"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.

Includes many beautifully prepared scores, extensive music glossaries, classical scores made easy and step by step Afro-Latin / Caribbean percussion. Scores Included: Twinkle Twinkle Little Star / Baa Baa Black Sheep / ABCs Form Figure #1 Resolmilafatimila elegant sequence circle of 5ths World Music Mastery for playing with anyone Standard 1-4-5 progressions, beginner to advanced Bars 30-32 of Praelude #1 by J.S. Bach - study of Seventh Suspended chords Latin Piano (Montuno) 101: "La Bamba" C I-IV-V-IV major and minor (with I-ii-V-ii variation) Satin Doll by Duke Ellington with 7th chords spelled out on the bass clef Montuno Etude #0, Montuno Circles Makes Blues Scale, Shekere pattern as piano montuno Yoruba Diasporas, Rumba Parts translated into Melodic Phrases Calypso Study in Soca (Soul-Calypso) often the first side (bar) is Up and the second half is Down Syncro-Nice Sacred Rhythm Scales, Major and Lydian Scales Sync with Sacred West-African Percussion Conversation Pieces: Extremely Potent Repeatable Perpetual Motivations - Making Improvisation Effortless Montuno Etude #1, Primer for First Time Montuno (Latin Piano) Technique Montuno Etude #2, "That Makes This Heaven" C Major 1-6-2-5 Montuno and Bajo Tumbau (Bass) Swing Montuno Study, 6/8 Swing Jazz, Montuno Rhythmic Tension added to the Melodic Role Calypso Circles circles of fifths with calypso chuck (downbeat on the first half version) Clavinet Keyboard Score 1,"Soca Clav" Soul-Calypso standard keyboard chuck Clavinet Keyboard Score 2,"Superclav" Stevie Wonder's "Superstition" adapted to teach Clavinet Techniques Bossanova Study, Sweet Love Song, Piano, Chords & Lyrics: "Lost In Love" Affirmatinas: "Everything's going perfectly, now and ever more " "Having what I'm wanting, wanting what I'm having" Affirmatina Song, Piano and Lyrics: "My Successes Are Here" Classical Derivative Affirmatina #1, "I Manifest My Destiny" based on Chopin Mazurka in C Classical Derivative Affirmatina #2, "Chopin Made A Way" based on Chopin's C# minor waltz Classical Derivative Affirmatina #3, "Let It Be's" based on Abbe Franz Liszt's "Liebestraum" Clarinet Concerto in A Major, the Adagio, by Wolfgang Amadeus Mozart, reduction to piano solo Canto: Gelido in Ogni Vena, from the opera Farnace by Antonio Vivaldi, piano, chords and vocals Song To The Moon from the opera Rusalka, by Antonin Dvorak, melody / hook for piano and chords Canto: The Triumph of Truth & Time (later the opera Rinaldo), George Frederic Handel, reduction to piano, chords and vocals Canto: Laudate Dominum, Wolfgang Amadeus Mozart, reduction to piano, chords and Latin vocals Romeo and Juliet Overture, Pyotr Tchaikovsky, Theme Reduction Canto: Ave Maria (originally Ellens Gesang for Sir Walter Scott poems) by Franz Schubert, piano, chords and Latin vocals Bel Canto: Casta Diva from the opera Norma, by Vincenzo Bellini, reduction to piano, chords and vocals Andalucia later called The Breeze And I, by Ernesto Lecuona, reduction to piano, chords and melody Les Caquets (short version) by Chevalier de Saint Georges (the Black Mozart), Trio Score version for Bass, Piano & Violin Percs Score 1, Carmen - Carmen's Habanera, Clave, Percussion, Coro (Chorus) adapted to teach the percussion patterns Percs Score 2, Yemaya & Santa Lucia, Agogo, Percussion, Coro (Chorus) in Yoruba and English Percs Score 3, Afro-Blue (Obatala Orisha Song) with Chopin's Eb Prelude / Nocturn (1 verse). Many years of experience in teaching, performing, writing and band-leading have been condensed into handy reference materials, and step-by-step lessons that can be easy to follow, improve music understanding and appreciation. In this book are germs, seeds that can be expanded into lessons in many directions, all making musical understanding and music appreciating improve greatly. This book is great for self-study, and classes.

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.

Clarence Bernard Henry's book is a culmination of several years of field research on sacred and secular influences of ase, the West African Yoruba concept that spread to Brazil and throughout the African Diaspora. Ase is imagined as power and creative energy bestowed upon human beings by ancestral spirits acting as guardians. In Brazil, the West African Yoruba concept of ase is known as axe and has been reinvented, transmitted, and nurtured in Candomble, an Afro-Brazilian religion that is practiced in Salvador, Bahia.The author examines how the concepts of axe and Candomble religion have been appropriated and reinvented in Brazilian popular music and culture. Featuring interviews with practitioners and local musicians, the book explains how many Brazilian popular music styles such as samba, bossa nova, samba-reggae, ijexa, and axe have musical and stylistic elements that stem from Afro-Brazilian religion. The book also discusses how young Afro-Brazilians combine Candomble religious music with African American music such as blues, jazz, gospel, soul, funk, and rap.Henry argues for the importance of axe as a unifying force tying together the secular and sacred Afro-Brazilian musical landscape."

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Modern German Music: Recollections And Criticisms, Volume 1 Henry Fothergill Chorley Smith Elder and Co, 1854 Music; Ethnic; Music; Music / Ethnic; Music / History & Criticism

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.

The chronological range covered by the individual essays is more than two hundred years, from the Classical Enlightenment to the early twenty-first century. Some of the studies encompassed by this volume undertake the analysis of one composer's settings of a particular poet's work - albeit with rather more critical rigour. Others trace the ways in which a literary text is modified and adapted before and as it develops as one of the principal components of an opera. Several share new insights into the complex relationships of individual works with the literary and musical traditions out of which they emerge (or which they transform and renew) - or set such works in the political contexts of their genesis or reception, often using a key historical moment, a turning-point or a 'snapshot', as the starting-point for a wide-ranging investigation. In some cases the words and the music are those of the same 'composer', the relationship here shedding light on the process of composition itself. Literary works are often scrutinized for the light they shed on a musician's creative processes, but the importance of music to writers - as audiences, but also as amateur or even semi-professional practitioners - is no less important as an investigative standpoint.

Since the appearance of the first edition of the Encyclopedia of National Anthems in 2003, many new events and situations have radically redrawn the political boundaries of the world map and redefined the policies and goals of individual nation-states from Nepal to Afghanistan, Mozambique to Montenegro. All of these shifts have entailed the creation or adoption of new anthems or the modification of existing ones. This revised and expanded edition of the Encyclopedia of National Anthems not only makes the long-overdue updates to the national anthems of the world but also improves upon the quality and accuracy of the music sheets and historical backgrounds through consultation with a greater number and wider variety of source materials. Every political entity with non-Latin script now has its original lyrics documented in the book, while English translations have been modified to better express meaning and intent. Flags and maps have been added to the country fact sheets to provide a visual complement to the text. In addition to current sovereign countries, this edition includes in separate sections the anthems of international organizations; of Kosovo, South Ossetia, and other non-UN states; and of extinct countries, such as the former Soviet Union and East Germany. This collection does not adhere to any political stance but instead reflects the contested and complicated nature of the modern nation-state, whose boundaries remain fluid and ever subject to change. This new edition of the Encyclopedia of National Anthems is an indispensable reference source for students and academic scholars for school projects and academic research initiatives. Libraries will find the new edition a valuable addition to their collections, as will government and diplomatic missions requiring a handy reference for international exchange. For the casual reader, this compilation also provides a wealth of resources that both inform and entertain.

The Brazilian "berimbau," a musical bow, is most commonly associated with the energetic martial art/dance/game of "capoeira." This study explores the berimbau's stature from the 1950s to the present in diverse musical genres including bossa nova, samba-reggae, MPB (Popular Brazilian Music), electronic dance music, Brazilian art music, and more. Berimbau music spans oral and recorded historical traditions, connects Latin America to Africa, juxtaposes the sacred and profane, and unites nationally constructed notions of Brazilian identity across seemingly impenetrable barriers.

"The Berimbau: Soul of Brazilian Music" is the first work that considers the berimbau beyond the context of capoeira, and explores the bow's emergence as a national symbol. Throughout, this book engages and analyzes intersections of musical traditions in the Black Atlantic, North American popular music, and the rise of global jazz. This book is an accessible introduction to Brazilian music for musicians, Latin American scholars, capoeira practitioners, and other people who are interested in Brazil's music and culture.

RD revolutionized Hindi film music in the 1970s, and with his emphasis on rhythm and beats, this Pied Piper of Hindi film music had young India swinging to his tunes. At the same time, this genius proved his many detractors who criticized him for corrupting popular taste wrong by composing some of the most influential raga-based songs in Hindi cinema and showing an immense comfort with all kinds of music, including Indian folk. RD: The Man, The Music looks at the phenomenon called R.D. Burman and how he changed the way Indians perceived Hindi film music. Through anecdotes and trivia that went into the making of Pancham's music the many innovations he introduced, like mixed rhythm patterns, piquant chords and sound mixing and through interactions with the musicians who were part of RD s team, the authors create a fascinating portrait of a man who, through his music, continues to thrive, even fifteen years after his death.

1859. Volume 2 of 2. With short introductions to the different reigns and notices of the airs from writers of the sixteenth and seventeenth centuries. Also a short account of the minstrels. Contents Volume II: Conjectures as to Robin Hood; Ballads relating to the adventures of Robin Hood; Puritanism in its effects upon Music and its accessories and Introduction to the Commonwealth period; Songs and ballads of the civil war, and of the time of Cromwell; Introduction to the reign of Charles II.; Songs and ballads from Charles II. to William and Mary; Remarks on Anglo-Scottish songs; Specimens of ditto; Introduction to the reigns of Queen Anne, George I. and George II.; Songs and ballads of ditto; Traditional songs of uncertain date; and Religious Christmas Carols.

This book entails a pragmatic analysis of the African National Anthem, "Nkosi Sikelel' iAfrika," within a linguistic framework. By delineating the pragmatic features of the anthem, its philosophical symbolic meanings are teased out. This is important because symbols are critical in promoting social integration, fostering legitimacy, inducing loyalty, gaining compliance, and providing citizens with security and hope. Political symbols are also used as tools to address the contradictions of national consciousness and nation-building, nationhood, ideal governance, socioeconomic organization, and foreign policy preferences. The African National Anthem, "Nkosi Sikelel' iAfrica" is divided into seven chapters: Historical Background and Various Versions of "Nkosi Sikelel' iAfrika" On Meaning Deixis Presuppositions Implicatures Speech Acts Conclusions

Field Guide to the Irish Music Session is the first and only book devoted entirely to the dynamics and etiquette of the traditional Irish musical gathering. There's more to these events than meets the eye or ear, and Field Guide covers it all, with an insightful blend of the humorous and the serious that is of value to both listeners and prospective participants.

This book provides the authoritative history of salsa.Salsa is one of the most popular types of music listened to and danced to in the United States. Until now, the single comprehensive chronicle of the music - and the industry that grew up around it, including musicians, performances, styles, movements, and production - was available only in Spanish. This lively translation provides for English-reading and music-loving fans the chance to enjoy Cesar Miguel Rondon's celebrated El libro de la salsa.Rondon tells the engaging story of salsa's roots in Puerto Rico, Cuba, Colombia, the Dominican Republic, and Venezuela, and of its emergence and development in the 1960s as a distinct musical movement in New York. Rondon presents salsa as a truly pan-Caribbean phenomenon, emerging in the migrations and interactions, the celebrations and conflicts that marked the region. Although salsa is rooted in urban culture, Rondon explains, it is also a commercial product produced and shaped by professional musicians, record producers, and the music industry. For this first English-language edition, Rondon has added a new chapter to bring the story of salsa up to the present.

CONTENTS Ambroise Thomas Charles Gounod Camille Saint-Sakns Jules Massenet Ernest Reyer Alfred Bruneau Some Other French Composers Appendix

Wired for Sound is the first anthology to address the role of sound engineering technologies in the shaping of contemporary global music. Wired sound is at the basis of digital audio editing, multi-track recording, and other studio practices that have powerfully impacted the world's music. Distinctions between musicians and engineers increasingly blur, making it possible for people around the globe to imagine new sounds and construct new musical aesthetics. This collection of 11 essays employs primarily ethnographical, but also historical and psychological, approaches to examine a range of new, technology-intensive musics and musical practices such as: fusions of Indian film-song rhythms, heavy metal, and gamelan in Jakarta; urban Nepali pop which juxtaposes heavy metal, Tibetan Buddhist ritual chant, rap, and Himalayan folksongs; collaborations between Australian aboriginals and sound engineers; the production of "heaviness" in heavy metal music; and the production of the "Austin sound." This anthology is must reading for anyone interested in the global character of contemporary music technology.
CONTRIBUTORS: Harris M. Berger, Beverley Diamond, Cornelia Fales, Ingemar Grandin, Louise Meintjes, Frederick J. Moehn, Karl Neunfeldt, Timothy D. Taylor, Jeremy Wallach.

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.

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.

Proceedings of the International Conference of Composers attended by SCEG at the Stratford Festival, Stratford, Ontario in August 1960.

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.

An encyclopedia survey of Brazilian popular music--now updated and expanded

"World music" is an awkward phrase. Used to describe the hugely multifaceted nature of a range of typically non-English-language popular music from the world over, it's a tag that throws up as many problems as it does solutions.

Louise Gray's "The No-Nonsense Guide to World Music" attempts to go behind the phrase to explore the reasons for the contemporary interest in world music, who listens to it, and why. Through chapters that focus on specific areas of music, such as rembetika, fado, trance music, and new folk, Gray explores the genres that have emerged from marginalized communities, music in conflict zones, and music as escapism.

In this unique guide, which combines the seduction of sound with politics and social issues, the author makes the case for music as a powerful tool able to bring individuals together.

Louise Gray is a writer and editor whose work on music and performing arts has appeared in the "New Internationalist," "The Wire," "The Independent on Sunday," the "Guardian," and "Art Review." She co-edited "Sound and the City" (British Council, 2007), a book exploring the changing soundworld of China.

Since its formation as a girl group in 2005, AKB48 has become a phenomenal success and institution in Japan. Having originally recruited fans with photocopied fliers and daily performances in the Akihabara area of Tokyo, AKB48 now saturates Japan. Its members--nearly 800 of them, including five sister groups and four so-called "rival groups" across Japan, as well as six sister groups in other Asian cities--appear in print, broadcast, online, and social media; in advertisements and on products; at home and on the train; on- and off-screen. AKB48's multi-platform omnipresence is characteristic of "idols," whose intimate relationship to fans and appeals to them for support have made the group dominant on the Oricon Yearly Singles Chart in the 2010s; they hold several records, including most consecutive million-selling singles sold in Japan. A unique business model relentlessly monetizes fans' affections through meet-and-greet events and elections, which maximize CD sales, and their saturated presence in the media. At a time when affect is more important than ever in economic, political, and social theory, this book explores the intersection of idols and affect in contemporary Japan and beyond.

Theodore Levin takes readers on a journey through the rich sonic world of inner Asia, where the elemental energies of wind, water, and echo; the ubiquitous presence of birds and animals; and the legendary feats of heroes have inspired a remarkable art and technology of sound-making among nomadic pastoralists. As performers from Tuva and other parts of inner Asia have responded to the growing worldwide popularity of their music, Levin follows them to the West, detailing their efforts to nourish global connections while preserving the power and poignancy of their music traditions.