World Music: A Global Journey, Fourth Edition takes students around the world to experience the diversity of musical expression and cultural traditions. It is known for its breadth in surveying the world's major cultures in a systematic study of world music within a strong pedagogical framework. As one would prepare for any journey, each chapter starts with background preparation, reviewing the historical, cultural, and musical overview of the region. Visits to multiple "sites" within a region provide in-depth studies of varied musical traditions. Music analysis begins with an experiential "first impression" of the music, followed by an "aural analysis" of the sound and prominent musical elements. Finally, students are invited to consider the cultural connections that give the music its meaning and life. Fourth Edition features: New sites! Plena from Puerto Rico Chuida from China Gagaku from Japan has returned from the Second Edition New "Inside Look" features spotlight distinguished ethnomusicologists such as Dr. Terence Liu, K.S. Resni, Dr. Sumarsam, Dr. Mick Moloney, Walter Mahovlich, Natalie MacMaster, and Gilbert Velez Addition of DANCE, inseparable to musical expression in some cultures Updates as needed, resulting from various changes in culture, politics, and war New and revised test questions, new photos, and other revised resources The dynamic companion website hosts interactive listening guides plus many student and instructor resources. A set of three CDs is available, either in the hardcover or paperback packages or as a stand-alone purchase. PURCHASING OPTIONS Print Paperback Pack - Book and CD set: 9781138911277 Print Hardback Pack - Book and CD set: 9781138911284 Print Paperback - Book only: 9781138911314 Audio CD: 9781138697805 eBook Pack - eBook and mp3 file: 9781315692791* *For eBook users, please email [email protected] with proof of purchase to obtain access to the mp3 audio compilation. An access code and instructions will be provided. (The mp3 audio compilation is not available for separate sale.)

Darkthrone's A Blaze in the Northern Sky (1992) is a foundational keystone of the musical and aesthetic vision of the notorious Norwegian black metal scene and one of the most beloved albums of the genre. Its mysterious artwork and raw sound continue to captivate and inspire black metal fans and musicians worldwide. This book explores the album in the context of exoticism and musical geography, examining how black metal music has come to conjure images of untamed Nordic wildernesses for fans worldwide. In doing so, it analyzes aspects of musical style and production that created the distinctly "grim" sound of Darkthrone and Norwegian black metal.

After a string of commercial disappointments, in 1986 Australian rock band The Church were simultaneously dropped by Warner Brothers in the US and EMI in Australasia. The future looked bleak. Seemingly from nowhere, their next record, Starfish, became an unlikely global hit. Its alluring and pensive lead single, 'Under the Milky Way', stood in stark contrast to the synth pop and hair metal dominating the 1980s. A high watermark of intelligent rock, Starfish musically anticipated alternative revolutions to come. Yet in making Starfish, The Church struggled with their internal contradictions. Seeking both commercial and artistic success, they were seduced by fame and drugs but cynical towards the music industry. Domiciled in Australia but with a European literary worldview, they relocated to Los Angeles to record under strained circumstances in the heart of the West Coast hit machine. This book traces the story of Starfish, its background, composition, production and reception. To the task, Gibson brings an unusual perspective as both a musician and a geographer. Drawing upon four decades of media coverage as well as fresh interviews between the author and band members, this book delves into the mysteries of this mercurial classic, tracing both its slippery cultural geography and its sumptuous songcraft. Situating Starfish in time and space, Gibson transports the reader to a key album and moment in popular music history when the structure and politics of the record industry was set to forever change.

In Long and Winding Roads: The Evolving Artistry of the Beatles, Revised Edition, Kenneth Womack brings the band's story vividly to life-from their salad days as a Liverpool Skiffle group and their apprenticeship in the nightclubs and mean streets of Hamburg through their early triumphs at the legendary Cavern Club and the massive onslaught of Beatlemania itself. By mapping the group's development as an artistic fusion, Womack traces the Beatles' creative arc from their first, primitive recordings through Abbey Road and the twilight of their career. In this revised edition, Womack addresses new insights in Beatles-related scholarship since the original publication of Long and Winding Roads, along with hundreds of the group's outtakes released in the intervening years. The updated edition also affords attention to the Beatles' musical debt to Rhythm and Blues, as well as to key recent discoveries that vastly shift our understanding of formative events in the band's timeless story.

Music in the Hispanic Caribbean 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.** The Spanish-speaking islands of Cuba, Puerto Rico, and the Dominican Republic make up a relatively small region, but their musical and cultural traditions have had a dramatic, sweeping impact on the world. The first brief, stand-alone volume to explore the music of these three islands, Music in the Hispanic Caribbean provides a vibrant introduction to diverse musical styles including salsa, merengue, reggaeton, plena, Latin jazz, and the bolero. Ethnomusicologist Robin Moore employs three themes in his survey of Hispanic Caribbean music: - The cultural legacy of the slave trade - The creolization of Caribbean musical styles - Diaspora, migration, and movement Each theme lends itself to a discussion of the region's traditional musical genres as well as its more contemporary forms. The author draws on his extensive regional fieldwork, offering accounts of local performances, interviews with key performers, and vivid illustrations. A compelling, comprehensive review, Music in the Hispanic Caribbean is ideal for introductory undergraduate courses in world music or ethnomusicology and for upper-level courses on Caribbean and Latin American music and/or culture. Packaged with a 70-minute CD containing musical examples, the text features numerous listening activities that actively engage students with the music. The companion website (www.oup.com/us/globalmusic) includes supplementary materials for instructors.

In Musicians in Transit Matthew B. Karush examines the transnational careers of seven of the most influential Argentine musicians of the twentieth century: Afro-Argentine swing guitarist Oscar Aleman, jazz saxophonist Gato Barbieri, composer Lalo Schifrin, tango innovator Astor Piazzolla, balada singer Sandro, folksinger Mercedes Sosa, and rock musician Gustavo Santaolalla. As active participants in the globalized music business, these artists interacted with musicians and audiences in the United States, Europe, and Latin America and contended with genre distinctions, marketing conventions, and ethnic stereotypes. By responding creatively to these constraints, they made innovative music that provided Argentines with new ways of understanding their nation's place in the world. Eventually, these musicians produced expressions of Latin identity that reverberated beyond Argentina, including a novel form of pop ballad; an anti-imperialist, revolutionary folk genre; and a style of rock built on a pastiche of Latin American and global genres. A website with links to recordings by each musician accompanies the book.

Hip Hop Africa explores a new generation of Africans who are not only consumers of global musical currents, but also active and creative participants. Eric Charry and an international group of contributors look carefully at youth culture and the explosion of hip hop in Africa, the embrace of other contemporary genres, including reggae, ragga, and gospel music, and the continued vitality of drumming. Covering Senegal, Mali, Cote d'Ivoire, Ghana, Nigeria, Kenya, Tanzania, Malawi, and South Africa, this volume offers unique perspectives on the presence and development of hip hop and other music in Africa and their place in global music culture."

In 1997 the rap group Racionais MCs (the 'Rational' MCs) recorded the album Sobrevivendo no Inferno (Surviving in Hell), subsequently changing the hip-hop scene in Sao Paulo and firmly establishing itself as the point of reference for youth across Brazil. In an era when rappers needed to defend the very idea that their work was indeed music and a time when neighborhoods such as Capao Redondo, from where Racionais frontman Mano Brown hailed, often topped homicide statistics, Sobrevivendo empowered as it provoked. As one journalist noted, "the underworld of Sao Paulo's working-class suburbs is dominated by cheap thrills and provides little space for representation." Sobrevivendo changed all of that; a brutal but invigorating imagination was born. The lure of Sobrevivendo is the particular combination of word and sound that powerfully involves listeners, especially those millions of young Brazilians who live in the neighborhoods on the periphery of Brazil's megacities. This book celebrates the 25-year anniversary of Sobrevivendo by representing the album's power not only within the hip-hop community but also in other cultural domains such as cinema and literature. The author also provides his own narrative spins on the sentiment of Sobrevivendo, thus making the book a creative mix of cultural analysis and inspired testimony.

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.

Music in North India is a volume in the Global Music Series, edited by Bonnie Wade and Patricia Campbell. This volume, appropriate for use in undergraduate, introductory courses on world music or ethnomusicology, introduces the musical traditions of North India. Through the vivid eyewitness accounts of performances and retelling of conversations with performers, this volume not only describes the form, structure, and expression of North Indian music, but also illuminates its pronounced religious and cultural significance.

!Canta Conmigo! is a practical guide for music educators looking to teach music from Central America. Suitable for use in families, schools, or community centers, this resource contains a playful collection of 90 songs, singing games, chants, and games author Rachel Gibson learned from teachers, children, and families while living in several communities in both countries. While the majority of the songs are in Spanish, the book also includes a few in a Mayan language, Kaqchikel. A comprehensive companion website offers field video, audio recordings, and select song histories to help readers witness the music in authentic contexts. Ethnographic descriptions of locations where songs were learned and personal biographies written by the singers in Kaqchikel or Spanish and translated to English allow the reader to develop a connection to the land and the musicians. Culturally responsive and sustaining teaching pedagogies are discussed alongside strategies to responsibly include the music into school curriculums. A brief history of Central America and an overview of music genres in the region are included to frame this song collection within historic, cultural, and musical contexts. !Ven a cantar y jugar! Come sing and play!

Authors Terry E. Miller and Andrew Shahriari take students around the world to experience the diversity of musical expression. World Music: A Global Journey, now in its third edition, is known for its breadth in surveying the world's major cultures in a systematic study of world music within a strong pedagogical framework. As one prepares for any travel, each chapter starts with background preparation, reviewing the historical, cultural, and musical overview of the region. Visits to multiple `sites' within a region provide in-depth studies of varied musical traditions. Music analysis begins with an experimental "first impression" of the music, followed by an "aural analysis" of the sound and prominent musical elements. Finally, students are invited to consider the cultural connections that give the music its meaning and life.

This volume provides a transnational study of the impact of musical cultures in the Eastern Baltics-Lithuania, Latvia, Poland, and Russia-at the end of the Cold War and in the early post-Communist period. Throughout the book, the contributors explore and conceptualize transnational musical collaboration and the diffusion of information, people, and ideas focusing on musical activity which shaped the moral and artistic outlook of several generations. The volume sheds light on the transformative power of politically and socially engaged music and offers a deeper understanding of the artistic potential of societies and its impact on social and political change.

The Gurindji people of the Northern Territory are best known for their walk-off of Wave Hill Station in 1966, protesting against mistreatment by the station managers. The strike would become the first major victory of the Indigenous land rights movement. Many discussions of station life are focused on the harsh treatment of Aboriginal workers. Songs from the Stations describes another side of life on Wave Hill Station. Among the harsh conditions and decades of mistreatment, an eclectic ceremonial life flourished during the first half of the 20th century. Constant travel between cattle stations by Aboriginal workers across north-western and central Australia meant that Wave Hill Station became a crossroad of desert and Top End musical styles. As a result, the Gurindji people learnt songs from the Mudburra who came further east, the Bilinarra from the north, Western Desert speakers from the west, and the Warlpiri from the south. This book is the first detailed documentation of wajarra, public songs performed by the Gurindji people. Featuring five song sets known as Laka, Mintiwarra, Kamul, Juntara, and Freedom Day, it is an exploration of the cultural exchange between Indigenous communities that was fostered by their involvement in the pastoral industry.Songs from the Stations presents musical and textual analysis of the five sets of wajarra songs below. These five song sets were recorded at Kalkaringi in 1998, 2007, 2015 and 2016, and can be streamed by visiting https://open.sydneyuniversitypress.com.au/songs-stations.html

Want the word on Buffy Sainte-Marie? Looking for the best powwow recordings? Wondering what else Jim Pepper cut besides "Witchi Tai To"? This book will answer those questions and more as it opens up the world of Native American music. In addition to the widely heard sounds of Carlos Nakaias flute, Native music embraces a wide range of forms: country and folk, jazz and swing, reggae and rap. Brian Wright-McLeod, producer/host of Canadaas longest-running Native radio program, has gathered the musicians and their music into this comprehensive reference, an authoritative source for biographies and discographies of hundreds of Native artists. "The Encyclopedia of Native Music" recognizes the multifaceted contributions made by Native recording artists by tracing the history of their commercially released music. It provides an overview of the surprising abundance of recorded Native music while underlining its historical value. With almost 1,800 entries spanning more than 100 years, this book leads readers from early performers of traditional songs like William Horncloud to artists of the new millennium such as Zotigh. Along the way, it includes entries for jazz and blues artists never widely acknowledged for their Native roots--Oscar Pettiford, Mildred Bailey, and Keely Smith--and traces the recording histories of contemporary performers like Rita Coolidge and Jimmy Carl Black, "the Indian of the group" in the original Mothers of Invention. It also includes film soundtracks and compilation albums that have been instrumental in bringing many artists to popular attention. In addition to music, it lists spoken-word recordings, including audio books, comedy, interviews, poetry, and more. With thisunprecedented breadth of coverage and extensively cross-referenced, "The Encyclopedia of Native Music" is an essential guide for enthusiasts and collectors. More than that, it is a gateway to the authentic music of North America--music of the people who have known this land from time immemorial and continue to celebrate it in sound.

When many people think of African music, the first ideas that come to mind are often of rhythm, drums, and dancing. These perceptions are rooted in emblematic African and African-derived genres such as West African drumming, funk, salsa, or samba and, more importantly, essentialized notions about Africa which have been fueled over centuries of contact between the "West," Africa, and the African diaspora. These notions, of course, tend to reduce and often portray Africa and the diaspora as primitive, exotic, and monolithic. In Africanness in Action, author Juan Diego Diaz explores this dynamic through the perspectives of Black musicians in Bahia, Brazil, a site imagined by many as a diasporic epicenter of African survivals and purity. Black musicians from Bahia, Diaz argues, assert Afro-Brazilian identities, promote social change, and critique racial inequality by creatively engaging essentialized tropes about African music and culture. Instead of reproducing these notions, musicians demonstrate agency by strategically emphasizing or downplaying them.

A combination of button accordion and bajo sexto, conjunto originated in the Texas-Mexico borderlands as a popular dance music and became a powerful form of regional identity. Today, listeners and musicians around the world have embraced the genre and the work of conjunto masters like Flaco Jimenez and Mingo Saldivar. Erin E. Bauer follows conjunto from its local origins through three processes of globalization--migration via media, hybridization, and appropriation--that boosted the music's reach. As Bauer shows, conjunto's encounter with globalizing forces raises fundamental questions. What is conjunto stylistically and socioculturally? Does context change how we categorize it? Do we consider the music to be conjunto based on its musical characteristics or due to its performance by Jimenez and other regional players? How do similar local genres like Tejano and norteno relate to ideas of categorization? A rare look at a fascinating musical phenomenon, Flaco's Legacy reveals how conjunto came to encompass new people, places, and styles.

Globetrotters brings together twelve toe-tapping original tunes in styles from around the world-from Arabic to Chinese and from klezmer to the Cuban cha-cha-cha- for the budding saxophonist. This unique book presents a kaleidoscope of musical traditions, with supporting background information and backing tracks that capture each sound-world. To help with technique and interpretation, every piece includes tailored warm-ups and stylistic tips from the authors. With options for saxophone or piano accompaniment, and an inspirational CD, Globetrotters is the ultimate resource for aspiring musicians looking to go travellin' ...

Gamelan and American academic institutions have maintained their close association for more than sixty years. Elizabeth A. Clendinning illuminates what it means to devote one's life to world music ensemble education by examining the career and community surrounding the Balinese-American performer and teacher I Made Lasmawan. Weaving together stories of Indonesian and American practitioners, colleagues, and friends, Clendinning shows the impact of academic world music ensembles on the local and transnational communities devoted to education and the performing arts. While arguing for the importance of such ensembles, Clendinning also spotlights how performers and educators use them to create stable and rewarding artistic communities. Cross-cultural ensemble education emerges as a worthy goal for students and teachers alike, particularly at a time when people around the world express more enthusiasm about raising walls to keep others out rather than building bridges to invite them in.

In Long and Winding Roads: The Evolving Artistry of the Beatles, Revised Edition, Kenneth Womack brings the band's story vividly to life-from their salad days as a Liverpool Skiffle group and their apprenticeship in the nightclubs and mean streets of Hamburg through their early triumphs at the legendary Cavern Club and the massive onslaught of Beatlemania itself. By mapping the group's development as an artistic fusion, Womack traces the Beatles' creative arc from their first, primitive recordings through Abbey Road and the twilight of their career. In this revised edition, Womack addresses new insights in Beatles-related scholarship since the original publication of Long and Winding Roads, along with hundreds of the group's outtakes released in the intervening years. The updated edition also affords attention to the Beatles' musical debt to Rhythm and Blues, as well as to key recent discoveries that vastly shift our understanding of formative events in the band's timeless story.

Manikay are the ancestral songs of Arnhem Land, passed down over generations and shaping relationships between people and the country.Singing Bones foregrounds the voices of manikay singers from Ngukurr in southeastern Arnhem Land and charts their critically acclaimed collaboration with jazz musicians from the Australian Art Orchestra, Crossing Roper Bar. It offers an overview of WAgilak manikay narratives and style, including their social, ceremonial and linguistic aspects, and explores the Crossing Roper Bar project as an example of creative intercultural collaboration and a living continuation of the manikay tradition."Through song, the ancestral past animates the present, moving yolAu (people) to dance. In song, community is established. By song, the past enfolds the present. Today, the unique voices of WAgilak resound over the ancestral ground and water, carried by the songs of old." Audio examples are available at: https://open.sydneyuniversitypress.com.au/singing-bones.html.

As West Africa's oldest form of popular music, Highlife was the soundtrack of the independence era and its influence still resonates widely today. Highlife Giants is an intimate portrait of the pioneering artistes of West Africa's vibrant music scene from the 1920s onwards. It is packed full of inside information from interviews with stars including E.T Mensah, Kofo Ghanaba, Bobby Benson and Ignace De Souza, revealing priceless behind-the-scene moments such as Louis Armstrong giving Eddie Okonta a trumpet with a golden mouthpiece after seeing him perform. Together with an illuminating account of Highlife's instruments, rhythms and influences, Highlife Giants comprehensively charts the development of this rich and varied popular music, which has come to influence contemporary West African music such as Afrobeat and hiplife. Highlife remains crucial in generating social commentary and protest, and contributing to the consolidation of a pan-African musical identity. This book will enthrall readers wishing to delve into the rich musical history of West Africa.

The fifteen essays of Performing History glimpse the diverse ways music historians "do" history, and the diverse ways in which music histories matter. This book's chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that "tell," "enact," or "perform" war histories; operatic works that works that "tell," "enact," or "perform" power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading "between the lines" to access other voices than those provided by mainstream interpretation or traditional musicology.