This book draws attention to the reception of Oskar Kolberg's folklorist's work outside of Poland. It also presents the work of other scholars active in Eastern Europe from the nineteenth century to the present day, many of them poorly known, despite their lofty achievements. The contributions by authors from Lithuania, Belarus, Ukraine, Russia, Slovakia and Poland reflect on how Kolberg's work is being continued by scholars today and how the musical repertoire that he recorded is functioning. This book unites the results of the international conference "The Kolbergs of Eastern Europe", organised by the College of Eastern Europe and the Institute of Musicology of the University of Wroclaw.

In literature and popular imagination, the Bauls of India and Bangladesh are characterized as musical mystics: orange-clad nomads of both Hindu and Muslim backgrounds. They wander the countryside and entertain with their passionate singing and unusual behavior, and they are especially well-known for their evocative songs, which challenge the caste system and sectarianism prevalent in South Asia.
Although Bauls claim to value women over men, little is known about the individual views and experiences of Baul women. Based on ethnographic research in both the predominantly Hindu context of West Bengal (India) and the Muslim country of Bangladesh, this book explores the everyday lives of Baul women. Lisa Knight examines the contradictory expectations regarding Baul women: on the one hand, the ideal of a group unencumbered by societal restraints and concerns and, on the other, the real constraints of feminine respectability that seemingly curtail women's mobility and public performances.
Knight demonstrates that Baul women respond to these conflicting expectations in various ways, sometimes adopting and other times subverting local gendered norms to craft meaningful lives. More so than their male counterparts, Baul women feel encumbered by norms. But rather than seeing Baul women's normative behavior as indicative of their conformity to gendered roles (and, therefore, failures as Bauls), Knight argues that these women creatively draw on societal expectations to transcend their social limits and create new paths.

Few Mexican musicians in the twentieth century achieved as much notoriety or had such an international impact as the popular singer and songwriter Agustin Lara (1897-1970). Widely known as "el flaco de oro" ("the Golden Skinny"), this remarkably thin fellow was prolific across the genres of bolero, ballad, and folk. His most beloved "Granada," a song so enduring that it has been covered by the likes of Mario Lanza, Frank Sinatra, and Placido Domingo, is today a standard in the vocal repertory. However, there exists very little biographical literature on Lara in English. In AgustinLara: A Cultural Biography, author Andrew Wood's informed and informative placement of Lara's work in a broader cultural context presents a rich and comprehensive reading of the life of this significant musical figure. Lara's career as a media celebrity as well as musician provides an excellent window on Mexican society in the mid-twentieth century and on popular culture in Latin America. Wood also delves into Lara's music itself, bringing to light how the composer's work unites a number of important currents in Latin music of his day, particularly the bolero. With close musicological focus and in-depth cultural analysis riding alongside the biographical narrative, Agustin Lara: A Cultural Biography is a welcome read to aficionados and performers of Latin American musics, as well as a valuable addition to the study of modern Mexican music and Latin American popular culture as a whole."

"World music" emerged as a commercial and musical category in the 1980s, but in some sense music has always been global. Through the metaphor of encounters, Music and Globalization explores the dynamics that enable or hinder cross-cultural communication through music. In the stories told by the contributors, we meet well-known players such as David Byrne, Peter Gabriel, Sting, Ry Cooder, Fela Kuti, and Gilberto Gil, but also lesser-known characters such as the Senegalese Afro-Cuban singer Laba Sosseh and Raramuri fiddle players from northwest Mexico. This collection demonstrates that careful historical and ethnographic analysis of global music can show us how globalization operates and what, if anything, we as consumers have to do with it.

Vibe Merchants offers an insider's perspective on the development of Jamaican Popular Music, researched and analysed by a thirty-year veteran with a wide range of experience in performance, production and academic study. This rare perspective, derived from interviews and ethnographic methodologies, focuses on the actual details of music-making practice, rationalized in the context of the economic and creative forces that locally drive music production. By focusing on the work of audio engineers and musicians, recording studios and recording models, Ray Hitchins highlights a music creation methodology that has been acknowledged as being different to that of Europe and North America. The book leads to a broadening of our understanding of how Jamaican Popular Music emerged, developed and functions, thus providing an engaging example of the important relationship between music, technology and culture that will appeal to a wide range of scholars.

The late Jan Fairley (1949-2012) was a key figure in making world music a significant topic for popular music studies and an influential contributor to such world music magazines as fRoots and Songlines. This book celebrates her contribution to popular music scholarship by gathering her most important work together in a single place. The result is a richly informed and entertaining volume that will be of interest to all scholars in the field while also serving as an excellent introduction for students interested in popular music as a global phenomenon. Fairley's work was focused on the problems and possibilities of cross-cultural musical influences, fantasies and flows and on the importance of performing circuits and networks. Her interest in the details of music-making and in the lives of music-makers means that this collection is also an original and illuminating study of music and politics. In drawing on Jan Fairley's journalism, this volume also offers students a guide to various genres of world music, from Cuban son to flamenco, as well as an insight into the lives of such world music stars as Mercedes Sosa and Silvio RodrA guez. This is inspiring as well as essential reading.

Race and music seem fatally entwined in a way that involves both creative ethnic hybridity and ongoing problems of racism. This book presents a sociological analysis of this enduring relationship and asks: how are ideas of race critical to the understanding of music genres and preferences? What does the 'love of difference' via music contribute to contemporary perspectives of racism? Previous studies of world music have situated it within the dynamics of local/global musical production, the representation of nations and ethnic groups, theories of globalization, hybridization and cultural appropriation. Haynes adds a conceptual and textual shift to these debates by utilizing world music as a lens for examining cultural imaginaries of race and analytical nuances of racialization. The text offers a view of world music from 'within, ' building on original, qualitative, interview-based research with people from the British world music scene. These interviews provide unique insights into the discursive repertoires that underpin contemporary culture, and will make a significant contribution to the mainly theoretical debates about world music.

In a tradition extending from the medieval era to the early twentieth century, visually disabled Japanese women known as goze toured the Japanese countryside as professional singers and contributed to the vitality of rural musical culture. The goze sang unique narratives (many requiring several hours to perform) as well as a huge repertory of popular ballads and short songs, typically accompanied by a three-stringed lute known as the shamisen. During the Edo period (1600-1868) goze formed guild-like occupational associations and created an iconic musical repertory. They were remarkably successful in fighting discrimination accorded to women, people with physical disabilities, the poor, and itinerants, using their specialized art to connect directly to the commoner public. The best documented goze lived in Echigo province in the Japanese northwest. Although their activities peaked in the nineteenth century, some women continued to tour until the middle of the twentieth. The last active goze survived until 2005. In Goze: Blind Women and Musical Performance in Traditional Japan, author Gerald Groemer argues that goze activism was primarily a matter of the agency of performance itself. Groemer shows that the solidarity goze achieved with the rural public through narrative and music was based on the convergence of the goze's desire to achieve social autonomy and the wish of lower-class to mitigate the cultural deprivation to which they were otherwise so often subject. It was this correlation of emancipatory interests that allowed goze to flourish and attain a degree of social autonomy. Far from being pitied as helpless victims, goze were recognized as masterful artisans who had succeeded in transforming their disability into a powerful social tool and who could act as agents of widespread cultural development. As the first full-length scholarly work on goze in English, this book is sure to prove an invaluable resource to scholars and students of Japanese culture, Japanese music, ethnomusicology, and disability studies worldwide.

Migrating Music considers the issues around music and cosmopolitanism in new ways. Whilst much of the existing literature on 'world music' questions the apparently world-disclosing nature of this genre - but says relatively little about migration and mobility - diaspora studies have much to say about the latter, yet little about the significance of music. In this context, this book affirms the centrality of music as a mode of translation and cosmopolitan mediation, whilst also pointing out the complexity of the processes at stake within it. Migrating music, it argues, represents perhaps the most salient mode of performance of otherness to mutual others, and as such its significance in socio-cultural change rivals - and even exceeds - literature, film, and other language and image-based cultural forms. This book will serve as a valuable reference tool for undergraduate and postgraduate students with research interests in cultural studies, sociology of culture, music, globalization, migration, and human geography.

Richard Egues and Jose Fajardo are universally regarded as the leading exponents of charanga flute playing, an improvisatory style that crystallized in 1950s Cuba with the rise of the mambo and the chachacha. Despite the commercial success of their recordings with Orquesta Aragon and Fajardo y sus Estrellas and their influence not only on Cuban flute players but also on other Latin dance musicians, no in-depth analytical study of their flute solos exists. In Cuban Flute Style: Interpretation and Improvisation, Sue Miller-music historian, charanga flute player, and former student of Richard Egues-examines the early-twentieth-century decorative style of flute playing in the Cuban danzon and its links with the later soloistic style of the 1950s as exemplified by Fajardo and Egues. Transcriptions and analyses of recorded performances demonstrate the characteristic elements of the style as well as the styles of individual players. A combination of musicological analysis and ethnomusicological fieldwork reveals the polyrhythmic and melodic aspects of the Cuban flute style, with commentary from flutists Richard Egues, Joaquin Oliveros, Polo Tamayo, Eddy Zervigon, and other renowned players. Miller also covers techniques for flutists seeking to learn the style-including altissimo fingerings for the Boehm flute and fingerings for the five-key charanga flute-as well as guidance on articulation, phrasing, repertoire, practicing improvisation, and working with recordings. Cuban Flute Style will appeal to those working in the fields of Cuban music, improvisation, music analysis, ethnomusicology, performance and performance practice, popular music, and cultural theory.

Migrating Music considers the issues around music and cosmopolitanism in new ways. Whilst much of the existing literature on world music' questions the apparently world-disclosing nature of this genre -- but says relatively little about migration and mobility -- diaspora studies have much to say about the latter, yet little about the significance of music. In this context, this book affirms the centrality of music as a mode of translation and cosmopolitan mediation, whilst also pointing out the complexity of the processes at stake within it. Migrating music, it argues, represents perhaps the most salient mode of performance of otherness to mutual others, and as such its significance in socio-cultural change rivals -- and even exceeds -- literature, film, and other language and image-based cultural forms. This book will serve as a valuable reference tool for undergraduate and postgraduate students with research interests in cultural studies, sociology of culture, music, globalization, migration, and human geography.

World Music: A Global Journey, Fifth Edition, explores the diversity of musical expression around the world, taking students across the globe to experience cultural traditions that challenge the ear, the mind, and the spirit. It surveys world music within a systematic study of the world's major cultures, supported by a strong pedagogical framework. Providing historical and cultural overviews of the world's seven continents, and fortified by in-depth studies of varied musical traditions, World Music: A Global Journey is known for its student-friendly approach and lively visits to "sites" that host musics of the world. The robust companion website with audio is ideal for online coursework. FEATURES Easy-to-follow proven chapter structure, organized by geographic region Listening Guides, detailed maps, and hundreds of colorful photos, with more than two dozen new images Coverage of an eclectic blend of world musics, including both popular and traditional music New "Inside Look" entries spotlight distinguished ethnomusicologists and musicians, such as Patricia Shehan-Campbell, Oleg Kruglyakov, Chan E. Park, Vivek Virani, and Mia Gormandy New "Musical Markers" feature that summarizes key musical elements of each audio example New site visiting Georgia, a new "Explore More" feature focused on Slovenian Polka, a new track for North Indian Raga with sitar, and much more New streamed music delivery! Hosted on the book's dedicated website Audiobook-extra value! Presented by chapter on the book website Used in classrooms around the globe, World Music: A Global Journey, Fifth Edition, is an internationally acclaimed and best-selling fundamental resource for students and instructors to begin their exploration of world music and culture. www.routledge.com/cw/miller

The first cultural history of the Philippines during the twentieth century, Musical Renderings of the Philippine Nation focuses on the relationships between music, performance, and ideologies of nation. Spanning the hundred years from the Filipino-American War to the 1998 Centennial celebration of the nation's independence from Spain, the book has added emphasis on the period after World War II. Author Christi-Anne Castro describes the narratives of nation embedded in several major musical genres, such as classical music and folkloric song and dance, and enacted by the most well-known performers of the country, including Bayanihan, The Philippine National Dance Company and the Philippine Madrigal Singers. Castro delves into the ideas and works of prominent native composers, from the popular art music of Francisco Santiago and Lucio San Pedro to the People Power anthem of 1986 by Jim Paredes of the group Apo Hiking Society. Through both archival research and ethnographic fieldwork, Castro reveals how individuals and groups negotiate with and contest the power of the state to define the nation as a modern and hybrid entity within a global community.

London, 1820. The British capital is a metropolis that overwhelms dwellers and visitors alike with constant exposure to all kinds of sensory stimulation. Over the next two decades, the city's tumult will reach new heights: as population expansion places different classes in dangerous proximity and ideas of political and social reform linger in the air, London begins to undergo enormous infrastructure change that will alter it forever. It is the London of this period that editors Roger Parker and Susan Rutherford pinpoint in this book, which chooses one broad musical category--voice--and engages with it through essays on music of the streets, theaters, opera houses, and concert halls; on the raising of voices in religious and sociopolitical contexts; and on the perception of voice in literary works and scientific experiments with acoustics. Emphasizing human subjects, this focus on voice allows the authors to explore the multifaceted issues that shaped London, from the anxiety surrounding the city's importance in the musical world at large to the changing vocal imaginations that permeated the epoch. Capturing the breadth of sonic stimulations and cultures available--and sometimes unavoidable--to residents at the time, London Voices, 1820-1840 sheds new light on music in Britain and the richness of London culture during this period.

From the beginning of her career in 1935 to her death in 1963 and right up to the present, Edith Piaf has been recognized as unique and iconic. She is France's most celebrated and mythified singing star across the world. Recital 1961 explores her most important album: the live recording of her comeback concert at the Paris Olympia on 29 December 1960, which unveiled her keynote song, 'Non je ne regrette rien' (No Regrets). It examines the content, context and significance of the concert in relation to Piaf's career, her life and her celebrity. What was so special about the performance and why did the ecstatic audiences, that night and at the subsequent performances in 1961, find it so powerful and moving? The book dissects the live show, the album and the songs that feature on it, and at a deeper level their place in the invention of the public Piaf we know today - asking why, more than a century after her birth and 60 years after her death, we still remember her, listen to her and commemorate her around the world.

What do such artists as Bob Marley, Fela Anikulapo Kuti, Nina Simone, and Sun Ra have in common? All created uniquely powerful musical art that had a profound effect on their audiences. Through their music and their lives they became forces for liberation, challenging the established order and inspiring people around the world to look at life in new ways. So great was their originality that to a large extent they created their own musical genres, and listeners claim the music leads them to a higher state of being.

"Great Spirits: Portraits of Life-Changing World Music Artists" presents personal encounters with some of the most interesting and important musical artists of the past fifty years--Bob Marley, Fela Anikulapo Kuti, Nina Simone, Sun Ra, Augustus Pablo, the Neville Brothers, Yabby You, and Nadia Gamal. Based on the author's meetings and interviews with these giants, the pieces reveal the unique essence of each musician as a person, as an artist, and as a force for social change. Spanning the realms of jazz, blues, reggae, gospel, African, and Middle Eastern music, these artists epitomize musical creation at its highest level.

Clark has masterfully collected thirteen essays that discuss the various aspects of Tex Mex, Central American and Latin American music. In this essential book, significantly musical personalities, including Carmen Miranda and Bob Marley, are discussed. Vast in scope, the contributors engage with divergent musical styles from Latin dance crazes to the national rock of Argentina.

Situating Salsa offers the first comprehensive consideration of salsa music and its social impact, in its multiple transnational contexts. It consists of thirteen newly commissioned essays and four reprinted essays that explore the diffusion of this popular sound from its Hispanic Caribbean origins to audiences around the world. Drawing upon interviews, field observations, oral histories, personal memoirs, archival resources, and musical analysis, the volume sheds new light on current debates about race and ethnicity, class hierarchy, gender roles, and generational differences.

Clark has masterfully collected thirteen essays that discuss the various aspects of Tex Mex, Central American and Latin American music. In this essential book, significantly musical personalities, including Carmen Miranda and Bob Marley, are discussed. Vast in scope, the contributors engage with divergent musical styles from Latin dance crazes to the national rock of Argentina.

This collection of articles traces the history of Brazilian pop music through the 20th century. It focuses on how traditional Brazilian musical styles have been influenced by international popular music - including jazz, rock, and rap-to form new hybrid styles. For anyone interested in the history and scope of Brazilian music, this volume is a must read.

More than simply a paragon of Brazilian samba, Dona (Lady) Ivone Lara's 1981 Sorriso Negro (translated to Black Smile) is an album deeply embedded in the political and social tensions of its time. Released less than two years after the Brazilian military dictatorship approved the Lei de Anistia (the "Opening" that put Brazil on a path toward democratic governance), Sorriso Negro reflects the seminal shifts occurring within Brazilian society as former exiles reinforced notions of civil rights and feminist thought in a nation under the iron hand of a military dictatorship that had been in place since 1964. By looking at one of the most important samba albums ever recorded (and one that also happened to be authored by a black woman), Mila Burns explores the pathbreaking career of Dona Ivone Lara, tracing the ways in which she navigated the tense gender and race relations of the samba universe to ultimately conquer the masculine world of samba composers. 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.

Popular World Music, Second Edition introduces students to popular music genres and artists from around the world. Andrew Shahriari discusses international music styles familiar to most students-Reggae, Salsa, K-Pop, and more-with a comprehensive listening-oriented introduction to mainstream musical culture. Each chapter focuses on specific music styles and their associated geographic origin, as well as best-known representative artists, such as Bob Marley, Carmen Miranda, ABBA, and Ladysmith Black Mambazo. The text assumes no prior musical knowledge and emphasizes listening as a pathway to learning about music and culture. The subject matter fulfills core, general education requirements found today in the university curriculum. The salient musical and cultural features associated with each example are discussed in detail to increase appreciation of the music, its history, and meaning to its primary audience. NEW to this edition Updates to content to reflect recent developments in resources and popular music trends. Contributing authors in additional areas, including Folk Metal, Chinese Ethnic Minority Rock, and Trinidadian Steel Drum and Soca. "Artist Spotlight" sections highlighting important artists, such as Mary J. Blige, Bob Marley, Tito Puente, Enya, Umm Kulthum and more. "Ad-lib Afterthought" sections and "Questions to Consider" to prompt further discussion of each chapter. Lots of new photos! Updated and additional website materials for students and instructors.

'Maybe it was the best adventure I ever had.' - Manu Chao Colombia, November 1993: A reconstructed old passenger train, bespangled with yellow butterflies, is carrying one hundred musicians, acrobats and artists on a daring adventure through the heart of a country soaked in violence. The intention is to put on free shows for locals at railway stations along the way: vibrant spectacles involving music, trapeze, tattoo-art, an ice museum and, star of the show, Roberto the fire-breathing dragon. Leading this crusade of hope is Manu Chao with his band Mano Negra. Ramon Chao is on board to chronicle the journey. As the train climbs 1,000 kilometres from Santa Marta on the Caribbean Coast to Bogota in the Altiplano, Ramon keeps one eye on the fluctuating morale of the train's eccentric cargo, and the other on the ever-changing physical and social landscape. As the papa of the train, he endures personal discomfort, internal strife, derailments, stowaways, disease, guerrillas and paramilitaries.When the train arrives in Aracataca, the real-life Macondo of One Hundred Years of Solitude, Mano Negra disintegrates, leaving Manu to pick up the pieces with those determined to see this once-in-a-lifetime adventure through to the end. "The Train of Ice and Fire" is a book about hope and dreams in troubled times. It is about a father accompanying his son through an experience which will change his life. But most of all it is about Colombia, the flora, the fauna, the history, the politics and, more than any of that, it is a book about people.