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.

Experimentalisms in Practice explores the multiple sites in which experimentalism emerges and becomes meaningful beyond Eurocentric interpretative frameworks. Challenging the notion of experimentalism as defined in conventional narratives, contributors take a broad approach to a wide variety of Latin@ and Latin American music traditions conceived or perceived as experimental. The conversation takes as starting point the 1960s, a decade that marks a crucial political and epistemological moment for Latin America; militant and committed aesthetic practices resonated with this moment, resulting in a multiplicity of artistic and musical experimental expressions. Experimentalisms in Practice responds to recent efforts to reframe and reconceptualize the study of experimental music in terms of epistemological perspective and geographic scope, while also engaging traditional scholarship. This book contributes to the current conversations about music experimentalism while providing new points of entry to further reevaluate the field.

Musical Minorities is the first English-language monograph on the performing arts of an ethnic minority in Vietnam. Living primarily in the northern mountains, the Hmong have strategically maintained their cultural distance from foreign invaders and encroaching state agencies for almost two centuries. They use cultural heritage as a means of maintaining a resilient community identity, one which is malleable to their everyday needs and to negotiations among themselves and with others in the vicinity. Case studies of revolutionary songs, countercultural rock, traditional vocal and instrumental styles, tourist shows, animist and Christian rituals, and light pop from the diaspora illustrate the diversity of their creative outputs. This groundbreaking study reveals how performing arts shape understandings of ethnicity and nationality in contemporary Vietnam. Based on three years of fieldwork, Lonan O Briain traces the circulation of organized sounds that contribute to the adaptive capacities of this diverse social group. In an original investigation of the sonic materialization of social identity, the book outlines the full multiplicity of Hmong music-making through a fascinating account of music, minorities, and the state in a post-socialist context.

Music in Trinidad: Carnival 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, is an overview of the musical traditions of Trinidad, particularly Carnival. In describing the musical conventions, modes of performance, and social dynamics of Trinidadian music, this text places the music of Carnival within the context of Trinidad's rich history and culture.

A very extensive all-in-one reference, primer, history and songbook for a variety of music. Percussion diagrams. Latin & Caribbean ensemble tips & improvisation techniques. Helpful arrangements of important songs by Mozart, Handel, Bellini, St. Georges, Lecuona, Bizet, Vivaldi, Schubert & many more Level: Beginner to very advanced

This Is A New Release Of The Original 1859 Edition.

Reggae and Dancehall music and culture have travelled far beyond the shores of the tiny island of Jamaica to find their respective places as new genres of music and lifestyle. In Reggae from Yaad, Donna Hope pulls together a remarkable cast of contributors offering contemporary interpretations of the history, culture, significance and social dynamics of Jamaican Popular Music from varying geographical and disciplinary locations. From Alan 'Skill' Cole's lively and frank account of the Bob Marley he knew and David Katz's conversation with veteran music producers Bunny 'Striker' Lee, King Jammy and Bobby Digital; to Heather Augustyn and Shara Rambarran who both explore the role of music in the relationship between Britain and Jamaica in the post-independence 1960s, the contributors bring a new dimension to the discussion on the impact of Jamaican music. Drawn from a selection of presentations at the 2013 International Reggae Conference in Kingston, Jamaica, Reggae from Yaad continues the ever-evolving discourse on the meaning behind the music and the cultural and social developments that inform Jamaican Popular Music. Contributors: Heather Augustyn - Winston C. Campbell - Alan 'Skill' Cole - Brent Hagerman - Patrick Helber - Donna P. Hope - David Katz - Anna Kasafi Perkins - Shara Rambarran - Jose Luis Fanjul Rivero - Livingston A. White

Revival movements aim to revitalize traditions perceived as threatened or moribund by adapting them to new temporal, spatial, and social contexts. While many of these movements have been well-documented in Western Europe and North America,those occurring and recurring elsewhere in the world have received little or no attention. Particularly under-analyzed are the aftermaths of revivals: the new infrastructures, musical styles, performance practices, subcultural communities, and value systems that grow out of these movements. The Oxford Handbook of Music Revival fills this gap, and helps us achieve a deeper understanding of how and why musical pasts are reimagined and transfigured in modern-day postindustrial, postcolonial, and postwar contexts. The book's thirty chapters present innovative theoretical perspectives illustrated through new ethnographic case studies on diverse music and dance cultures around the world. Together these essays reveal the potency of acts of revival, resurgence, restoration, and renewal in shaping musical landscapes and transforming social experience. The book makes a powerful argument for the untapped potential of revival as a productive analytical tool in contemporary, global contexts. With its detailed treatment of authenticity, recontextualization, transmission, institutionalization, globalization, the significance of history, and other key concerns, the collection engages with critical issues far beyond the field of revival studies and is crucial for understanding contemporary manifestations of folk, traditional, and heritage music in today's postmodern cosmopolitan societies.

In the summer of 1972, during a compulsory stint in the South African military, Stephen 'Sugar' Segerman heard the music that would forever change his life. A decade later, on yet another military base, Craig Bartholomew Strydom heard the same music. It would have a profound effect. Who was this folk singer who resonated with South Africa's youth? No one could say. All that anyone knew was his name - Rodriguez - and the fact that he had killed himself on stage after reading his own epitaph. After many years of searching in a pre-internet age, Strydom with support from Segerman found the musician not dead but alive and living in seclusion in Detroit. Even more remarkable was the fact that Rodriguez, no longer working as a musician and struggling to eke out a blue-collar existence, had no idea that he had been famous for over 25 years in a remote part of the world...

The pulsating and seductive rhythms that make up Jamaican popular music extend far beyond reggae; and recently, a greater appreciation has emerged for the island's rich musical heritage and international impact. From ska, rocksteady and reggae to dancehall and dub, Jamaican popular music has made significant contributions to international pop culture. In The Creative Echo Chamber, Dennis Howard explores the unique nature of popular music production in Jamaica, which, though successful, runs counter to the models of the music industry in the developed world. The influence of the sound system in particular, the dynamics of intellectual property rights and value chain logic which are peculiar to the Jamaican music industry are part and parcel of the structures, production modes and business models which have led to hybridity, and unparalleled innovation. Using his background as an academic as well as a 30-year veteran in the media and entertainment industries, Howard, a Grammy-nominated producer brings fresh insight and perspective to the distinctive nature of Jamaican popular music.

A very extensive all-in-one reference, primer, history and songbook for a variety of music. Percussion diagrams. Latin & Caribbean ensemble tips & improvisation techniques. Helpful arrangements of important songs by Mozart, Handel, Bellini, St. Georges, Lecuona, Bizet, Vivaldi, Schubert and many more

This Is A New Release Of The Original 1859 Edition.

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.

World Music: A Global Journey, Concise Edition is an ideal introduction to 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. Based on the comprehensive third edition, this concise version offers a brief survey of the world's musical culture 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 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. Features A brief survey of the world's musical cultures 43 sites carefully selected for a global balance A 2-CD set of music, a fundamental resource for students to begin their exploration of world music and culture Listening Guides analyzing various pieces of music, with selected examples presented in an interactive format online Popular music incorporated with the traditional The dynamic companion website hosts interactive listening guides, plus many student resources including video, flashcards, practice quizzes, and links to further resources. Instructor resources include assignment ideas, handouts, PowerPoint slides, and a test bank.

Africa In Stereo examines the role that African American music has played in the pan-Africanist imagination since the end of the nineteenth century. Throughout, Jaji marshals a wide array of critical, archival, literary, visual, and sonic sources to craft an argument centered on the stereophonic echoes between three sites on the African continent emblematic of pan-Africanism (Ghana, Senegal, and South Africa) and black musical cultures in the US (as well as few other places on the diasporic landscape). Rather than take a purely musical tack that traces the influence of African American music on musical repertoires from Ghana, Senegal, and South Africa, Africa In Stereo beautifully shows how a US black popular musical genres inspired a host of writers and filmmakers such as Ousmane Sembene, John Akomfrah, Sol Plaatje, Leopold Senghor, K. Anyidoho, Charlotte Maxeke, Ken Bugul, as well as the glossy visual languages found in the early magazines Bingo (Senegal) and Zonk! (South Africa).

Travel the globe with your fingertips -- through 14 unique guitar scales from around the world -- an entertaining look at unusual exotic scale sounds you may not have played before. In addition to the fourteen different scales, the book also provides chords derived from those scales, and riffs and licks that will keep you learning and challenged about many countries' musical styles. The book includes the history (with color photos) of each country's distinct musical instruments and unique sounds -- along with numerous music examples, standard guitar notation and tablature, and strange, exotic scales, licks and riffs that are literally Out-Of-This-World.

"Listening in Detail" is an original and impassioned take on the intellectual and sensory bounty of Cuban music as it circulates between the island, the United States, and other locations. It is also a powerful critique of efforts to define "Cuban music" for ethnographic examination or market consumption. Contending that the music is not a knowable entity but a spectrum of dynamic practices that elude definition, Alexandra T. Vazquez models a new way of writing about music and the meanings assigned to it. "Listening in detail" is a method invested in opening up, rather than pinning down, experiences of Cuban music. Critiques of imperialism, nationalism, race, and gender emerge in fragments and moments, and in gestures and sounds through Vazquez's engagement with Alfredo Rodriguez's album "Cuba Linda" (1996), the seventy-year career of the vocalist Graciela Perez, the signature grunt of the "Mambo King" Damaso Perez Prado, Cuban music documentaries of the 1960s, and late-twentieth-century concert ephemera.

"Listening in Detail" is an original and impassioned take on the intellectual and sensory bounty of Cuban music as it circulates between the island, the United States, and other locations. It is also a powerful critique of efforts to define "Cuban music" for ethnographic examination or market consumption. Contending that the music is not a knowable entity but a spectrum of dynamic practices that elude definition, Alexandra T. Vazquez models a new way of writing about music and the meanings assigned to it. "Listening in detail" is a method invested in opening up, rather than pinning down, experiences of Cuban music. Critiques of imperialism, nationalism, race, and gender emerge in fragments and moments, and in gestures and sounds through Vazquez's engagement with Alfredo Rodriguez's album "Cuba Linda" (1996), the seventy-year career of the vocalist Graciela Perez, the signature grunt of the "Mambo King" Damaso Perez Prado, Cuban music documentaries of the 1960s, and late-twentieth-century concert ephemera.