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.

Travel the globe with your fingertips -- through 14 unique guitar scales from around the world -- an entertaining look at unusual exotic scale sounds you may not have played before. In addition to the fourteen different scales, the book also provides chords derived from those scales, and riffs and licks that will keep you learning and challenged about many countries' musical styles. The book includes the history (with color photos) of each country's distinct musical instruments and unique sounds -- along with numerous music examples, standard guitar notation and tablature, and strange, exotic scales, licks and riffs that are literally Out-Of-This-World.

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.

"Listening in Detail" is an original and impassioned take on the intellectual and sensory bounty of Cuban music as it circulates between the island, the United States, and other locations. It is also a powerful critique of efforts to define "Cuban music" for ethnographic examination or market consumption. Contending that the music is not a knowable entity but a spectrum of dynamic practices that elude definition, Alexandra T. Vazquez models a new way of writing about music and the meanings assigned to it. "Listening in detail" is a method invested in opening up, rather than pinning down, experiences of Cuban music. Critiques of imperialism, nationalism, race, and gender emerge in fragments and moments, and in gestures and sounds through Vazquez's engagement with Alfredo Rodriguez's album "Cuba Linda" (1996), the seventy-year career of the vocalist Graciela Perez, the signature grunt of the "Mambo King" Damaso Perez Prado, Cuban music documentaries of the 1960s, and late-twentieth-century concert ephemera.

"Listening in Detail" is an original and impassioned take on the intellectual and sensory bounty of Cuban music as it circulates between the island, the United States, and other locations. It is also a powerful critique of efforts to define "Cuban music" for ethnographic examination or market consumption. Contending that the music is not a knowable entity but a spectrum of dynamic practices that elude definition, Alexandra T. Vazquez models a new way of writing about music and the meanings assigned to it. "Listening in detail" is a method invested in opening up, rather than pinning down, experiences of Cuban music. Critiques of imperialism, nationalism, race, and gender emerge in fragments and moments, and in gestures and sounds through Vazquez's engagement with Alfredo Rodriguez's album "Cuba Linda" (1996), the seventy-year career of the vocalist Graciela Perez, the signature grunt of the "Mambo King" Damaso Perez Prado, Cuban music documentaries of the 1960s, and late-twentieth-century concert ephemera.

*** Music in Korea is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. ***
Despite its longstanding position as a distinct cultural force in East Asia, Korea continues to be underrepresented in world music texts. Music in Korea is the first brief, single-volume text to provide a thematic, succinct introduction to the music of Korea--a region whose volatile political climate has often overshadowed its rich cultural and musical traditions.
Based on author Donna Lee Kwon's extensive fieldwork, the text features interviews with performers, eyewitness accounts of performances, and vivid illustrations. Kwon uses three themes--Korea as a transnational player in East Asia, the intersection of Korean music and cultural politics, and Korea's maintenance of its strong cultural identity through both musical and aesthetic continuity--to survey the region and draw parallels and contrasts between its various traditions. Each theme lends itself to a discussion of Korea's classical musical customs and its contemporary developments. Packaged with an 80-minute audio CD containing musical examples, the text features numerous listening activities that engage students with the music. The companion website (www.oup.com/us/globalmusic) includes supplementary materials for instructors.

This book is a must for musicians, composers and music producers who want to explore the fascinating variety of musical scales that are now used in world music. Included are hundreds of scales from around the world such as: major and minor scales of Western music, diatonic modes, pentatonic scales, scales used in jazz and bebop, artificial and synthetic scales, scales of Greek folk music, pentatonic scales of Japanese and Chinese music, Ethiopian kinit, African kora scales, scales of Indonesian gamelan music, equal tone scales of Thailand and Burma, musical scales of classical Indian music and more. Each scale is presented in multiple formats including guitar tab, keyboard, note names, staff and where appropriate, details of fine tuning. A transposition pattern is also given for each scale, which enables the musician to practise and play the scale in any key required. An explanation of each scale, together with a description of its characteristics is also provided.

Includes many beautifully prepared scores, extensive music glossaries, classical scores made easy and step by step Afro-Latin / Caribbean percussion. Scores Included: Twinkle Twinkle Little Star / Baa Baa Black Sheep / ABCs Form Figure #1 Resolmilafatimila elegant sequence circle of 5ths World Music Mastery for playing with anyone Standard 1-4-5 progressions, beginner to advanced Bars 30-32 of Praelude #1 by J.S. Bach - study of Seventh Suspended chords Latin Piano (Montuno) 101: "La Bamba" C I-IV-V-IV major and minor (with I-ii-V-ii variation) Satin Doll by Duke Ellington with 7th chords spelled out on the bass clef Montuno Etude #0, Montuno Circles Makes Blues Scale, Shekere pattern as piano montuno Yoruba Diasporas, Rumba Parts translated into Melodic Phrases Calypso Study in Soca (Soul-Calypso) often the first side (bar) is Up and the second half is Down Syncro-Nice Sacred Rhythm Scales, Major and Lydian Scales Sync with Sacred West-African Percussion Conversation Pieces: Extremely Potent Repeatable Perpetual Motivations - Making Improvisation Effortless Montuno Etude #1, Primer for First Time Montuno (Latin Piano) Technique Montuno Etude #2, "That Makes This Heaven" C Major 1-6-2-5 Montuno and Bajo Tumbau (Bass) Swing Montuno Study, 6/8 Swing Jazz, Montuno Rhythmic Tension added to the Melodic Role Calypso Circles circles of fifths with calypso chuck (downbeat on the first half version) Clavinet Keyboard Score 1,"Soca Clav" Soul-Calypso standard keyboard chuck Clavinet Keyboard Score 2,"Superclav" Stevie Wonder's "Superstition" adapted to teach Clavinet Techniques Bossanova Study, Sweet Love Song, Piano, Chords & Lyrics: "Lost In Love" Affirmatinas: "Everything's going perfectly, now and ever more " "Having what I'm wanting, wanting what I'm having" Affirmatina Song, Piano and Lyrics: "My Successes Are Here" Classical Derivative Affirmatina #1, "I Manifest My Destiny" based on Chopin Mazurka in C Classical Derivative Affirmatina #2, "Chopin Made A Way" based on Chopin's C# minor waltz Classical Derivative Affirmatina #3, "Let It Be's" based on Abbe Franz Liszt's "Liebestraum" Clarinet Concerto in A Major, the Adagio, by Wolfgang Amadeus Mozart, reduction to piano solo Canto: Gelido in Ogni Vena, from the opera Farnace by Antonio Vivaldi, piano, chords and vocals Song To The Moon from the opera Rusalka, by Antonin Dvorak, melody / hook for piano and chords Canto: The Triumph of Truth & Time (later the opera Rinaldo), George Frederic Handel, reduction to piano, chords and vocals Canto: Laudate Dominum, Wolfgang Amadeus Mozart, reduction to piano, chords and Latin vocals Romeo and Juliet Overture, Pyotr Tchaikovsky, Theme Reduction Canto: Ave Maria (originally Ellens Gesang for Sir Walter Scott poems) by Franz Schubert, piano, chords and Latin vocals Bel Canto: Casta Diva from the opera Norma, by Vincenzo Bellini, reduction to piano, chords and vocals Andalucia later called The Breeze And I, by Ernesto Lecuona, reduction to piano, chords and melody Les Caquets (short version) by Chevalier de Saint Georges (the Black Mozart), Trio Score version for Bass, Piano & Violin Percs Score 1, Carmen - Carmen's Habanera, Clave, Percussion, Coro (Chorus) adapted to teach the percussion patterns Percs Score 2, Yemaya & Santa Lucia, Agogo, Percussion, Coro (Chorus) in Yoruba and English Percs Score 3, Afro-Blue (Obatala Orisha Song) with Chopin's Eb Prelude / Nocturn (1 verse). Many years of experience in teaching, performing, writing and band-leading have been condensed into handy reference materials, and step-by-step lessons that can be easy to follow, improve music understanding and appreciation. In this book are germs, seeds that can be expanded into lessons in many directions, all making musical understanding and music appreciating improve greatly. This book is great for self-study, and classes.

Throughout Brazil, Afro-Brazilians face widespread racial prejudice. Many turn to religion, with Afro-Brazilians disproportionately represented among Protestants, the fastest-growing religious group in the country. Officially, Brazilian Protestants do not involve themselves in racial politics. Behind the scenes, however, the community is deeply involved in the formation of different kinds of blackness-and its engagement in racial politics is rooted in the major new cultural movement of black music. In this highly original account, anthropologist John Burdick explores the complex ideas about race, racism, and racial identity that have grown up among Afro-Brazilians in the black music scene. By immersing himself for nearly a year in the vibrant worlds of black gospel, gospel rap, and gospel samba, Burdick pushes our understanding of racial identity and the social effects of music in new directions. Delving into the everyday music-making practices of these scenes, Burdick shows how the creative process itself shapes how Afro-Brazilian artists experience and understand their racial identities. This deeply detailed, engaging portrait challenges much of what we thought we knew about Brazil's Protestants,provoking us to think in new ways about their role in their country's struggle to combat racism.

Clarence Bernard Henry's book is a culmination of several years of field research on sacred and secular influences of ase, the West African Yoruba concept that spread to Brazil and throughout the African Diaspora. Ase is imagined as power and creative energy bestowed upon human beings by ancestral spirits acting as guardians. In Brazil, the West African Yoruba concept of ase is known as axe and has been reinvented, transmitted, and nurtured in Candomble, an Afro-Brazilian religion that is practiced in Salvador, Bahia.The author examines how the concepts of axe and Candomble religion have been appropriated and reinvented in Brazilian popular music and culture. Featuring interviews with practitioners and local musicians, the book explains how many Brazilian popular music styles such as samba, bossa nova, samba-reggae, ijexa, and axe have musical and stylistic elements that stem from Afro-Brazilian religion. The book also discusses how young Afro-Brazilians combine Candomble religious music with African American music such as blues, jazz, gospel, soul, funk, and rap.Henry argues for the importance of axe as a unifying force tying together the secular and sacred Afro-Brazilian musical landscape."

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.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Modern German Music: Recollections And Criticisms, Volume 1 Henry Fothergill Chorley Smith Elder and Co, 1854 Music; Ethnic; Music; Music / Ethnic; Music / History & Criticism

The chronological range covered by the individual essays is more than two hundred years, from the Classical Enlightenment to the early twenty-first century. Some of the studies encompassed by this volume undertake the analysis of one composer's settings of a particular poet's work - albeit with rather more critical rigour. Others trace the ways in which a literary text is modified and adapted before and as it develops as one of the principal components of an opera. Several share new insights into the complex relationships of individual works with the literary and musical traditions out of which they emerge (or which they transform and renew) - or set such works in the political contexts of their genesis or reception, often using a key historical moment, a turning-point or a 'snapshot', as the starting-point for a wide-ranging investigation. In some cases the words and the music are those of the same 'composer', the relationship here shedding light on the process of composition itself. Literary works are often scrutinized for the light they shed on a musician's creative processes, but the importance of music to writers - as audiences, but also as amateur or even semi-professional practitioners - is no less important as an investigative standpoint.

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.

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."

RD revolutionized Hindi film music in the 1970s, and with his emphasis on rhythm and beats, this Pied Piper of Hindi film music had young India swinging to his tunes. At the same time, this genius proved his many detractors who criticized him for corrupting popular taste wrong by composing some of the most influential raga-based songs in Hindi cinema and showing an immense comfort with all kinds of music, including Indian folk. RD: The Man, The Music looks at the phenomenon called R.D. Burman and how he changed the way Indians perceived Hindi film music. Through anecdotes and trivia that went into the making of Pancham's music the many innovations he introduced, like mixed rhythm patterns, piquant chords and sound mixing and through interactions with the musicians who were part of RD s team, the authors create a fascinating portrait of a man who, through his music, continues to thrive, even fifteen years after his death.

1859. Volume 2 of 2. With short introductions to the different reigns and notices of the airs from writers of the sixteenth and seventeenth centuries. Also a short account of the minstrels. Contents Volume II: Conjectures as to Robin Hood; Ballads relating to the adventures of Robin Hood; Puritanism in its effects upon Music and its accessories and Introduction to the Commonwealth period; Songs and ballads of the civil war, and of the time of Cromwell; Introduction to the reign of Charles II.; Songs and ballads from Charles II. to William and Mary; Remarks on Anglo-Scottish songs; Specimens of ditto; Introduction to the reigns of Queen Anne, George I. and George II.; Songs and ballads of ditto; Traditional songs of uncertain date; and Religious Christmas Carols.

This book entails a pragmatic analysis of the African National Anthem, "Nkosi Sikelel' iAfrika," within a linguistic framework. By delineating the pragmatic features of the anthem, its philosophical symbolic meanings are teased out. This is important because symbols are critical in promoting social integration, fostering legitimacy, inducing loyalty, gaining compliance, and providing citizens with security and hope. Political symbols are also used as tools to address the contradictions of national consciousness and nation-building, nationhood, ideal governance, socioeconomic organization, and foreign policy preferences. The African National Anthem, "Nkosi Sikelel' iAfrica" is divided into seven chapters: Historical Background and Various Versions of "Nkosi Sikelel' iAfrika" On Meaning Deixis Presuppositions Implicatures Speech Acts Conclusions

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.

This book provides the authoritative history of salsa.Salsa is one of the most popular types of music listened to and danced to in the United States. Until now, the single comprehensive chronicle of the music - and the industry that grew up around it, including musicians, performances, styles, movements, and production - was available only in Spanish. This lively translation provides for English-reading and music-loving fans the chance to enjoy Cesar Miguel Rondon's celebrated El libro de la salsa.Rondon tells the engaging story of salsa's roots in Puerto Rico, Cuba, Colombia, the Dominican Republic, and Venezuela, and of its emergence and development in the 1960s as a distinct musical movement in New York. Rondon presents salsa as a truly pan-Caribbean phenomenon, emerging in the migrations and interactions, the celebrations and conflicts that marked the region. Although salsa is rooted in urban culture, Rondon explains, it is also a commercial product produced and shaped by professional musicians, record producers, and the music industry. For this first English-language edition, Rondon has added a new chapter to bring the story of salsa up to the present.

CONTENTS Ambroise Thomas Charles Gounod Camille Saint-Sakns Jules Massenet Ernest Reyer Alfred Bruneau Some Other French Composers Appendix

Wired for Sound is the first anthology to address the role of sound engineering technologies in the shaping of contemporary global music. Wired sound is at the basis of digital audio editing, multi-track recording, and other studio practices that have powerfully impacted the world's music. Distinctions between musicians and engineers increasingly blur, making it possible for people around the globe to imagine new sounds and construct new musical aesthetics. This collection of 11 essays employs primarily ethnographical, but also historical and psychological, approaches to examine a range of new, technology-intensive musics and musical practices such as: fusions of Indian film-song rhythms, heavy metal, and gamelan in Jakarta; urban Nepali pop which juxtaposes heavy metal, Tibetan Buddhist ritual chant, rap, and Himalayan folksongs; collaborations between Australian aboriginals and sound engineers; the production of "heaviness" in heavy metal music; and the production of the "Austin sound." This anthology is must reading for anyone interested in the global character of contemporary music technology.
CONTRIBUTORS: Harris M. Berger, Beverley Diamond, Cornelia Fales, Ingemar Grandin, Louise Meintjes, Frederick J. Moehn, Karl Neunfeldt, Timothy D. Taylor, Jeremy Wallach.

Rebelling against the Elvis-based, American-imported rock scene in late '60s Brazil, Caetano Veloso suffused lyrical Brazilian folksongs with fuzz guitar, avant-jazz, and electronic music-and in doing so blew apart the status quo of Brazilian culture. Caetano and the movement he catalyzed, "tropicalia," urged an adoption of personal freedom in politics, music, and lifestyle. His "rabble-rousing," as the government saw it, would get Caetano and his comrade Gilberto Gil arrested and exiled to London to wait out the military dictatorship. His fame increasing by the year, Caetano focused on writing songs about his homeland, returning to Brazil as a national hero-a mantle he still wears today. His most recent album, "Live in Bahia," was released to international critical and popular acclaim.

From the dance halls to the main stage, from small town Texas to the big cities, musica tejana is rapidly becoming known as a rich and vibrant form of American music. The twentieth century has seen Texas Mexican music balance between the traditional and the modern, remaining rooted in Mexico while taking nourishment from Africa, Europe, the Caribbean, and the United States.

In Tejano Proud, Guadalupe San Miguel, Jr., provides a history of the evolution of musica tejana -- its ups and downs and its importance to Mexican Texas culture in the context of Anglo-Mexican relations. He also discusses the more recent development of the Tejano recording industry and the role women have begun to play in an industry long dominated by men.