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.

Music in Pacific Island Cultures is one of several case-study volumes that can be used along with Thinking Musically, Second Edition, 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. The islands of Melanesia, Micronesia, and Polynesia are steeped in diverse musical traditions that reach far beyond the expanse of the Pacific Ocean. Music in Pacific Island Cultures is the first brief, single-volume text to provide a thematic, succinct introduction to the music of the Pacific Islands-a region of the world that has long been under-represented in ethnomusicological studies. Based on the authors' extensive fieldwork and experiences in Pacific Island cultures, the text draws on interviews with performers, eyewitness accounts of performances, vivid illustrations, and insights gained from ongoing participation in Pacific music. The authors use four themes-colonialism, belief systems, musical flows, and the re/presentation of Pacific cultures-to survey the region and draw parallels and contrasts between its various musical traditions. Packaged with a 70-minute audio CD containing musical examples discussed in the book, Music in Pacific Island Cultures features numerous listening activities that engage students with the music. The companion website includes a comprehensive Instructor's Manual with suggested classroom activities. Visit www.oup.com/us/globalmusic for a list of books in the Global Music Series. The website also includes instructional materials to accompany each volume.

Ofrece ejercicios y melodA-as para: Estudios del Pedal * Escalas cromAticas y menores * Arreglos fAciles de algunas piezas clAsicas * Ejercicios rA-tmicos y mAs. [Spanish]
[The Michael Aaron Piano Course Lesson books have been completely re-engraved, expanded (adding more definitions of musical terms and more musical pieces), updated (with modernized artwork), and re-edited (with less emphasis on fingerings and more on note-reading)].

World Music Pedagogy, Volume I: Early Childhood Education is a resource for music educators to explore the intersection of early childhood music pedagogy and music in cultural contexts across the world. Focusing on the musical lives of children in preschool, kindergarten, and grade 1 (ages birth to 7 years), this volume provides an overview of age-appropriate world music teaching and learning encounters that include informal versus formal teaching approaches and a selection of musical learning aids and materials. It implements multimodal approaches encompassing singing, listening, movement, storytelling, and instrumental performance. As young children are enculturated into their first family and neighborhood environments, they can also grow into ever-widening concentric circles of cultural communities through child-centered encounters in music and the related arts, which can serve as a vehicle for children to know themselves and others more deeply. Centered around playful engagement and principles of informal instruction, the chapters reveal techniques and strategies for developing a child's musical and cultural knowledge and skills, with attention to music's place in the development of young children. This volume explores children's perspectives and capacities through meaningful (and fun!) engagement with music.

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.

Music and Traditions of the Arabian Peninsula provides a pioneering overview of folk and traditional urban music, along with dance and rituals, of Saudi Arabia and the Upper Gulf States of Kuwait, Bahrain, and Qatar. The nineteen chapters introduce variegated regions and subcultures and their rich and dynamic musical arts, many of which heretofore have been unknown beyond local communities. The book contains insightful descriptions of genres, instruments, poetry, and performance practices of the desert heartland (Najd), the Arabian/Persian Gulf shores, the great western cities including Makkah and Medinah, the southwestern mountains, and the hot Red Sea coast. Musical customs of distinctive groups such as Bedouin, seafarers, and regional women are explored. The book is packaged with downloadable resources and almost 200 images including a full color photo essay, numerous music transcriptions, a glossary with over 400 specialized terms, and original Arabic script alongside key words to assist with further research. This book provides a much-needed introduction and organizational structure for the diverse and complex musical arts of the region.

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.

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.

As West Africa's oldest form of popular music, Highlife was the soundtrack of the independence era and its influence still resonates widely today. Highlife Giants is an intimate portrait of the pioneering artistes of West Africa's vibrant music scene from the 1920s onwards. It is packed full of inside information from interviews with stars including E.T Mensah, Kofo Ghanaba, Bobby Benson and Ignace De Souza, revealing priceless behind-the-scene moments such as Louis Armstrong giving Eddie Okonta a trumpet with a golden mouthpiece after seeing him perform. Together with an illuminating account of Highlife's instruments, rhythms and influences, Highlife Giants comprehensively charts the development of this rich and varied popular music, which has come to influence contemporary West African music such as Afrobeat and hiplife. Highlife remains crucial in generating social commentary and protest, and contributing to the consolidation of a pan-African musical identity. This book will enthrall readers wishing to delve into the rich musical history of West Africa.

Many regard jazz as the soundtrack of America, born and raised in its cities and echoing throughout its tumultuous century of progress. So when Ernest Hemingway wrote about seeing jazz in 1920s Paris, and when British colonial officials danced to jazz in the clubs of Calcutta in the waning years of the Raj, how, exactly, had it gotten there? Jazz Worlds/World Jazz aims to answer these questions and more, bringing together voices from countries as far flung as Azerbaijan, Armenia, and India to show that the story of jazz is not trapped in American history books but alive in global modernity. Monumental in scope, this book explores the relationship between jazz and culture and how they influence each other across a range of themes and settings. Contributors offer an analysis of the social meaning of jazz in Iran, a look at the genesis of Ethiopian jazz and at Indian fusion, and chapters on jazz diplomacy, Balkan swing, and that French export par excellence: Django Reinhardt. Altogether the contributors approach jazz--in these global iterations--through the themes that have always characterized it at home: place, history, mobility, media, and race. The result is a first-of-its-kind map of jazz around the globe that pays tribute to the players who have given the form its seemingly infinite possibilities.

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.

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

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.

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.

The Gurindji people of the Northern Territory are best known for their walk-off of Wave Hill Station in 1966, protesting against mistreatment by the station managers. The strike would become the first major victory of the Indigenous land rights movement. Many discussions of station life are focused on the harsh treatment of Aboriginal workers. Songs from the Stations describes another side of life on Wave Hill Station. Among the harsh conditions and decades of mistreatment, an eclectic ceremonial life flourished during the first half of the 20th century. Constant travel between cattle stations by Aboriginal workers across north-western and central Australia meant that Wave Hill Station became a crossroad of desert and Top End musical styles. As a result, the Gurindji people learnt songs from the Mudburra who came further east, the Bilinarra from the north, Western Desert speakers from the west, and the Warlpiri from the south. This book is the first detailed documentation of wajarra, public songs performed by the Gurindji people. Featuring five song sets known as Laka, Mintiwarra, Kamul, Juntara, and Freedom Day, it is an exploration of the cultural exchange between Indigenous communities that was fostered by their involvement in the pastoral industry.Songs from the Stations presents musical and textual analysis of the five sets of wajarra songs below. These five song sets were recorded at Kalkaringi in 1998, 2007, 2015 and 2016, and can be streamed by visiting https://open.sydneyuniversitypress.com.au/songs-stations.html

Music in Bali 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. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study.
Music in Bali introduces the ensemble tradition of Balinese music, reflecting cooperative aspects of the island's social organization. Drawing on many years of study with Balinese performers in the United States and extensive fieldwork in Bali, author Lisa Gold presents contemporary Balinese performance within its cultural and historical context, linking Bali's rich past to its current role in modern, globalized society. She illustrates how new compositions borrow material from earlier traditions while also allowing for individual expression and innovation in vibrant present-day culture. By describing various performances--from a temple ceremony, to a shadow puppet performance, to a masked dance drama--Music in Bali surveys a wide range of performance contexts, from the highly sacred to the secular. It looks at the interconnected layers of the Balinese musical tradition, showing how the island's music, dance, theater, and ritual are intertwined.
Music in Bali is enhancedby eyewitness accounts of local performances, interviews with key performers, and vivid illustrations. Packaged with a 70-minute CD containing examples of the music discussed in the book, it features guided listening and hands-on activities that encourage readers to engage actively and critically with the music.