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.

Noise Uprising brings to life the moment and sounds of a cultural revolution. Between the development of electrical recording in 1925 and the outset of the Great Depression in the early 1930s, the soundscape of modern times unfolded in a series of obscure recording sessions, as hundreds of unknown musicians entered makeshift studios to record the melodies and rhythms of urban streets and dancehalls. The musical styles and idioms etched onto shellac disks reverberated around the globe: among them Havana's son, Rio's samba, New Orleans' jazz, Buenos Aires' tango, Seville's flamenco, Cairo's tarab, Johannesburg's marabi, Jakarta's kroncong, and Honolulu's hula. They triggered the first great battle over popular music and became the soundtrack to decolonization.

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.

An Unnatural Attitude traces a style of musical thought that coalesced in the intellectual milieu of the Weimar Republic-a phenomenological style that sought to renew contact with music as a worldly circumstance. Deeply critical of the influence of naturalism in aesthetics and ethics, proponents of this new style argued for the description of music as something accessible neither through introspection nor through experimental research, but rather in an attitude of outward, open orientation toward the world. With this approach, music acquires meaning in particular when the act of listening is understood to be shared with others. Benjamin Steege interprets this discourse as the response of a young, post-World War I generation amid a virtually uninterrupted experience of war, actual or imminent-a cohort for whom disenchantment with scientific achievement was to be answered by reasserting the value of imaginative thought. Steege draws on a wide range of published and unpublished texts from music theory, pedagogy, criticism, and philosophy of music, some of which appear for the first time in English translation in the book's appendixes. An Unnatural Attitude considers the question: What are we thinking about when we think about music in non-naturalistic terms?

"Sounding the Center" is an in-depth look at the power behind classical music and dance in Bangkok, the capital and sacred center of Buddhist Thailand. Focusing on the ritual honoring teachers of music and dance, Deborah Wong reveals a complex network of connections among kings, teachers, knowledge, and performance that underlies the classical court arts.
Drawing on her extensive fieldwork, Wong lays out the ritual in detail: the way it is enacted, the foods and objects involved, and the people who perform it, emphasizing the way the performers themselves discuss and construct aspects of the ceremony. Only those who have been initiated by a master can manifest the divine in the human realm. The power held by the master musicians, Wong shows, is both ritual and social; they are not just ritual experts, they are also leaders at the government-run national conservatory. This combination of political recognition and esoteric knowledge, Wong suggests, has helped Thai classical music endure in the face of changing patronage and the challenges posed by the urban environment that supports it.

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.

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.

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.

The Bloomsbury Encyclopedia of Popular Music Volume 10 is one of six volumes within the 'Genre' strand of the series. This volume discusses the genres of Africa and the Middle East in relation to their 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 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.

*** Music in Korea is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. ***
Despite its longstanding position as a distinct cultural force in East Asia, Korea continues to be underrepresented in world music texts. Music in Korea is the first brief, single-volume text to provide a thematic, succinct introduction to the music of Korea--a region whose volatile political climate has often overshadowed its rich cultural and musical traditions.
Based on author Donna Lee Kwon's extensive fieldwork, the text features interviews with performers, eyewitness accounts of performances, and vivid illustrations. Kwon uses three themes--Korea as a transnational player in East Asia, the intersection of Korean music and cultural politics, and Korea's maintenance of its strong cultural identity through both musical and aesthetic continuity--to survey the region and draw parallels and contrasts between its various traditions. Each theme lends itself to a discussion of Korea's classical musical customs and its contemporary developments. Packaged with an 80-minute audio CD containing musical examples, the text features numerous listening activities that engage students with the music. The companion website (www.oup.com/us/globalmusic) includes supplementary materials for instructors.

Wie Italien sein Neapel hat, der Franzose seine Revolution, der Engl nder seine Schiffahrt usw., so der Deutsche seine Beethovenschen Sinfonien ..." - diese Formulierung von Robert Schumann wirft ein Licht auf die Bedeutung der Musik f r die Idee einer deutschen Kulturnation. Die in diesem Buch vorgelegten Vortr ge einer Ringvorlesung am Musikwissenschaftlichen Seminar Detmold/Paderborn behandeln verschiedene Facetten dieses bislang erst sporadisch untersuchten Gegenstandes. Ihre Themen spannen sich von Opern Webers, Lortzings, Verdis und Humperdincks ber die Beziehungen zwischen Deutschland und Frankreich bzw. den Niederlanden bis hin zur Musik sthetik deutscher Philosophen im 19. Jahrhundert. Ein Beitrag zu der Frage, wie Vorstellungen von deutscher Weiblichkeit und M nnlichkeit im Musikdiskurs konstruiert wurden, rundet den Band ab.

Composed of a core set of two drums and two gongs, "p'ungmul" is a South Korean tradition of rural folk percussion. Steeped in music, dance, theater, and pageantry, but centrally focused on rhythm, such ensembles have been an integral part of village life in South Korea for centuries, serving as musical accompaniment in the often overlapping and shifting contexts of labor, ritual, and entertainment.
The first full-length book to introduce Korean drumming and dance to the English-speaking world, Nathan Hesselink's "P'ungmul" offers detailed descriptions of its instrumentation, dance formations, costuming, characters, teaching lineages, and the complexities of training. Hesselink also evaluates how this tradition has taken on new roles and meanings in the twentieth and early twenty-first centuries, investigating the interrelated yet contested spheres of history, memory, government policy, grassroots politics, opportunities for musical transmission, and performance practices and aesthetics.
" P'ungmul" offers those interested in ethnomusicology, world music, anthropology, sociology, and Asian studies a special glimpse into the inner workings of a historically rich, artistically complex, and aesthetically and aurally beautiful Korean music and dance tradition.

The Latin explosion of Marc Anthony, Ricky Martin, and the Buena Vista Social Club may look like it came out of nowhere, but the incredible variety of Latin music has been transforming the United States since the turn of the century, when Caribbean beats turned New Orleans music into jazz. In fact, we wouldn't have any of our popular music without it: Imagine pop sans the mambos of Perez Prado and Tito Puente, the garage rock of Richie Valens, or even the glitzy croon of Julio Iglesias, not to mention the psychedelia of Santana and Los Lobos and the underground cult grooves of newcomers like Bebel Gilberto. The Latin Beat outlines the musical styles of each country, then traces each form as it migrates north. Morales travels from the Latin ballad to bossa nova to Latin jazz, chronicles the development of the samba in Brazil and salsa in New York, explores the connection between the mambo craze of the 1950's with the Cuban craze of today, and uncovers the hidden history of Latinos in rock and hip hop. The Latin Beat is the only book that explores where the music has come from and celebrates all of the directions it is going.

Trinidadian sitarist, composer, and music authority Mangal Patasar once remarked and tan-singing, \u0022You take a capsule from India, leave it here for a hundred years, and this is what you get.\u0022 Patasar was referring to what may be the most sophisticated and distinctive art form cultivated among the one and a half million East Indians whose ancestors migrated as indentured laborers from colonial India to the West Indies between 1845 and 1917. Known in Trinidad and Guyana as \u0022tan-singing\u0022 or \u0022local-classical music\u0022 and in Suriname as \u0022baithak gana\u0022 (\u0022sitting music\u0022), tan-singing has evolved in to a unique idiom, embodying the rich poetic and musical heritage brought from India as modified by a diaspora group largely cut off from its ancestral homeland. In recent decades, however, tan-singing has been declining, regarded as quaint and crude by younger generations raised on MTV, Hindi film music, and disco. At the same time, Indo-Caribbeans have been participating in their countries' economic, political, and cultural lives to a far greater extent than previously. Accompanying this participation has been a lively cultural revival, encompassing both an enhanced assertion of Indianness and a spirit of innovative syncretism. One of the most well-known products of this process is chutney, a dynamic music and dance phenomenon that is simultaneously a folk revival and a pop hybrid. In Trinidad, it has also been the vehicle for a controversial form of female empowerment and an agent of a new, more inclusive, conception of national identity. Thus, East Indian Music in the West Indies is a portrait of a diaspora community in motion. It documents the social and cultural development of a people \u0022without history,\u0022 a people who have sometimes been dismissed as foreigners who merely perpetuate the culture of the homeland rather than becoming \u0022truly\u0022 Caribbean. Professor Manuel shows how inaccurate this characterization is. On the one hand, in the form of tan-singing, it examines the distinctiveness of traditional Indo-Caribbean musical culture. On the other, in the form of chutney, it examines the new assertiveness and syncretism of Indo-Caribbean popular music. Students of Indo-Caribbean music and curious world-music fans alike will be fascinated by Professor Manuel's guided tour through the complex and exciting world of Indo-Caribbean musical culture.

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.

The didgeridoo, or yidaki, is one of the most ancient musical instruments on Earth. The Tzolkin Trilogy showcases the primal sound of the didgeridoo as it has never before been heard, in three original compositions, based on the Mayan calendar. This unique sound has been shaped and developed into a form that can act as a tool for healing and spiritual awakening. Using the Traditional Chinese Medicine principle that degeneration in the physical body is caused by imbalance and functional disharmony within the energy system, the sound vibrations work to connect with the human body's natural energy vibrations, in order to rebalance and restore their functional harmony and imbue the listener with a renewed sense of lightness and freedom. These soothing and pure sounds should be experienced by anyone interested in music as a therapeutic tool, and are especially effective for those suffering from emotional or mental stress, sleep problems and disorders of the nervous system, digestive organs or the heart.

"Sounding the Center" is an in-depth look at the power behind classical music and dance in Bangkok, the capital and sacred center of Buddhist Thailand. Focusing on the ritual honoring teachers of music and dance, Deborah Wong reveals a complex network of connections among kings, teachers, knowledge, and performance that underlies the classical court arts.
Drawing on her extensive fieldwork, Wong lays out the ritual in detail: the way it is enacted, the foods and objects involved, and the people who perform it, emphasizing the way the performers themselves discuss and construct aspects of the ceremony. Only those who have been initiated by a master can manifest the divine in the human realm. The power held by the master musicians, Wong shows, is both ritual and social; they are not just ritual experts, they are also leaders at the government-run national conservatory. This combination of political recognition and esoteric knowledge, Wong suggests, has helped Thai classical music endure in the face of changing patronage and the challenges posed by the urban environment that supports it.

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.

Features of the Third Edition

• Over 3 hours of diverse musical examples. with a third audio CD of new musical examples

• Listening Guides analyze the various pieces of music with some presented in an interactive format online

• Biographical highlights of performers and ethnomusicologists updated and new ones added
• Numerous pedagogical aids, including "On Your Own Time" and "Explore More" sidebars, and "Questions to Consider"
• Popular music incorporated with the traditional

Dynamic companion web site hosts new Interactive Listening Guides, plus many resources for student and instructor. Built to serve online courses.

The CD set is available separately (ISBN 978-0-415-89402-9) or with its Value Pack and book (ISBN 978 0415- 80823-1). MP3 files for the accompanying audio to the ebook are available only with the Value Pack of eBook & MP3 files (ISBN 978-0-203-15298-0)