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Books > Music > Contemporary popular music > Rock & pop > World music
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.
New York City has long been a generative nexus for the
transnational Latin music scene. Currently, there is no other place
in the Americas where such large numbers of people from throughout
the Caribbean come together to make music. In this book, Benjamin
Lapidus seeks to recognize all of those musicians under one mighty
musical sound, especially those who have historically gone
unnoticed. Based on archival research, oral histories, interviews,
and musicological analysis, Lapidus examines how interethnic
collaboration among musicians, composers, dancers, instrument
builders, and music teachers in New York City set a standard for
the study, creation, performance, and innovation of Latin music.
Musicians specializing in Spanish Caribbean music in New York
cultivated a sound that was grounded in tradition, including
classical, jazz, and Spanish Caribbean folkloric music. For the
first time, Lapidus studies this sound in detail and in its
context. He offers a fresh understanding of how musicians made and
formally transmitted Spanish Caribbean popular music in New York
City from 1940 to 1990. Without diminishing the historical facts of
segregation and racism the musicians experienced, Lapidus treats
music as a unifying force. By giving recognition to those musicians
who helped bridge the gap between cultural and musical backgrounds,
he recognizes the impact of entire ethnic groups who helped change
music in New York. The study of these individual musicians through
interviews and musical transcriptions helps to characterize the
specific and identifiable New York City Latin music aesthetic that
has come to be emulated internationally.
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.
New York City has long been a generative nexus for the
transnational Latin music scene. Currently, there is no other place
in the Americas where such large numbers of people from throughout
the Caribbean come together to make music. In this book, Benjamin
Lapidus seeks to recognize all of those musicians under one mighty
musical sound, especially those who have historically gone
unnoticed. Based on archival research, oral histories, interviews,
and musicological analysis, Lapidus examines how interethnic
collaboration among musicians, composers, dancers, instrument
builders, and music teachers in New York City set a standard for
the study, creation, performance, and innovation of Latin music.
Musicians specializing in Spanish Caribbean music in New York
cultivated a sound that was grounded in tradition, including
classical, jazz, and Spanish Caribbean folkloric music. For the
first time, Lapidus studies this sound in detail and in its
context. He offers a fresh understanding of how musicians made and
formally transmitted Spanish Caribbean popular music in New York
City from 1940 to 1990. Without diminishing the historical facts of
segregation and racism the musicians experienced, Lapidus treats
music as a unifying force. By giving recognition to those musicians
who helped bridge the gap between cultural and musical backgrounds,
he recognizes the impact of entire ethnic groups who helped change
music in New York. The study of these individual musicians through
interviews and musical transcriptions helps to characterize the
specific and identifiable New York City Latin music aesthetic that
has come to be emulated internationally.
Should we talk of European jazz or jazz in Europe? What kinds of
networks link those who make it happen 'on the ground'? What
challenges do they have to face? Jazz is a part of the cultural
fabric of many of the European countries. Jazz in Europe:
Networking and Negotiating Identities presents jazz in Europe as a
complex arena, where the very notions of cultural identity, jazz
practices and Europe are continually being negotiated against an
ever changing social, cultural, political and economic environment.
The book gives voice to musicians, promoters, festival directors,
educators and researchers regarding the challenges they are faced
with in their everyday practices. Jazz identities in Europe result
from the negotiation between discourse and practice and in the
interstices between the formal and informal networks that support
them, as if 'Jazz' and 'Europe' were blank canvases where
diversified notions of what jazz and Europe should or could be are
projected.
To witness war is, in large part, to hear it. And to survive it is,
among other things, to have listened to it-and to have listened
through it. Listening to War: Sound, Music, Trauma, and Survival in
Wartime Iraq is a groundbreaking study of the centrality of
listening to the experience of modern warfare. Based on years of
ethnographic interviews with U.S. military service members and
Iraqi civilians, as well as on direct observations of wartime Iraq,
author J. Martin Daughtry reveals how these populations learned to
extract valuable information from the ambient soundscape while
struggling with the deleterious effects that it produced in their
ears, throughout their bodies, and in their psyches. Daughtry
examines the dual-edged nature of sound-its potency as a source of
information and a source of trauma-within a sophisticated
conceptual frame that highlights the affective power of sound and
the vulnerability and agency of individual auditors. By theorizing
violence through the prism of sound and sound through the prism of
violence, Daughtry provides a productive new vantage point for
examining these strangely conjoined phenomena. Two chapters
dedicated to wartime music in Iraqi and U.S. military contexts show
how music was both an important instrument of the military campaign
and the victim of a multitude of violent acts throughout the war. A
landmark work within the study of conflict, sound studies, and
ethnomusicology, Listening to War will expand your understanding of
the experience of armed violence, and the experience of sound more
generally. At the same time, it provides a discrete window into the
lives of individual Iraqis and Americans struggling to orient
themselves within the fog of war.
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.
The term 'world music' encompasses both folk and popular music
across the globe, as well as the sounds of cultural encounter and
diversity, sacred voices raised in worship, local sounds, and
universal values. It emerged as an invention of the West from
encounters with other cultures, and holds the power to evoke the
exotic and give voice to the voiceless. Today, in both sound and
material it has a greater presence in human societies than ever
before. The politics of which world music are a part -
globalization, cosmopolitanism, and nationalism - play an
increasingly direct role in societies throughout the world, but are
at the same time also becoming increasingly controversial. In this
new edition of his Very Short Introduction, Philip Bohlman
considers questions of meaning and technology in world music, and
responds to the dramatically changing political world in which
people produce and listen to world music. He also addresses the
different ways in which world music is created, disseminated, and
consumed, as the full reach of the internet and technologies that
store and spread music through the exchange of data files spark a
revolution in the production and availability of world music.
Finally, Bohlman revises the way we think of the musician, as an
increasingly mobile individual, sometimes because physical borders
have fallen away, at other times because they are closing. ABOUT
THE SERIES: The Very Short Introductions series from Oxford
University Press contains hundreds of titles in almost every
subject area. These pocket-sized books are the perfect way to get
ahead in a new subject quickly. Our expert authors combine facts,
analysis, perspective, new ideas, and enthusiasm to make
interesting and challenging topics highly readable.
Through a transnational, comparative and multi-level approach to
the relationship between youth, migration, and music, the aesthetic
intersections between the local and the global, and between agency
and identity, are presented through case studies in this book.
Transglobal Sounds contemplates migrant youth and the impact of
music in diaspora settings and on the lives of individuals and
collectives, engaging with broader questions of how new modes of
identification are born out of the social, cultural, historical and
political interfaces between youth, migration and music. Thus,
through acts of mobility and environments lived in and in-between,
this volume seeks to articulate between musical transnationalism
and sense of place in exploring the complex relationship between
music and young migrants and migrant descendant's everyday lives.
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