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 nearly fifty-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.

Alastair Riddell's band Space Waltz was a short-lived one-album New Zealand rock act who hit gold with a #1 hit single in October 1974 with the song 'Out On The Street' but thereafter failed to achieve anything even close to that feat. While relegated to one-hit-wonder status in the eyes of many, to this day Riddell and Space Waltz epitomize the mid-1970s heyday of glam rock in New Zealand. But in truth their impact went far beyond this. Their generationally divisive nation-wide debut on the hugely popular MOR television talent quest Studio One/New Faces demonstrated the power of mass media exposure - they were instantly signed to a record deal with industry giant EMI - while Riddell's controversial gender-bending image provided a cultural crossroads that greatly impacted the wider youth culture of Aotearoa New Zealand. In addition, while the album's most famous track, 'Out On The Street,' is rightly regarded as New Zealand's glam rock anthem, the wider album demonstrates a compositional and musical depth that goes far beyond glam rock and into the realm of sophisticated progressive rock, ultimately providing an unlikely and highly unique musical amalgam.

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.

Listening to the sound practices of bands and musicians such as the Asian Dub Foundation or M.I.A., and spanning three decades of South Asian dance music production in the UK, Transcultural Sound Practices zooms in on the concrete sonic techniques and narrative strategies in South Asian dance music and investigates sound as part of a wider assemblage of cultural technologies, politics and practices. Carla J. Maier investigates how sounds from Hindi film music tunes or bhangra tracks have been sampled, cut, looped and manipulated, thus challenging and complicating the cultural politics of sonic production. Rather than conceiving of music as a representation of fixed cultures, this book engages in a study of music that disrupts the ways in which ethnicity has been written into sound and investigates how transcultural sound practices generate new ways of thinking about culture.

In the twenty-first century, Senegalese hip hop-"Rap Galsen"-has reverberated throughout the world as an exemplar of hip hop resistance in its mobilization against government corruption during a series of tumultuous presidential elections. Yet Senegalese hip hop's story goes beyond resistance; it is a story of globalization, of diasporic movement and memory, of imagined African pasts and contemporary African realities, and of urbanization and the banality of socio-economic struggle. At particular moments in Rap Galsen's history, origin narratives linked hip hop to a mythologized Africa through the sounds of indigenous oralities. At other times, contrasting narratives highlighted hip hop's equally mythologized roots in the postindustrial U.S. inner city and African American experience. As Senegalese youth engage these globally circulating narratives, hip hop performance and its stories negotiate their place in a rapidly changing world. In Hip Hop Time explores this relationship between popular music and social change, framing Senegalese hip hop as a musical movement deeply tied to both indigenous performance practices and changing social norms in urban Africa. Author Catherine Appert takes us from Senegalese hip hop's beginnings among cosmopolitan youth in Dakar's affluent neighborhoods in the 1980s, to its spread throughout the city's ghettoized working class neighborhoods in the mid- to late-'90s, and into the present day, where political activism and hip hop musicality vie for position in local and global arenas. An ethnography of the inextricability of musical and social meaning in hip hop practice, In Hip Hop Time charts new intellectual territory in the scholarship of African and global hip hop.

"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.

In 1972, a group of creative Brazilian musicians and poets informally led by singer-songwriter Milton Nascimento recorded a landmark double-LP titled Clube da Esquina (Corner Club). The album saw highly original songs by Milton, already an award-winning international star, sharing vinyl with those of Lo Borges, an unknown eighteen-year-old from Belo Horizonte, the capital of the state of Minas Gerais. There, where the street "corner" still exists, grew their collective also known as the Corner Club, as the artists collaborated on many subsequent albums boasting innovative blends of pop, jazz, rock, folk, classical influences, and, before Brazil's return to civilian rule in 1985, poignant protest songs aimed at a cruel dictatorship. Drawing on a thirty-year relationship with Minas Gerais that includes interviews with Corner Club members and extensive research of Portuguese language sources, Jonathon Grasse presents an analysis of the artists, songs, and ideas comprising the LP that helps define this Brazilian generation. 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.

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.

Alan Lomax (1915-2002) is arguably the most popular and influential American folk song collector of the 20th century. Pursuing a mission of both preserving and popularizing folk music, Lomax moved between political activism, the scholarly world, and the world of popular culture. Based largely on primary material, the book shows how Lomax's diverse activities made him an authority in the field of folk music and how he used this power to advocate the cultures of perceived marginalized Americans - whom he located primarily in the American South. In this approach, however, folk music became an abstract idea onto which notions oscillating between hope and disillusionment, fear and perspective were projected. The author argues that Lomax's role as a cultural mediator, with a politically motivated approach, helped him to decisively shape the perception and reception of what came to be known as American folk music, from the mid 1930s to the late 1960s.

This book is an exploration into the history, aesthetics, social reality, regulation, and transformation of dance and dance music in Egypt. It covers Oriental dance, known as belly dance or danse du ventre, regional or group-specific dances and rituals, sha'bi (lower-class urban music and dance style), mulid (drawing on Sufi tradition and saints' day festivals) and mahraganat (youth-created, primarily electronic music with lively rhythms and biting lyrics). The chapters discuss genres and sub-genres and their evolution, the demeanor of dancers, trends old and new, and social and political criticism that use the imagery of dance or a dancer. Also considered are the globalization of Egyptian dance, the replication or fantasies of raqs sharqi outside of Egypt, as well as the dance as a hobby, competitive dance form, and focus of international dance festivals.

- First volume in almost 10 years to bring together a broad collection on world music analysis, capturing where the field is now - Wide-reaching scope makes this the perfect first stop for anyone interested in world music analysis, and could make it a good focus for seminars at graduate or advanced undergraduate level.

"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 (b. 1949) 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 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."

Popular World Music, Second Edition introduces students to popular music genres and artists from around the world. Andrew Shahriari discusses international music styles familiar to most students-Reggae, Salsa, K-Pop, and more-with a comprehensive listening-oriented introduction to mainstream musical culture. Each chapter focuses on specific music styles and their associated geographic origin, as well as best-known representative artists, such as Bob Marley, Carmen Miranda, ABBA, and Ladysmith Black Mambazo. The text assumes no prior musical knowledge and emphasizes listening as a pathway to learning about music and culture. The subject matter fulfills core, general education requirements found today in the university curriculum. The salient musical and cultural features associated with each example are discussed in detail to increase appreciation of the music, its history, and meaning to its primary audience. NEW to this edition Updates to content to reflect recent developments in resources and popular music trends. Contributing authors in additional areas, including Folk Metal, Chinese Ethnic Minority Rock, and Trinidadian Steel Drum and Soca. "Artist Spotlight" sections highlighting important artists, such as Mary J. Blige, Bob Marley, Tito Puente, Enya, Umm Kulthum and more. "Ad-lib Afterthought" sections and "Questions to Consider" to prompt further discussion of each chapter. Lots of new photos! Updated and additional website materials for students and instructors.

During the decades leading up to 1910, Portugal saw vast material improvements under the guise of modernization while in the midst of a significant political transformation - the establishment of the Portuguese First Republic. Urban planning, everyday life, and innovation merged in a rapidly changing Lisbon. Leisure activities for the citizens of the First Republic began to include new forms of musical theater, including operetta and the revue theater. These theatrical forms became an important site for the display of modernity, and the representation of a new national identity. Author Joao Silva argues that the rise of these genres is inextricably bound to the complex process through which the idea of Portugal was presented, naturalized, and commodified as a modern nation-state. Entertaining Lisbon studies popular entertainment in Portugal and its connections with modern life and nation-building, showing that the promotion of the nation through entertainment permeated the market for cultural goods. Exploring the Portuguese entertainment market as a reflection of ongoing negotiations between local, national, and transnational influences on identity, Silva intertwines representations of gender, class, ethnicity, and technology with theatrical repertoires, street sounds, and domestic music making. An essential work on Portuguese music in the English language, Entertaining Lisbon is a critical study for scholars and students of musicology interested in Portugal, and popular and theatrical musics, as well as historical ethnomusicologists, cultural historians, and urban planning researchers interested in the development of material culture.

Paul Simon: An American Tune is the first full-scale survey of the career of one of the most honored musicians and songwriters in American history. Starting out as a teeny-bopper rocker in the late 1950s, Paul Simon went on to form the most influential pop duo of the 1960s-Simon & Garfunkel-and after their break-up in 1970, launch one of the most successful, varied, and surprising solo careers of our time. In Paul Simon: An American Tune, Cornel Bonca considers Simon's vast trove of songs in the biographical and cultural context in which he wrote them: from the pop cultural revolution of the 1960s which Simon himself helped to create, the singer-songwriter movement of the 1970s, the turn toward world music in the 1980s that gave the world the monumental Graceland, to the intimate personal turn his music took in the millennial era. Analyzing Simon's albums one by one, often song by song, Bonca provides a deep and artful exploration of the work of one of today's major songwriters. Offering a lucid and vivid portrait of an astonishing decades-long career, Paul Simon: An American Tune will interest a wide audience, from Simon fans to students and scholars of American popular culture.

In Long and Winding Roads: The Evolving Artistry of the Beatles, Revised Edition, Kenneth Womack brings the band's story vividly to life-from their salad days as a Liverpool Skiffle group and their apprenticeship in the nightclubs and mean streets of Hamburg through their early triumphs at the legendary Cavern Club and the massive onslaught of Beatlemania itself. By mapping the group's development as an artistic fusion, Womack traces the Beatles' creative arc from their first, primitive recordings through Abbey Road and the twilight of their career. In this revised edition, Womack addresses new insights in Beatles-related scholarship since the original publication of Long and Winding Roads, along with hundreds of the group's outtakes released in the intervening years. The updated edition also affords attention to the Beatles' musical debt to Rhythm and Blues, as well as to key recent discoveries that vastly shift our understanding of formative events in the band's timeless story.

Critical Themes in World Music is a reader of nine short essays by the authors of the successful Excursions in World Music, Eighth Edition, edited by Timothy Rommen and Bruno Nettl. The essays introduce key and contemporary themes in ethnomusicology-gender and sexuality, coloniality and race, technology and media, sound and space, and more-creating a counterpoint to the area studies approach of the textbook, a longstanding model for thinking about the musics of the world. Instructors can use this flexible resource as a primary or secondary path through the materials, on its own, or in concert with Excursions in World Music, allowing for a more complete understanding that highlights the many continuities and connections that exist between musical communities, regardless of region. Critical Themes in World Music presents a critically-minded, thematic study of ethnomusicology, one that serves to counterbalance, complicate, and ultimately complement the companion textbook.

World Music Pedagogy, Volume VII: Teaching World Music in Higher Education addresses a pedagogical pathway of varied strategies for teaching world music in higher education, offering concrete means for diversifying undergraduate studies through world music culture courses. While the first six volumes in this series have detailed theoretical and applied principles of World Music Pedagogy within K-12 public schools and broader communities, this seventh volume is chiefly concerned with infusing culture-rich musical experiences through world music courses at the tertiary level, presenting a compelling argument for the growing need for such perspectives and approaches. These chapters include discussions of the logical trajectories of the framework into world music courses, through which the authors seek to challenge the status quo of lecture-only academic courses in some college and university music programs. Unique to this series, each of these chapters illustrates practical procedures for incorporating the WMP framework into sample classes. However, this volume (like the rest of the series) is not a prescriptive "recipe book" of lesson plans. Rather, it seeks to enrich the conversation surrounding cultural diversity in music through philosophically-rooted, social justice-conscious, and practice-oriented perspectives.

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.

Race and music seem fatally entwined in a way that involves both creative ethnic hybridity and ongoing problems of racism. This book presents a sociological analysis of this enduring relationship and asks: how are ideas of race critical to the understanding of music genres and preferences? What does the 'love of difference' via music contribute to contemporary perspectives of racism? Previous studies of world music have situated it within the dynamics of local/global musical production, the representation of nations and ethnic groups, theories of globalization, hybridization and cultural appropriation. Haynes adds a conceptual and textual shift to these debates by utilizing world music as a lens for examining cultural imaginaries of race and analytical nuances of racialization. The text offers a view of world music from 'within, ' building on original, qualitative, interview-based research with people from the British world music scene. These interviews provide unique insights into the discursive repertoires that underpin contemporary culture, and will make a significant contribution to the mainly theoretical debates about world music.

World Music Pedagogy, Volume VI: School-Community Intersections provides students with a resource for delving into the meaning of "world music" across a broad array of community contexts and develops the multiple meanings of community relative to teaching and learning music of global and local cultures. It clarifies the critical need for teachers to work in tandem with community musicians and artists in order to bridge the unnecessary gulf that often separates school music from the music of the world beyond school and to consider the potential for genuine collaborations across this gulf. The five-layered features of World Music Pedagogy are specifically addressed in various school-community intersections, with attention to the collaboration of teachers with local community artist-musicians and with community musicians-at-a-distance who are available virtually. The authors acknowledge the multiple routes teachers are taking to enable and encourage music learning in community contexts, such as their work in after-school academies, museums and libraries, eldercare centers, places of worship, parks and recreation centers, and other venues in which adults and children gather to learn music, make music, and become convivial through music This volume suggests that the world's musical cultures may be found locally, can be tapped virtually, and are important in considerations of music teaching and learning in schools and community contexts. Authors describe working artists and teachers, scenarios, vignettes, and teaching and learning experiences that happen in communities and that embrace the role of community musicians in schools, all of which will be presented with supporting theoretical frameworks.

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.

Antonio Carlos Jobim has been called the greatest of all contemporary Brazilian songwriters. He wrote both popular and serious music and was a gifted piano, guitar and flute player. One of the key figures in the creation of the bossa nova style, Jobim's music made a lasting impression worldwide, and many of his songs are now standards of the popular music repertoire. In The Music of Antonio Carlos Jobim, one of the first extensive musicological analyses of the Brazilian composer, Peter Freeman examines the music, philosophy and circumstances surrounding the creation of Jobim's popular songs, instrumental compositions and symphonic works. Freeman attempts to elucidate not only the many musical influences that formed Jobim's musical output, but also the stylistic peculiarities that were as much the product of a gifted composer as the rich musical environment and heritage that surrounded him.