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.

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.

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.

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.

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.

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.

In recent years, girls' and mixed-gender ensembles have challenged the tradition of male-dominated gamelan performance. The change heralds a fundamental shift in how Balinese think about gender roles and the gender behavior taught in children's music education. It also makes visible a national reorganization of the arts taking place within debates over issues like women's rights and cultural preservation. Sonja Lynn Downing draws on over a decade of immersive ethnographic work to analyze the ways Balinese musical practices have influenced the processes behind these dramatic changes. As Downing shows, girls and young women assert their agency within the gamelan learning process to challenge entrenched notions of performance and gender. One dramatic result is the creation of new combinations of femininity, musicality, and Balinese identity that resist messages about gendered behavior from the Indonesian nation-state and beyond. Such experimentation expands the accepted gender aesthetics of gamelan performance but also sparks new understanding of the role children can and do play in ongoing debates about identity and power.

An Unnatural Attitude traces a style of musical thought that coalesced in the intellectual milieu of the Weimar Republic-a phenomenological style that sought to renew contact with music as a worldly circumstance. Deeply critical of the influence of naturalism in aesthetics and ethics, proponents of this new style argued for the description of music as something accessible neither through introspection nor through experimental research, but rather in an attitude of outward, open orientation toward the world. With this approach, music acquires meaning in particular when the act of listening is understood to be shared with others. Benjamin Steege interprets this discourse as the response of a young, post-World War I generation amid a virtually uninterrupted experience of war, actual or imminent-a cohort for whom disenchantment with scientific achievement was to be answered by reasserting the value of imaginative thought. Steege draws on a wide range of published and unpublished texts from music theory, pedagogy, criticism, and philosophy of music, some of which appear for the first time in English translation in the book's appendixes. An Unnatural Attitude considers the question: What are we thinking about when we think about music in non-naturalistic terms?

"Sounding the Center" is an in-depth look at the power behind classical music and dance in Bangkok, the capital and sacred center of Buddhist Thailand. Focusing on the ritual honoring teachers of music and dance, Deborah Wong reveals a complex network of connections among kings, teachers, knowledge, and performance that underlies the classical court arts.
Drawing on her extensive fieldwork, Wong lays out the ritual in detail: the way it is enacted, the foods and objects involved, and the people who perform it, emphasizing the way the performers themselves discuss and construct aspects of the ceremony. Only those who have been initiated by a master can manifest the divine in the human realm. The power held by the master musicians, Wong shows, is both ritual and social; they are not just ritual experts, they are also leaders at the government-run national conservatory. This combination of political recognition and esoteric knowledge, Wong suggests, has helped Thai classical music endure in the face of changing patronage and the challenges posed by the urban environment that supports it.

The 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 Sub-Saharan Africa, 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 on 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.

Established in 1971, Nass el-Ghiwane is a legendary musical group that transformed the Moroccan music scene in the last decades of the 20th century. The charismatic founding member Larbi Batma (1948-1997) through his lyrics brought to light Moroccan folklore and obscure poetry. His autobiographical narrative, Al-ra??l, blurs the boundaries between fact and fiction and deals with social issues that plagued post-independence Morocco. Providing a reading of Al-ra??l, this book is the first in English examining the work of Nass el-Ghiwane, the emergence of al-?ghniya al-Gh?waniya as a musical genre and the social conditions that fostered its growth.

The Bloomsbury Encyclopedia of Popular Music Volume 10 is one of six volumes within the 'Genre' strand of the series. This volume discusses the genres of Africa and the Middle East in relation to their 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 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.

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."

Wie Italien sein Neapel hat, der Franzose seine Revolution, der Engl nder seine Schiffahrt usw., so der Deutsche seine Beethovenschen Sinfonien ..." - diese Formulierung von Robert Schumann wirft ein Licht auf die Bedeutung der Musik f r die Idee einer deutschen Kulturnation. Die in diesem Buch vorgelegten Vortr ge einer Ringvorlesung am Musikwissenschaftlichen Seminar Detmold/Paderborn behandeln verschiedene Facetten dieses bislang erst sporadisch untersuchten Gegenstandes. Ihre Themen spannen sich von Opern Webers, Lortzings, Verdis und Humperdincks ber die Beziehungen zwischen Deutschland und Frankreich bzw. den Niederlanden bis hin zur Musik sthetik deutscher Philosophen im 19. Jahrhundert. Ein Beitrag zu der Frage, wie Vorstellungen von deutscher Weiblichkeit und M nnlichkeit im Musikdiskurs konstruiert wurden, rundet den Band ab.

Composed of a core set of two drums and two gongs, "p'ungmul" is a South Korean tradition of rural folk percussion. Steeped in music, dance, theater, and pageantry, but centrally focused on rhythm, such ensembles have been an integral part of village life in South Korea for centuries, serving as musical accompaniment in the often overlapping and shifting contexts of labor, ritual, and entertainment.
The first full-length book to introduce Korean drumming and dance to the English-speaking world, Nathan Hesselink's "P'ungmul" offers detailed descriptions of its instrumentation, dance formations, costuming, characters, teaching lineages, and the complexities of training. Hesselink also evaluates how this tradition has taken on new roles and meanings in the twentieth and early twenty-first centuries, investigating the interrelated yet contested spheres of history, memory, government policy, grassroots politics, opportunities for musical transmission, and performance practices and aesthetics.
" P'ungmul" offers those interested in ethnomusicology, world music, anthropology, sociology, and Asian studies a special glimpse into the inner workings of a historically rich, artistically complex, and aesthetically and aurally beautiful Korean music and dance tradition.

The Latin explosion of Marc Anthony, Ricky Martin, and the Buena Vista Social Club may look like it came out of nowhere, but the incredible variety of Latin music has been transforming the United States since the turn of the century, when Caribbean beats turned New Orleans music into jazz. In fact, we wouldn't have any of our popular music without it: Imagine pop sans the mambos of Perez Prado and Tito Puente, the garage rock of Richie Valens, or even the glitzy croon of Julio Iglesias, not to mention the psychedelia of Santana and Los Lobos and the underground cult grooves of newcomers like Bebel Gilberto. The Latin Beat outlines the musical styles of each country, then traces each form as it migrates north. Morales travels from the Latin ballad to bossa nova to Latin jazz, chronicles the development of the samba in Brazil and salsa in New York, explores the connection between the mambo craze of the 1950's with the Cuban craze of today, and uncovers the hidden history of Latinos in rock and hip hop. The Latin Beat is the only book that explores where the music has come from and celebrates all of the directions it is going.

Trinidadian sitarist, composer, and music authority Mangal Patasar once remarked and tan-singing, \u0022You take a capsule from India, leave it here for a hundred years, and this is what you get.\u0022 Patasar was referring to what may be the most sophisticated and distinctive art form cultivated among the one and a half million East Indians whose ancestors migrated as indentured laborers from colonial India to the West Indies between 1845 and 1917. Known in Trinidad and Guyana as \u0022tan-singing\u0022 or \u0022local-classical music\u0022 and in Suriname as \u0022baithak gana\u0022 (\u0022sitting music\u0022), tan-singing has evolved in to a unique idiom, embodying the rich poetic and musical heritage brought from India as modified by a diaspora group largely cut off from its ancestral homeland. In recent decades, however, tan-singing has been declining, regarded as quaint and crude by younger generations raised on MTV, Hindi film music, and disco. At the same time, Indo-Caribbeans have been participating in their countries' economic, political, and cultural lives to a far greater extent than previously. Accompanying this participation has been a lively cultural revival, encompassing both an enhanced assertion of Indianness and a spirit of innovative syncretism. One of the most well-known products of this process is chutney, a dynamic music and dance phenomenon that is simultaneously a folk revival and a pop hybrid. In Trinidad, it has also been the vehicle for a controversial form of female empowerment and an agent of a new, more inclusive, conception of national identity. Thus, East Indian Music in the West Indies is a portrait of a diaspora community in motion. It documents the social and cultural development of a people \u0022without history,\u0022 a people who have sometimes been dismissed as foreigners who merely perpetuate the culture of the homeland rather than becoming \u0022truly\u0022 Caribbean. Professor Manuel shows how inaccurate this characterization is. On the one hand, in the form of tan-singing, it examines the distinctiveness of traditional Indo-Caribbean musical culture. On the other, in the form of chutney, it examines the new assertiveness and syncretism of Indo-Caribbean popular music. Students of Indo-Caribbean music and curious world-music fans alike will be fascinated by Professor Manuel's guided tour through the complex and exciting world of Indo-Caribbean musical culture.

One of the foremost exponents of the Hindustani classical tradition, music maestro Pandit Bhimsen Joshi (1922-2011) mesmerized audiences with his soulful renditions of bhajans and khayals. A legend who amalgamated technical skill with passion and intensity, who took the kirana gharana to the masses, he was conferred the Bharat Ratna in 2009-the only male vocalist, so far, to have been honoured with this award. In this intensely emotional account, Bhimsen Joshi and his first wife Sunanda's son, Raghavendra, journeys from childhood to adulthood to recreate his father's life, piecing together the myriad anecdotes and revelations he gathered over the years from various family members. He reminisces the days spent with his Bhimanna, the early morning riyaz with a resonating tanpura, the drives across the country for a concert, the Bhairavi echoing in distant horizons, as well as tales of his interaction with common people and his mastery over several languages. This is a revealing account of the legendary singer's little-known personal life. This is the memoir of Bhimanna's forsaken son who lived in the shadow of his father's brilliance.