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.

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.

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

Field Guide to the Irish Music Session is the first and only book devoted entirely to the dynamics and etiquette of the traditional Irish musical gathering. There's more to these events than meets the eye or ear, and Field Guide covers it all, with an insightful blend of the humorous and the serious that is of value to both listeners and prospective participants.

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.

Most die-hard Brazilian music fans would argue that Getz/Gilberto, the iconic 1964 album featuring "The Girl from Ipanema," is not the best bossa nova record. Yet we've all heard "The Girl from Ipanema" as background music in a thousand anodyne settings, from cocktail parties to telephone hold music. So how did Getz/Gilberto become the Brazilian album known around the world, crossing generational and demographic divides? Bryan McCann traces the history and making of Getz/Gilberto as a musical collaboration between leading figure of bossa nova Joao Gilberto and Philadelphia-born and New York-raised cool jazz artist Stan Getz. McCann also reveals the contributions of the less-understood participants (Astrud Gilberto's unrehearsed, English-language vocals; Creed Taylor's immaculate production; Olga Albizu's arresting, abstract-expressionist cover art) to show how a perfect balance of talents led to not just a great album, but a global pop sensation. And he explains how Getz/Gilberto emerged from the context of Bossa Nova Rio de Janeiro, the brief period when the subtle harmonies and aching melodies of bossa nova seemed to distill the spirit of a modernizing, sensuous city. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books 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.

Music in West Africa 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. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study.
Music in West Africa presents fundamental style concepts of West African music using a focused case study of performance in Liberia, West Africa, among the Kpelle people. The book discusses the diversity, motifs, and structure of West African music within the larger patterns of the region's culture, highlighting those aspects of Kpelle music that are common to many other West African traditions. It also describes how music and dance in West Africa are tied to the fabric of everyday social and political life.
Kpelle musicians value musical performance where multiple performers each contribute aspects of sound that fit together in elaborate ways. Drawing upon her extensive fieldwork and research, author Ruth Stone--who was raised in the Bong County region of Liberia--centers on key stylistic elements that Kpelle performers articulate and emphasize: faceting or breaking music into smaller parts, layering tone colors, part-counterpart relationships in musical structures, and time and polyrhythm. She explores fascinating parallels to these analytic themes in the textiles and masks of related arts and in broader cultural practices such as greeting sequences.
Music in West Africa is enhanced by eyewitness accounts of local performances, interviews with key performers, and vivid illustrations. Packaged with a 70-minute CD containing examples of the music discussed in the book, it features guided listening and hands-on activities that encourage readers to engage actively and critically with the music.

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.

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

Proceedings of the International Conference of Composers attended by SCEG at the Stratford Festival, Stratford, Ontario in August 1960.

A landmark in Brazilian music scholarship, A Respectable Spell introduces English-speaking readers to the rich history of samba from its nineteenth century origins to its emergence as a distinctive genre in the 1930s. Merging storytelling with theory, Carlos Sandroni profiles performers, composers, and others while analyzing the complex ideologies their music can communicate in their lyrics and rhythms, and how the meaning of songs and musical genres can vary depending on social and historical context. He also delves into lundu, modinha, maxixe, and many other genres of Brazilian music; presents the little-heard voices and perspectives of marginalized Brazilians like the African-descended sambistas; and presents a study in step with the types of decolonial approaches to ethnomusicology that have since emerged, treating the people being studied not only as makers of music but also of knowledge. Incisive and comprehensive, A Respectable Spell tells the compelling story of an iconic Brazilian musical genre.

An encyclopedia survey of Brazilian popular music--now updated and expanded

"World music" is an awkward phrase. Used to describe the hugely multifaceted nature of a range of typically non-English-language popular music from the world over, it's a tag that throws up as many problems as it does solutions.

Louise Gray's "The No-Nonsense Guide to World Music" attempts to go behind the phrase to explore the reasons for the contemporary interest in world music, who listens to it, and why. Through chapters that focus on specific areas of music, such as rembetika, fado, trance music, and new folk, Gray explores the genres that have emerged from marginalized communities, music in conflict zones, and music as escapism.

In this unique guide, which combines the seduction of sound with politics and social issues, the author makes the case for music as a powerful tool able to bring individuals together.

Louise Gray is a writer and editor whose work on music and performing arts has appeared in the "New Internationalist," "The Wire," "The Independent on Sunday," the "Guardian," and "Art Review." She co-edited "Sound and the City" (British Council, 2007), a book exploring the changing soundworld of China.

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.

Born in the shady bordellos and swinging clubs of Buenos Aires, tango has become one of the world's best loved dance styles. While Argentina's artistic energies have often been resilient even while economic and political realities have been miserable, there have been many periods when the simple shortage of disposable pesos led to a dwindling in culture and entertainment. But people have discovered a sort of cultural nationalism that allows tango to endure and evole. "The Rough Guide To Tango" is the perfect introduction for armchair and dancefloor fans alike.

Theodore Levin takes readers on a journey through the rich sonic world of inner Asia, where the elemental energies of wind, water, and echo; the ubiquitous presence of birds and animals; and the legendary feats of heroes have inspired a remarkable art and technology of sound-making among nomadic pastoralists. As performers from Tuva and other parts of inner Asia have responded to the growing worldwide popularity of their music, Levin follows them to the West, detailing their efforts to nourish global connections while preserving the power and poignancy of their music traditions.

K-pop (Korean popular music) reigns as one of the most popular music genres in the world today, a phenomenon that appeals to listeners of all ages and nationalities. In Soul in Seoul: African American Popular Music and K-pop, Crystal S. Anderson examines the most important and often overlooked aspect of K-pop: the music itself. She demonstrates how contemporary K-pop references and incorporates musical and performative elements of African American popular music culture as well as the ways that fans outside of Korea understand these references. K-pop emerged in the 1990s with immediate global aspirations, combining musical elements from Korean and foreign cultures, particularly rhythm and blues genres of black American popular music. Korean solo artists and groups borrow from and cite instrumentation and vocals of R&B genres, especially hip hop. They also enhance the R&B tradition by utilizing Korean musical strategies. These musical citational practices are deemed authentic by global fans who function as part of K-pop's music press and promotional apparatus. K-pop artists also cite elements of African American performance in Korean music videos. These disrupt stereotyped representations of Asian and African American performers. Through this process K-pop has arguably become a branch of a global R&B tradition. Anderson argues that Korean pop groups participate in that tradition through cultural work that enacts a global form of crossover and by maintaining forms of authenticity that cannot be faked, and furthermore propel the R&B tradition beyond the black-white binary.

The anthology Global Popular Music features readings that examine the commonalities and differences among different popular music traditions in the Americas, Africa, Asia, and Europe. The text explores the ways in which each tradition developed, evolved, eventually disseminated, and how they gained global reach. The book begins with an introduction to global and popular music and answers the all-important question: what is pop? The readings that follow include both material evidence and historical narrative to provide students with greater awareness of how popular music has evolved throughout different cultures. The selections explore various musical traditions, including the blues, samba-reggae, mariachi, afro-pop, bhangra, K-pop, and rap, among other styles of music, all written by renowned and revered musicologists in the field. Compelling and complex in nature, Global Popular Music is an excellent supplementary resource for courses in world music, as well as any course that examines popular music in a global context.

The ten EPMOW Genre volumes contain entries on the genres of music that have been or currently are popular in countries and communities all over the world. Included are discussions on cultural, historical and geographic origins; technical musical characteristics; instrumentation and use of voice; lyrics and language; typical features of performance and presentation; historical development and paths and modes of dissemination; influence of technology, the music industry and political and economic circumstances; changing stylistic features; notable and influential performers; and relationships to other genres and sub-genres. This volume, on the music of Europe, features a wide range of entries and in-depth essays. All entries conclude with a bibliography, discographical references and discography, with additional information on sheet music listings and visual recordings. Written and edited by a team of distinguished popular music scholars and professionals, this is an exceptional resource for anybody studying or researching the history and development of popular music. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

Inside the global music industry and the racialized and gendered assumptions we make about what we hear Fearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early "songcatchers" were white women of comfortable class standing, similar to the female consumers targeted by the music industry as the gramophone became increasingly present in bourgeois homes. Through these simultaneous movements, listening became constructed as a feminized practice, one that craved exotic sounds and mythologized the 'other' that made them. In Modernity's Ear, Roshanak Kheshti examines the ways in which racialized and gendered sounds became fetishized and, in turn, capitalized on by an emergent American world music industry through the promotion of an economy of desire. Taking a mixed-methods approach that draws on anthropology and sound studies, Kheshti locates sound as both representative and constitutive of culture and power. Through analyses of film, photography, recordings, and radio, as well as ethnographic fieldwork at a San Francisco-based world music company, Kheshti politicizes the feminine in the contemporary world music industry. Deploying critical theory to read the fantasy of the feminized listener and feminized organ of the ear, Modernity's Ear ultimately explores the importance of pleasure in constituting the listening self.

Noise Uprising brings to life the moment and sounds of a cultural revolution. Between the development of electrical recording in 1925 and the outset of the Great Depression in the early 1930s, the soundscape of modern times unfolded in a series of obscure recording sessions, as hundreds of unknown musicians entered makeshift studios to record the melodies and rhythms of urban streets and dancehalls. The musical styles and idioms etched onto shellac disks reverberated around the globe: among them Havana's son, Rio's samba, New Orleans' jazz, Buenos Aires' tango, Seville's flamenco, Cairo's tarab, Johannesburg's marabi, Jakarta's kroncong, and Honolulu's hula. They triggered the first great battle over popular music and became the soundtrack to decolonization.