The Music of the Netherlands Antilles: Why Eleven Antilleans Knelt before Chopin's Heart is not your usual musical scholarship. In October 1999, eleven Antilleans attended the service held to commemorate the 150th anniversary of Frederic Chopin's death. This service, held in the Warsaw church where the composer's heart is kept in an urn, was an opportunity for these Antilleans to express their debt of gratitude to Chopin, whose influence is central to Antillean music history. Press coverage of this event caused Dutch novelist and author Jan Brokken to start writing this book, based on notes he took while living on Curacao from 1993 to 2002. Anyone hoping to discover an overlooked chapter of Caribbean music and music history will be amply rewarded with this Dutch-Caribbean perspective on the pan-Caribbean process of creolization. On Curacao, the history and legacy of slavery shaped culture and music, affecting all of the New World. Brokken's portraits of prominent Dutch Antillean composers are interspersed with cultural and music history. He puts the Dutch Caribbean's contributions into a broader context by also examining the nineteenth-century works by pianist Louis Moreau Gottschalk from New Orleans and Manuel Saumell from Cuba. Brokken explores the African component of Dutch Antillean music-examining the history of the rhythm and music known as tambu as well as American jazz pianist Chick Corea's fascination with the tumba rhythm from Curacao. The book ends with a discussion of how recent Dutch Caribbean adaptations of European dance forms have shifted from a classical approach to contemporary forms of Latin jazz.

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.

Kylie Minogue's self-titled debut album produced hits, controversy and a perfect mainstream storm. The then soap and children's television star 'crossed over' to music with hit writer/producers SAW - and the shamelessly commercial approach of all involved saw the 'real' music industry get its back up. This book interrogates the way that commercial pop albums are remembered in both the popular music press and in academic research. Is there a way of dealing with 'mainstream' pop without denigrating the music and (just as importantly) without validating it according to the terms of a 'high art' canon? This text sheds light on the way that notions of 'mainstream' and 'other' play out in a local context-specifically, Australia and New Zealand music on a global stage.

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.

Tracing Tangueros offers an inside view of Argentine tango music in the context of the growth and development of the art form's instrumental and stylistic innovations. Rather than perpetuating the glamorous worldwide conceptions that often only reflect the tango that left Argentina nearly 100 years ago, authors Kacey Link and Kristin Wendland trace tango's historical and stylistic musical trajectory in Argentina, beginning with the guardia nueva's crystallization of the genre in the 1920s, moving through tango's Golden Age (1925-1955), and culminating with the "Music of Buenos Aires" today. Through the transmission, discussion, examination, and analysis of primary sources currently unavailable outside of Argentina, including scores, manuals of style, archival audio/video recordings, and live video footage of performances and demonstrations, Link and Wendland frame and define Argentine tango music as a distinct expression possessing its own musical legacy and characteristic musical elements. Beginning by establishing a broad framework of the tango art form, the book proceeds to move through twelve in-depth profiles of representative tangueros (tango musicians) within the genre's historical and stylistic trajectory. Through this focused examination of tangueros and their music, Link and Wendland show how the dynamic Argentine tango grows from one tanguero linked to another, and how the composition techniques and performance practices of each generation are informed by that of the past.

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.

Throughout Brazil, Afro-Brazilians face widespread racial prejudice. Many turn to religion, with Afro-Brazilians disproportionately represented among Protestants, the fastest-growing religious group in the country. Officially, Brazilian Protestants do not involve themselves in racial politics. Behind the scenes, however, the community is deeply involved in the formation of different kinds of blackness-and its engagement in racial politics is rooted in the major new cultural movement of black music. In this highly original account, anthropologist John Burdick explores the complex ideas about race, racism, and racial identity that have grown up among Afro-Brazilians in the black music scene. By immersing himself for nearly a year in the vibrant worlds of black gospel, gospel rap, and gospel samba, Burdick pushes our understanding of racial identity and the social effects of music in new directions. Delving into the everyday music-making practices of these scenes, Burdick shows how the creative process itself shapes how Afro-Brazilian artists experience and understand their racial identities. This deeply detailed, engaging portrait challenges much of what we thought we knew about Brazil's Protestants,provoking us to think in new ways about their role in their country's struggle to combat racism.

"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.

Analytical and Cross-Cultural Studies in World Music presents intriguing explanations of extraordinary musical creations from diverse cultures across the world. All the authors are experts, deeply engaged in the traditions they describe. They recount the contexts in which the music is created and performed, and then hone in on elucidating how the music works as sound in process. Accompanying the explanatory prose is a wealth of diagrams, transcriptions, recordings, and (online) multimedia presentations, all intended to convey the richness, beauty, and ingenuity of their subjects. The music ranges across geography and cultures--court music of Japan and medieval Europe, pagode song from Brazil, solos by the jazz pianist Thelonius Monk and by the sitar master Budhaditya Mukherjee, form-and-timbre improvisations of a Boston sound collective, South Korean folk drumming, and the ceremonial music of indigenous cultures in North American and Australia--much of which has never been so thoroughly analyzed before. Thus the essays diversify and expand the scope of this book's companion volume, Analytical Studies in World Music, to all inhabited continents and many of its greatest musical traditions. An introduction and an afterword point out common analytical approaches, and present a new way to classify music according to its temporal organization. Two special chapters consider the juxtaposition of music from different cultures: of world music traditions and popular music genres, and of Balinese music and European Art music, raising provocative questions about the musical encounters and fusions of today's interconnected world. For everyone listening in wonderment to the richness of world music, whether listener, creator, or performer, this book will be an invaluable resource and a fount of inspiration.

Sin Documentos is a landmark album in Spanish popular culture and continues to maintain considerable popularity more than two decades after its release. The characteristic guitar riff of the title song, a kind of rumba-rock, still occupies a place at every party in Spain. Los Rodriguez's success came after a decade characterized by the rise and fall of local-language punk and new wave bands. By the time Sin Documentos appeared, however, rock journalism was fascinated by the thriving indie scene, where the bands were singing in English and had turned to grunge and noise rock. This book evaluates the influence of Latin American pop-rock in the modernization of Spanish popular music from the 1950s, despite the Anglophilia of Spanish rock scenes, especially in the 1990s. Through interviews with members of the band and members of the record label DRO, analysis of the media coverage of the album and a cultural analysis of its meanings, it delves into the cultural trends of Spain throughout the 1990s and beyond.

This book explores an album of popular music with a remarkable significance to a violent wave of postcolonial tensions in the Netherlands in the 1970s. Several "actions" were claimed by a small number of first-generation descendants of ca. 12,500 reluctant migrants from the young independent state of Indonesia (former Dutch East Indies). Transferred in 1951, this culturally coherent group consisted of ex-Royal Dutch Colonial Army personnel and their families. Their ancient roots in the Moluccan archipelago and their protestant-christian faith defined their minority image. Their sojourn should have been temporary, but frustratingly turned out to be permanent. At the height of strained relations, Massada rose to the occasion. Astaganaga (1978) is a telling example of the will to negotiate a different diasporic Moluccan identity through uplifting contemporary sounds.

Initially branching out of the European contradance tradition, the danzon first emerged as a distinct form of music and dance among black performers in nineteenth-century Cuba. By the early twentieth-century, it had exploded in popularity throughout the Gulf of Mexico and Caribbean basin. A fundamentally hybrid music and dance complex, it reflects the fusion of European and African elements and had a strong influence on the development of later Latin dance traditions as well as early jazz in New Orleans. Danzon: Circum-Caribbean Dialogues in Music and Dance studies the emergence, hemisphere-wide influence, and historical and contemporary significance of this music and dance phenomenon.
Co-authors Alejandro L. Madrid and Robin D. Moore take an ethnomusicological, historical, and critical approach to the processes of appropriation of the danzon in new contexts, its changing meanings over time, and its relationship to other musical forms. Delving into its long history of controversial popularization, stylistic development, glorification, decay, and rebirth in a continuous transnational dialogue between Cuba and Mexico as well as New Orleans, the authors explore the production, consumption, and transformation of this Afro-diasporic performance complex in relation to global and local ideological discourses. By focusing on interactions across this entire region as well as specific local scenes, Madrid and Moore underscore the extent of cultural movement and exchange within the Americas during the late nineteenth and early twentieth-centuries, and are thereby able to analyze the danzon, the dance scenes it has generated, and the various discourses of identification surrounding it as elements in broader regional processes. Danzon is a significant addition to the literature on Latin American music, dance, and expressive culture; it is essential reading for scholars, students, and fans of this music alike."

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.

Iannis Xenakis' Persepolis stood as witness to one of the most important events in modern human history, the Iranian Revolution in 1979. Its existence is owed to an invitation to participate in the 1971 Shiraz Arts Festival, which was overseen by Empress Farah Pahlavi. Like the Festival, and the extravagant celebratory party held the same year, Xenakis' symbolic paean to Persian history was polarizing. Many loved it, others detested it. Overwhelming but also subtle and precise in its non-harmonic shifts in texture and density, listeners and critics simply did not know what to make of it. This book tells the story of Xenakis' early history and involvement in the Resistance against the Axis occupation of Greece during the Second World War, escape and re-settlement in Paris, work as an architect with Le Corbusier, and distinct views on world history and politics that all led to his 1972 electro-acoustic album Persepolis.

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.

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.

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.

How did Korea with a relatively small-scale music industry come to create a vibrant pop culture scene that would enthrall not only young Asian fans but also global audiences from diverse racial and generational backgrounds? From idol training to fan engagement, from studio recording to mastering choreographic sequences, what are the steps that go into the actual production and promotion of K-pop? And how can we account for K-pop's global presence within the rapidly changing media environment and consumerist culture in the new millennium? As an informed guide for finding answers to these questions, The Cambridge Companion to K-Pop probes the complexities of K-pop as both a music industry and a transnational cultural scene. It investigates the meteoric ascent of K-pop against the backdrop of increasing global connectivity wherein a distinctive model of production and consumption is closely associated with creativity and futurity.

The Poetry and Music of Joaquin Sabina: An Angel with Black Wings is a thoroughly researched exploration of the life, music, and song lyrics of the celebrated Spanish singer-songwriter Joaquin Sabina. Often called "the Spanish Dylan," Sabina has established his own highly poetic space over the course of his forty-plus years as a recording artist. Using selected song lyrics from his fifteen studio and three major live albums, Daniel J. Nappo analyzes Sabina's use of antithesis, simile, metaphor, synesthesia, rhyme, and other rhetorical and poetic devices. Nappo also devotes a chapter to Sabina's ability as a narrator and concludes the book with a comparison of Sabina's best work with that of the American singer-songwriter and Nobel laureate, Bob Dylan.

Many regard jazz as the soundtrack of America, born and raised in its cities and echoing throughout its tumultuous century of progress. So when Ernest Hemingway wrote about seeing jazz in 1920s Paris, and when British colonial officials danced to jazz in the clubs of Calcutta in the waning years of the Raj, how, exactly, had it gotten there? Jazz Worlds/World Jazz aims to answer these questions and more, bringing together voices from countries as far flung as Azerbaijan, Armenia, and India to show that the story of jazz is not trapped in American history books but alive in global modernity. Monumental in scope, this book explores the relationship between jazz and culture and how they influence each other across a range of themes and settings. Contributors offer an analysis of the social meaning of jazz in Iran, a look at the genesis of Ethiopian jazz and at Indian fusion, and chapters on jazz diplomacy, Balkan swing, and that French export par excellence: Django Reinhardt. Altogether the contributors approach jazz--in these global iterations--through the themes that have always characterized it at home: place, history, mobility, media, and race. The result is a first-of-its-kind map of jazz around the globe that pays tribute to the players who have given the form its seemingly infinite possibilities.

The diverse musics of the Caribbean form a vital part of the identity of individual island nations and their diasporic communities. At the same time, they witness to collective continuities and the interrelatedness that underlies the region's multi-layered complexity. This Companion introduces familiar and less familiar music practices from different nations, from reggae, calypso and salsa to tambu, meringue and soca. Its multidisciplinary, thematic approach reveals how the music was shaped by strategies of resistance and accommodation during the colonial past and how it has developed in the postcolonial present. The book encourages a comparative and syncretic approach to studying the Caribbean, one that acknowledges its patchwork of fragmented, dynamic, plural and fluid differences. It is an innovative resource for scholars and students of Caribbean musical culture, particularly those seeking a decolonising perspective on the subject.

"This volume epitomizes Jost Hermand's inimitable talent of synthesizing wide-ranging disciplines in an accessible and compelling style, bringing to life the experiences of musicians and their public in the context of their own times. These essays also give us a glimpse into how his own life experiences created the hunger for culture that defined his long and illustrious career." (Pamela M. Potter, Professor of German and Musicology, University of Wisconsin-Madison) "Jost Hermand's final book is an enormously rich gift to posterity. The fifteen essays on musical culture that constitute this collection contain brief but illuminating glimpses of the whole glorious parade of serious music and those who composed, cultivated, and commented on it in the German lands, from Buxtehude to Stockhausen and beyond. His insight and well-observed contextualization reveals a lifetime of scholarship and experience." (Celia Applegate, Professor of History, Vanderbilt University) In contrast to the writings of many other musicologists, this book is not primarily concerned with the biographies of certain composers or a structural analysis of their major compositions, but rather with the stands they took in the ideological struggles during their lifetimes and how these affected some of their most important works. Beginning with the late seventeenth century, special emphasis is thereby given to Pietism, orthodox Lutheranism, the impact of the French Revolution, the restrictive measures of the Metternich period, the Wilhelminian era, Expressionism, the New Objectivity and the materialist aesthetics of the Weimar Republic, fascism, exile and the modernism of the early Federal Republic of Germany.

Polyphonic Revolution focuses on the cultural debate within the left during the Popular Unity government in Chile (1970-73).Seeking to map such a debate to situate the discourses and artistic productions linked to the Chilean New Song movement, this book demonstrates that musicians were part of the committed intelligentsia. They actively participated in the discussion and proposal of ways to integrate culture in the revolutionary process, playing an important political and cultural role. Analysis is based on the government-friendly press and records released between 1970 and 1973; thus verifying how the main trends observed in the cultural debate were expressed in the movement, the extent to which the positions defended by the musicians have been in tune with governmental purposes, and how they influenced the cultural policies debated and pursued by Popular Unity. Scholars of Latin American studies, cultural studies, and music will find this book particularly interesting.

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.