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.

While the Haitian musical tradition is probably best known for the Vodou-inspired roots music that helped topple the two-generation Duvalier dictatorship, the nation's troubled history of civil unrest and its tangled relationship with the United States is more intensely experienced through its art music, which combines French and German elements of classical music with Haiti's indigenous folk music. "Vodou Nation" examines art music by Haitian and African American composers who were inspired by Haiti's history as a nation created by slave revolt.
Around the time of the United States's occupation of Haiti in 1915, African American composers began to incorporate Vodou-inspired musical idioms to showcase black artistry and protest white oppression. Together with Haitian musicians, these composers helped create what Michael Largey calls the "Vodou Nation," an ideal vision of Haiti that championed its African-based culture as a bulwark against America's imperialism. Highlighting the contributions of many Haitian and African American composers who wrote music that brought rhythms and melodies of the Vodou ceremony to local and international audiences, "Vodou Nation" sheds light on a black cosmopolitan musical tradition that was deeply rooted in Haitian culture and politics.

World Music draws readers into a remarkable range of historical encounters, in which music had the power to evoke the exotic and to give voice to the voiceless. In the course of the volume's eight chapters the reader witnesses music's involvement in the modern world, but also the individual moments and particular histories that are crucial to an understanding of music's diversity.

With "Mande Music," Eric Charry offers the most comprehensive source available on one of Africa's richest and most sophisticated music cultures. Using resources as disparate as early Arabic travel accounts, oral histories, and archival research as well as his own extensive studies in Mali, Guinea, Senegal, and The Gambia, Charry traces this music culture from its origins pre-dating the thirteenth-century Mali empire to the recording studios of Paris and New York. He focuses on the four major spheres of Mande music-hunter's music, music of the jelis or griots, jembe and other drumming, and guitar-based modern music-exploring how each developed, the types of instruments used, the major artists, and how each sphere relates to the others. With its maps, illustrations, and musical transcriptions as well as an exhaustive bibliography, discography, and videography and a compact disc (available separately) this book is essential reading for those seeking an in-depth look at one of the most exciting, innovative, and deep-rooted phenomena on the world music scene.

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.

In On Site, In Sound Kirstie A. Dorr examines the spatiality of sound and the ways in which the sonic is bound up in perceptions and constructions of geographic space. Focusing on the hemispheric circulation of South American musical cultures, Dorr shows how sonic production and spatial formation are mutually constitutive, thereby pointing to how people can use music and sound to challenge and transform dominant conceptions and configurations of place. Whether tracing how the evolution of the Peruvian folk song "El Condor Pasa" redefined the boundaries between national/international and rural/urban, or how a pan-Latin American performance center in San Francisco provided a venue through which to challenge gentrification, Dorr highlights how South American musicians and activists created new and alternative networks of cultural exchange and geopolitical belonging throughout the hemisphere. In linking geography with musical sound, Dorr demonstrates that place is more than the location where sound is produced and circulated; it is a constructed and contested domain through which social actors exert political influence.

The ten EPMOW Genre volumes contain entries on the genres of music that have been or currently are popular in countries and communities all over the world. Included are discussions on cultural, historical and geographic origins; technical musical characteristics; instrumentation and use of voice; lyrics and language; typical features of performance and presentation; historical development and paths and modes of dissemination; influence of technology, the music industry and political and economic circumstances; changing stylistic features; notable and influential performers; and relationships to other genres and sub-genres. This volume, on the music of Europe, features a wide range of entries and in-depth essays. All entries conclude with a bibliography, discographical references and discography, with additional information on sheet music listings and visual recordings. Written and edited by a team of distinguished popular music scholars and professionals, this is an exceptional resource for anybody studying or researching the history and development of popular music. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

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.

The complex notion of rasa, as understood by Javanese musicians, refers to a combination of various qualities, including: taste, feeling, affect, mood, sense, inner meaning, a faculty of knowing intuitively, and deep understanding. This leaves us with a number of questions: how is rasa expressed musically? Who or what has rasa, and what sorts of musical, psychological, perceptual, and sociological distinctions enter into this determination? How is the vocabulary of rasa structured, and what does this tell us about traditional Javanese music and aesthetics? In this first book on the subject, Rasa provides an entry into Javanese music as it is conceived by the people who know the tradition best: the musicians themselves. In one of the most thorough explorations of local aesthetics to date, author Marc Benamou argues that musical meaning is above all connotative - hence, not only learned, but learnable. Following several years performing and researching Javanese music in the regional and national cultural center of Solo, Indonesia, Benamou untangles the many meanings of rasa as an aesthetic criterion in Javanese music, particularly in court and court-derived gamelan traditions. While acknowledging that certain universal psychological tendencies may inspire parallel interpretations of musical meaning, Rasa demonstrates just how culturally specific such accrued, shared meanings can be.

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.

When the Portuguese seafarer Afonso de Albuquerque conquered the bustling port of Malacca in 1511, he effectively gained control of the entire South China Sea spice trade. Although their dominance lasted only 130 years, the Portuguese legacy lies at the heart of a burgeoning tourist attraction on the outskirts of the city, in which performers who believe they are the descendants of swashbuckling Portuguese conquerors encapsulate their "history" in a cultural stage show.
Using historical and ethnographic data, Margaret Sarkissian reveals that this music and dance draws on an eclectic array of influences that span the Portuguese diaspora (one song conjures up images of Lucille Ball impersonating Carmen Miranda on "I Love Lucy"). Ironically, she shows, what began as a literate tradition in the 1950s has now become an oral one so deeply rooted in Settlement life that the younger generation, like the tourists, now see it as an unbroken heritage stretching back almost 500 years. A fascinating case of "orientalism in reverse," "D'Albuquerque's Children" illuminates the creative ways in which one community has adapted to life in a postcolonial world.

Hailed as a national hero and musical revolutionary, Thomas Mapfumo, along with other Zimbabwean artists, burst onto the music scene in the 1980s with a unique style that combined electric guitar with indigenous Shona music and instruments. The development of this music from its roots in the early Rhodesian era to the present and the ways this and other styles articulated with Zimbabwean nationalism is the focus of Thomas Turino's new study. Turino examines the emergence of cosmopolitan culture among the black middle class and how this gave rise to a variety of urban-popular styles modeled on influences ranging from the Mills Brothers to Elvis. He also shows how cosmopolitanism gave rise to the nationalist movement itself, explaining the combination of "foreign" and indigenous elements that so often define nationalist art and cultural projects. The first book-length look at the role of music in African nationalism, Turino's work delves deeper than most books about popular music and challenges the reader to think about the lives and struggles of the people behind the surface appeal of world music.

The EPMOW Genre volumes contain entries on the genres of music that have been or currently are popular in countries and communities all over the world. Included are discussions on cultural, historical and geographic origins; technical musical characteristics; instrumentation and use of voice; lyrics and language; typical features of performance and presentation; historical development and paths and modes of dissemination; influence of technology, the music industry and political and economic circumstances; changing stylistic features; notable and influential performers; and relationships to other genres and sub-genres. This volume, on the music of Sub-Saharan Africa, features a wide range of entries and in-depth essays. All entries conclude with a bibliography, discographical references and discography, with additional information on sheet music listings and visual recordings. Written and edited by a team of distinguished popular music scholars and professionals, this is an exceptional resource on the history and development of popular music. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

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

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.

Music in Arabia extends and challenges existing narratives of the region's distinctive but understudied music to reveal diverse and dynamic music cultures rooted in centuries-old heritage. Contributors to Music in Arabia bring a critical eye and ear to the contemporary soundscape, musical life, and expressive culture in the Gulf region. Including work by leading scholars and local authorities, this collection presents fresh perspectives and new research addressing why musical expression is fundamental to the area's diverse, transnational communities. The volume also examines music circulation as a commodity, such as with the production of early recordings, the transnational music industry, the context of the Arab Spring, and the region's popular music markets. As a bonus, readers can access a linked website containing audiovisual examples of the music, dance, and expressive culture introduced throughout the book. With the work of resident scholars and heritage practitioners in conversation with that of researchers from the United States and Europe, Music in Arabia offers both context and content to clarify how music articulates identity and nation among multiethnic, multiracial, and multinational populations.

Taking as a thread the concept of national identity, this book elucidates the sound transformations that have taken place in the world of the Latin American art song since its appearance in the late nineteenth century to the present day. The book focuses in the art songs of Brazil, Argentina, Cuba, Venezuela, Bolivia, Peru, and Colombia. The book addresses the subject of performance practice of the Latin American song and ends with a proposal for its interpretation. In songs, spaces of representation and cathartic tools thought, language and music have been at the service of some interests, fulfilling specific functions in the construction of the nation. In them, we observe that the construction of identity is a continuous, constant and changing process in which different stories are superimposed. Seen this way, songs are historical texts where social interactions are reflected, and the past, the present and the future are constantly negotiated. The book also addresses the subject of performance practice of the Latin American song and ends with a proposal for its interpretation.

One of the defining aspects of music is that it exists in time. From clapping to dancing, toe-tapping to head-nodding, the responses of musicians and listeners alike capture the immediacy and significance of the musical beat. This Companion explores the richness of musical time through a variety of perspectives, surveying influential writings on the topic, incorporating the perspectives of listeners, analysts, composers, and performers, and considering the subject across a range of genres and cultures. It includes chapters on music perception, visualizing rhythmic notation, composers' writings on rhythm, rhythm in jazz, rock, and hip-hop. Taking a global approach, chapters also explore rhythmic styles in the music of India, Africa, Bali, Latin America and the Caribbean, and Indigenous music of North and South America. Readers will gain an understanding of musicians' approaches to performing complex rhythms of contemporary music, and revealing insights into the likely future of rhythm in music.

This book offers a detailed analysis of the history of female musicians in the Highlife music tradition of the Republic of Ghana, particularly the challenges and constraints these women faced and overcame. Highlife - a form of West African music infusing Ghana's traditional Akan dance rhythms and melodies with European instruments and harmonies - grew in popularity throughout the 20th century and hit its peak in the 1970s and 1980s. Although women played significant roles in the evolution and survival of the genre, few of their contributions have been thoroughly explored or documented. Despite being disregarded and ignored in many spheres, female Highlife musicians thrived and became trailblazers in the Ghanaian music industry, making particularly vibrant contributions to Highlife music in the 1970s. This book presents the voices of female Highlife artists and documents the ideological transformations expressed through their musical works, exploring the challenges they confronted throughout their musical careers and their contributions to music and culture in Ghana.

K-pop (Korean popular music) reigns as one of the most popular music genres in the world today, a phenomenon that appeals to listeners of all ages and nationalities. In Soul in Seoul: African American Popular Music and K-pop, Crystal S. Anderson examines the most important and often overlooked aspect of K-pop: the music itself. She demonstrates how contemporary K-pop references and incorporates musical and performative elements of African American popular music culture as well as the ways that fans outside of Korea understand these references. K-pop emerged in the 1990s with immediate global aspirations, combining musical elements from Korean and foreign cultures, particularly rhythm and blues genres of black American popular music. Korean solo artists and groups borrow from and cite instrumentation and vocals of R&B genres, especially hip hop. They also enhance the R&B tradition by utilizing Korean musical strategies. These musical citational practices are deemed authentic by global fans who function as part of K-pop's music press and promotional apparatus. K-pop artists also cite elements of African American performance in Korean music videos. These disrupt stereotyped representations of Asian and African American performers. Through this process K-pop has arguably become a branch of a global R&B tradition. Anderson argues that Korean pop groups participate in that tradition through cultural work that enacts a global form of crossover and by maintaining forms of authenticity that cannot be faked, and furthermore propel the R&B tradition beyond the black-white binary.

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.

One of the foremost exponents of the Hindustani classical tradition, music maestro Pandit Bhimsen Joshi (1922-2011) mesmerized audiences with his soulful renditions of bhajans and khayals. A legend who amalgamated technical skill with passion and intensity, who took the kirana gharana to the masses, he was conferred the Bharat Ratna in 2009-the only male vocalist, so far, to have been honoured with this award. In this intensely emotional account, Bhimsen Joshi and his first wife Sunanda's son, Raghavendra, journeys from childhood to adulthood to recreate his father's life, piecing together the myriad anecdotes and revelations he gathered over the years from various family members. He reminisces the days spent with his Bhimanna, the early morning riyaz with a resonating tanpura, the drives across the country for a concert, the Bhairavi echoing in distant horizons, as well as tales of his interaction with common people and his mastery over several languages. This is a revealing account of the legendary singer's little-known personal life. This is the memoir of Bhimanna's forsaken son who lived in the shadow of his father's brilliance.