts of appropriate intimate relationships and their associated systems of exchange. Through multi-sited ethnography of performances, media production, circulation, reception, and the daily lives of performers and fans in Nepal and the UK, Singing Across Divides examines how people use dohori to challenge (and uphold) social categories, while also creating affective solidarities.

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.

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.

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 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.

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.

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.

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)].

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.

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.

This work examines the spread of the steelpan art form within U.S. music education, specifically in schools and universities. This is set within the context of a large Caribbean diaspora, which brought the music and culture to the U.S. This is followed by an in-depth examination into the implications for steel bands and music education going forward. This research includes 'family trees' that illustrate the impact of various programs on the spread of the art form and includes information on one of the earliest U.S. school steel band programs in the concluding case study chapter. The work includes numerous resources for steel band directors and music educators interested in this topic.

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.

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.

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.