The Gurindji people of the Northern Territory are best known for their walk-off of Wave Hill Station in 1966, protesting against mistreatment by the station managers. The strike would become the first major victory of the Indigenous land rights movement. Many discussions of station life are focused on the harsh treatment of Aboriginal workers. Songs from the Stations describes another side of life on Wave Hill Station. Among the harsh conditions and decades of mistreatment, an eclectic ceremonial life flourished during the first half of the 20th century. Constant travel between cattle stations by Aboriginal workers across north-western and central Australia meant that Wave Hill Station became a crossroad of desert and Top End musical styles. As a result, the Gurindji people learnt songs from the Mudburra who came further east, the Bilinarra from the north, Western Desert speakers from the west, and the Warlpiri from the south. This book is the first detailed documentation of wajarra, public songs performed by the Gurindji people. Featuring five song sets known as Laka, Mintiwarra, Kamul, Juntara, and Freedom Day, it is an exploration of the cultural exchange between Indigenous communities that was fostered by their involvement in the pastoral industry.Songs from the Stations presents musical and textual analysis of the five sets of wajarra songs below. These five song sets were recorded at Kalkaringi in 1998, 2007, 2015 and 2016, and can be streamed by visiting https://open.sydneyuniversitypress.com.au/songs-stations.html

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.

This book highlights the role of Romani musical presence in Central and Eastern Europe, especially from Krakow in the Communist period, and argues that music can and should be treated as one of the main points of relation between Roma and non-Roma. It discusses Romani performers and the complexity of their situation as conditioned by the political situations starkly affected by the Communist regime, and then by its fall. Against this backdrop, the book engages with musician Stefan Dymiter (known as Corroro) as the leader of his own street band: unwelcome in the public space by the authorities, merely tolerated by others, but admired by many passers-by and respected by his peer Romain musicians and international music stars. It emphasizes the role of Romani musicians in Krakow in shaping the soundscape of the city while also demonstrating their collective and individual strategies to adapt to the new circumstances in terms of the preferred performative techniques, repertoire, and overall lifestyle.

Bella Ciao is the album that kick-started the Italian folk revival in the mid-1960s, made by Il Nuovo Canzoniere Italiano, a group of researchers, musicians, and radical intellectuals. Based on a contested music show that debuted in 1964, Bella Ciao also featured a double version of the popular song of the same title, an anti-Fascist anthem from World War II, which was destined to become one of the most sung political songs in the world and translated into more than 40 languages. The book reconstructs the history and the reception of the Bella Ciao project in 1960s' Italy and, more broadly, explores the origins and the distinctive development of the Italian folk revival movement through the lens of this pivotal album.

In the twenty-first century, Senegalese hip hop-"Rap Galsen"-has reverberated throughout the world as an exemplar of hip hop resistance in its mobilization against government corruption during a series of tumultuous presidential elections. Yet Senegalese hip hop's story goes beyond resistance; it is a story of globalization, of diasporic movement and memory, of imagined African pasts and contemporary African realities, and of urbanization and the banality of socio-economic struggle. At particular moments in Rap Galsen's history, origin narratives linked hip hop to a mythologized Africa through the sounds of indigenous oralities. At other times, contrasting narratives highlighted hip hop's equally mythologized roots in the postindustrial U.S. inner city and African American experience. As Senegalese youth engage these globally circulating narratives, hip hop performance and its stories negotiate their place in a rapidly changing world. In Hip Hop Time explores this relationship between popular music and social change, framing Senegalese hip hop as a musical movement deeply tied to both indigenous performance practices and changing social norms in urban Africa. Author Catherine Appert takes us from Senegalese hip hop's beginnings among cosmopolitan youth in Dakar's affluent neighborhoods in the 1980s, to its spread throughout the city's ghettoized working class neighborhoods in the mid- to late-'90s, and into the present day, where political activism and hip hop musicality vie for position in local and global arenas. An ethnography of the inextricability of musical and social meaning in hip hop practice, In Hip Hop Time charts new intellectual territory in the scholarship of African and global hip hop.

Moving back through Dewey, Heidegger, Nietzsche, and Rousseau, the lineage of Western music education finds its origins in Plato and Pythagoras. Yet theories not rooted in the ancient Greek tradition are all but absent. A Way of Music Education provides a much-needed intervention, integrating ancient Chinese thought into the canon of music education in a structured, systematized, and philosophical way. The book's three central sources - the Yijing (The Book of Changes), Confucianism, and Daoism - inform author C. Victor Fung's argument: that the human being exists as an entity at the center of an organismic world in which all things and events, including music and music education, are connected. Fung ultimately proposes a new educational philosophy based on three key ideas in Chinese thought: change, balance, and liberation. A unique work, A Way of Music Education offers a universal approach engrained in a specific and ancient cultural tradition.

Music in Trinidad: Carnival is a volume in the Global Music Series, edited by Bonnie Wade and Patricia Campbell. This volume, appropriate for use in undergraduate, introductory courses on world music or ethnomusicology, is an overview of the musical traditions of Trinidad, particularly Carnival. In describing the musical conventions, modes of performance, and social dynamics of Trinidadian music, this text places the music of Carnival within the context of Trinidad's rich history and culture.

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.

Popular music and digital media are constantly entwined in elementary and middle-school children's talk, interactions, and relationships, and offer powerful cultural resources to children in their everyday struggles over institutionalized language, literacy, and expression in school. In Schooling New Media, author Tyler Bickford considers how digital music technologies are incorporated into children's expressive culture, their friendships, and their negotiations with adults about the place of language, music, and media in school. Schooling New Media is a groundbreaking study of children's music and media consumption practices, examining how transformations in music technologies influence the way children, their peers, and adults relate to one another. Based on long-term ethnographic research with a community of schoolchildren in Vermont, Bickford focuses on portable digital music devices - i.e. MP3 players - to reveal their key role in mediating intimate, face-to-face relationships and structuring children's interactions both with music and with each other. Schooling New Media provides an important ethnographic and theoretical intervention into ethnomusicology, childhood studies, and music education, emphasizing the importance-and yet under-appreciation-of interpersonal interactions and institutions like schools as sites of musical activity. Bickford explores how headphones facilitate these school-centered interactions, as groups of children share their earbuds with friends and listen to music together while participating in the dense overlap of talk, touch, and gesture of their peer groups. He argues that children treat MP3 players more like toys than technology, and that these devices expand the repertoires of childhood communicative practices such as passing notes and whispering-all means of interacting with friends beyond the reach of adults. These connections afforded by digital music listening enable children to directly challenge the language and literacy goals of classroom teachers. Bickford's Schooling New Media is unique in its intensive ethnographic attention to everyday sites of musical consumption and performance, and offers a sophisticated conceptual approach for understanding the problems and possibilities of children's uses of new media in schools.

Manikay are the ancestral songs of Arnhem Land, passed down over generations and shaping relationships between people and the country.Singing Bones foregrounds the voices of manikay singers from Ngukurr in southeastern Arnhem Land and charts their critically acclaimed collaboration with jazz musicians from the Australian Art Orchestra, Crossing Roper Bar. It offers an overview of WAgilak manikay narratives and style, including their social, ceremonial and linguistic aspects, and explores the Crossing Roper Bar project as an example of creative intercultural collaboration and a living continuation of the manikay tradition."Through song, the ancestral past animates the present, moving yolAu (people) to dance. In song, community is established. By song, the past enfolds the present. Today, the unique voices of WAgilak resound over the ancestral ground and water, carried by the songs of old." Audio examples are available at: https://open.sydneyuniversitypress.com.au/singing-bones.html.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 license. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations. A Different Voice, A Different Song traces the history of a grassroots scene that has until now operated largely beneath the radar, but that has been gently gathering force since the 1970s. At the core of this scene today are the natural voice movement, founded on the premise that "everyone can sing", and a growing transnational community of amateur singers participating in multicultural music activity. Author Caroline Bithell reveals the intriguing web of circumstances and motivations that link these two trends, highlighting their potential with respect to current social, political and educational agendas. She investigates how and why songs from the world's oral traditions have provided the linchpin for the natural voice movement, revealing how the musical traditions of other cultures not only provide a colourful repertory but also inform the ideological, methodological and ethical principles on which the movement itself is founded. A Different Voice, A Different Song draws on long-term ethnographic research, including participant-observation at choir rehearsals, performances, workshops and camps, as well as interviews with voice teachers, choir and workshop leaders, camp and festival organisers, and general participants. Bithell shows how amateur singers who are not musically literate can become competent participants in a vibrant musical community and, in the process, find their voice metaphorically as well as literally. She then follows some of these singers as they journey to distant locations to learn new songs in their natural habitat. She theorises these trends in terms of the politics of participation, the transformative potential of performance, building social capital, the global village, and reclaiming the arts of celebration and conviviality. The stories that emerge reveal a nuanced web of intersections between the local and global, one which demands a revision of the dominant discourses of authenticity, cultural appropriation and agency in the post-colonial world, and ultimately points towards a more progressive politics of difference. A Different Voice, a Different Song will be an essential text for practitioners involved in the natural voice movement and other vocal methodologies and choral worlds. As a significant study in the fields of ethnomusicology, music education and community music, the book will also be of interest to scholars studying the democratisation of the voice, the dynamics of participation, world musics in performance, the transformative power of harmony singing, and the potential of music-making for sustaining community and aiding intercultural understanding.

When many people think of African music, the first ideas that come to mind are often of rhythm, drums, and dancing. These perceptions are rooted in emblematic African and African-derived genres such as West African drumming, funk, salsa, or samba and, more importantly, essentialized notions about Africa which have been fueled over centuries of contact between the "West," Africa, and the African diaspora. These notions, of course, tend to reduce and often portray Africa and the diaspora as primitive, exotic, and monolithic. In Africanness in Action, author Juan Diego Diaz explores this dynamic through the perspectives of Black musicians in Bahia, Brazil, a site imagined by many as a diasporic epicenter of African survivals and purity. Black musicians from Bahia, Diaz argues, assert Afro-Brazilian identities, promote social change, and critique racial inequality by creatively engaging essentialized tropes about African music and culture. Instead of reproducing these notions, musicians demonstrate agency by strategically emphasizing or downplaying them.

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.

'A joyous treasure trove' Michael Morpurgo 'A delight' Tom Jones 'A Tour De Force' Roger Phillips Cook your way around the world with Cerys Matthews' Where the Wild Cooks Go, with a Spotify playlist ready for each country, as well as poems, proverbs, curiosities and some very surprising aspects of world history. The pages of her 'folk cookbook' are brim-full of generations' old nuggets of wisdom, as well as stories about Catatonia touring days and other escapades, plus over a hundred recipes and cocktail ideas from 15 countries. Easy haggis, vegan haggis, jambalaya, cawl, traditional and vegan Welsh cakes, tequila prawns, chocolate and Guinness fondants, thousand hole pancakes, pineapple and chilli, potato, chickpea and coconut curry, dahl and hedgerow salad are just some of delicious, sustainable and fuss free ideas served in this beautiful book.

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

Revival movements aim to revitalize traditions perceived as threatened or moribund by adapting them to new temporal, spatial, and social contexts. While many of these movements have been well-documented in Western Europe and North America,those occurring and recurring elsewhere in the world have received little or no attention. Particularly under-analyzed are the aftermaths of revivals: the new infrastructures, musical styles, performance practices, subcultural communities, and value systems that grow out of these movements. The Oxford Handbook of Music Revival fills this gap, and helps us achieve a deeper understanding of how and why musical pasts are reimagined and transfigured in modern-day postindustrial, postcolonial, and postwar contexts. The book's thirty chapters present innovative theoretical perspectives illustrated through new ethnographic case studies on diverse music and dance cultures around the world. Together these essays reveal the potency of acts of revival, resurgence, restoration, and renewal in shaping musical landscapes and transforming social experience. The book makes a powerful argument for the untapped potential of revival as a productive analytical tool in contemporary, global contexts. With its detailed treatment of authenticity, recontextualization, transmission, institutionalization, globalization, the significance of history, and other key concerns, the collection engages with critical issues far beyond the field of revival studies and is crucial for understanding contemporary manifestations of folk, traditional, and heritage music in today's postmodern cosmopolitan societies.

The world of Sub-Saharan African music is immensely rich and diverse, containing a plethora of repertoires and traditions. In The African Imagination in Music, renowned music scholar Kofi Agawu offers an introduction to the major dimensions of this music and the values upon which it rests. Agawu leads his readers through an exploration of the traditions, structural elements, instruments, and performative techniques that characterize the music. In sections that focus upon rhythm, melody, form, and harmony, the essential parts of African music come into relief. While traditional music, the backbone of Africa's musical thinking, receives the most attention, Agawu also supplies insights into popular and art music in order to demonstrate the breadth of the African musical imagination. Close readings of a variety of songs, including an Ewe dirge, an Aka children's song, and Fela's 'Suffering and Smiling' supplement the broader discussion. The African Imagination in Music foregrounds a hitherto under-reported legacy of recordings and insists on the necessity of experiencing music as sound in order to appreciate and understand it fully. Accordingly, a Companion Website features important examples of the music discussed in detail in the book. Accessibly and engagingly written for a general audience, The African Imagination in Music is poised to renew interest in Black African music and to engender discussion of its creative underpinnings by Africanists, ethnomusicologists, music theorists and musicologists.

In part a compendium of information currently available, in part a dialectical examination of musical causation and function, this book contains a wide-ranging survey of musics of the world, in historical and social contexts, from ancient times to the present day. It aims to lead students, teachers, and, in general, those who practise Western music towards a deeper understanding of the various musical traditions that contribute to the modern, multi-cultural environment. It is preceded by a thought-provoking essay on music and ethnomusicology by Laurence Picken.

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.

Through the study of a large variety of musical practices from the U.S.-Mexico border, this book seeks to provide a new perspective on the complex character of this geographic area. By focusing not only on nortena, banda or conjunto musics (the most stereotypical musical traditions among Hispanics in the area) but also engaging a number of musical practices that have often been neglected in the study of this border's history and culture (indigenous musics, African American musical traditions, pop musics), the authors in this book provide a glance into the diversity of ethnic groups that have encountered each other throughout the area's history. Against common misconceptions about the U.S.-Mexico border as a predominant Mexican area, this book argues that it is diversity and not homogeneity what characterizes it. From a wide variety of disciplinary and multidisciplinary enunciations, the essays in this book explore the transnational connections that inform these musical cultures while keeping an eye on their powerful local significance, in an attempt to redefine notions like "border, " "nation, " "migration, " "diaspora, " etc. Looking at music and its performative power through the looking glass of cultural criticism allows this book to contribute to larger intellectual concerns and help redefine the field of U.S.-Mexico border studies beyond the North/South and American/Mexican dichotomies. Furthermore, the essays in this book, from a wide variety of disciplinary and multidisciplinary enunciations, problematize some of the widespread misconceptions about U.S.-Mexico border history and culture in the current debate about immigration.

The term 'world music' encompasses both folk and popular music across the globe, as well as the sounds of cultural encounter and diversity, sacred voices raised in worship, local sounds, and universal values. It emerged as an invention of the West from encounters with other cultures, and holds the power to evoke the exotic and give voice to the voiceless. Today, in both sound and material it has a greater presence in human societies than ever before. The politics of which world music are a part - globalization, cosmopolitanism, and nationalism - play an increasingly direct role in societies throughout the world, but are at the same time also becoming increasingly controversial. In this new edition of his Very Short Introduction, Philip Bohlman considers questions of meaning and technology in world music, and responds to the dramatically changing political world in which people produce and listen to world music. He also addresses the different ways in which world music is created, disseminated, and consumed, as the full reach of the internet and technologies that store and spread music through the exchange of data files spark a revolution in the production and availability of world music. Finally, Bohlman revises the way we think of the musician, as an increasingly mobile individual, sometimes because physical borders have fallen away, at other times because they are closing. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.