Music in Latin American Culture by
Music in Latin American Culture: Regional Traditions presents chapters that focus on specific musical cultures including: Mexico, Central American, Brazil, Chile, Columbia, Peru and more. Each chapter is written by an expert in the field and includes specific examples from the contributor's fieldwork.
Latin Music by
This definitive two-volume encyclopedia of Latin music spans 5 centuries and 25 countries, showcasing musicians from Celia Cruz to Plácido Domingo and describing dozens of rhythms and essential themes.Eight years in the making, Latin Music: Musicians, Genres, and Themes is the definitive work on the topic, providing an unparalleled resource for students and scholars of music, Latino culture, Hispanic civilization, popular culture, and Latin American countries. Comprising work from nearly 50 contributors from Spain, Latin America, the Caribbean, and the United States, this two-volume work showcases how Latin music--regardless of its specific form or cultural origins--is the passionate expression of a people in constant dialogue with the world.The entries in this expansive encyclopedia range over topics as diverse as musical instruments, record cover art, festivals and celebrations, the institution of slavery, feminism, and patriotism. The music, traditions, and history of more than two dozen countries--such as Argentina, Brazil, Costa Rica, Cuba, El Salvador, Guatemala, Honduras, Mexico, Panama, Spain, and Venezuela--are detailed, allowing readers to see past common stereotypes and appreciate the many different forms of this broadly defined art form.
Music of Latin America and the Caribbean by
The Music of Latin America and the Caribbean is the first text written on the rich musical heritage of this region specifically for the non-music major. The text is arranged by region, focusing on the major countries/regions (Mexico, Brazil, Peru, etc. in Latin America and Jamaica, the Virgin Islands, Haiti, etc. in the Caribbean). In each chapter, the author gives a complete history of the region's music, ranging from classical and classical-influenced styles to folk and traditional music to today's popular music.
The Music of Venezuela by 
Venezuela Arpa llanera by 
Harps of Venezuela by 
5 movements are the key : Venezuelan maracas method by 
Folk music of Greece
Krousta : Percussion instruments by 
Greece traditional music
Kanonaki by 
Laouto (Lute) by 
Sazi by 
Outi by 
Bouzouki, tzouras, baglamas by 
Santouri by 
Floghera by 
Violin by 
Gaida, tsambouna, zournas by 
Clarinet by 
Lyra (Constantinople, Cretan, Pontic)
Music in the Andes by
Music in the Andes is one of many 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 the Andes is one of the first books to offer a comprehensive overview of the uniquely rich and diverse musical crossroads of southern Peru and Bolivia. In contrast with many other places--where modern styles often replace older musical traditions--in the Andes each new musical layer is added, combined, and performed along with earlier ones. This volume explores the ways in which modern styles meet and interact with older, indigenous music to create a continuously evolving musical heritage. Music in the Andes examines the major contemporary indigenous, mestizo, and urban musical traditions of the region through a series of case studies. It also describes "Andean folkloric music," a cosmopolitan tradition that is performed in subways, streets, and festivals around the world. Throughout the book, author Thomas Turino underscores the dynamic interplay between musical/cultural continuity and innovation. He also emphasizes the exceptional communicative potential of music, dance, and festivals to express ethnic, class, regional, national, and gendered identities. In addition, he considers the ethical and stylistic differences between "participatory" and "presentational" modes of making music. Drawing on Turino's extensive fieldwork in the region, Music in the Andes is enhanced by interviews with key performers, eyewitness accounts of local performances, vivid illustrations, and hands-on listening activities. It is packaged with a 70-minute CD containing examples of music discussed in the text.
Sukay Workbook - Flutes and Melodies of the Andes by 
Music and the Poetics of Production in the Bolivian Andes by
Music and the Poetics of Production in the Bolivian Andes is a musical ethnography of a Quechua-speaking community of northern Potosí, in the Bolivian Andes. Based on extensive fieldwork, it explores how music permeates the lives of this group of herders and agriculturalists, and how it is deeply interwoven with agricultural and social (re)production. In this harsh highland environment, persuading the earth to bear fruit is a perpetual challenge, and music emerges as an especially critical and dynamic medium; one that provides rich insights into broader social processes and values. Music and dance orchestrate the seasonal transformation of the landscape, coordinate processes of life and death, and articulate relations with outside social groups and the spirit realm. Through rich and evocative ethnography, the book delves into the powerful meanings ascribed to sound; charts unfamiliar aesthetic territories; suggests how modernity can contribute to indigeneity; and reveals remarkable musical perspectives on llama husbandry and potato cultivation. As we follow the lives, shifting fortunes and musical year of this, in many ways, fragile community, a seasonally shifting array of musical instruments, genres, dances and tunings is introduced. The book is accompanied by downloadable resources, photographs, musical transcriptions and explanatory diagrams.
Five songs of the Cuzco Indians : traditional music of the Peruvian Andes for guitar and mandolin by 
In the footsteps of Taytacha
Follows a group of Quechua-speaking musicians and dancers as they leave their remote villages high in the Andes Mountains of Peru and join thousands of other highlanders on the annual religious pilgrimage to the sacred peaks of Qoyllur-Rit'i. Throughout the festival, villagers explain what the ritual means to them both personally and collectively.
Bolivia music rough guide by 
Bolivia, panpipes by 
Soleil Inca
Wiñayataqui
Sereno by 
Music in North India by
Music in North India 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. North India is home to a wealth of musical traditions composed of many different styles, genres, and practices. Music in North India provides a representative overview of this music, discussing rhythm and drumming traditions, song composition and performance styles, and melodic and rhythmic instruments. Drawing on his experience as a sarod player, vocalist, and music teacher, author George Ruckert incorporates numerous musical exercises to demonstrate important concepts. The book ranges from the chants of the ancient Vedas to modern devotional singing and from the serious and meditative rendering of raga to the concert-hall excitement of the modern sitar, sarod, and tabla. It is framed around three major topics: the devotional component of North Indian music, the idea of fixity and spontaneity in the various styles of Indian music, and the importance of the verbal syllable to the expression of the musical aesthetic in North India. Featuring vivid eyewitness accounts of performances and descriptions of interviews with performers, Music in North India examines the form, structure, and expression of North Indian music while also illuminating its profound religious and cultural significance. A 70-minute CD containing examples of the music discussed in the text is packaged with the book.
Sufi Music of India and Pakistan by
For the Sufis of India and Pakistan, the Qawwali songs are 'food for the soul', a means of attaining union with God, the ecstatic culmination of mystical experience. Regula Burckhardt Qureshi's study carefully describes and documents the performance of this music in the traditional Sufi assembly, the ritual of sama', first presenting the rich musical repertoire of Qawwali song, and then exploring everything else that is relevant to an understanding of the ritual: the profound belief system and its powerful articulation through mystical poetry in three languages (Farsi, Hindi, Urdu), the social and economic relationships between Sufi listeners and musicians, and, finally, all the specific rules governing the making of and listening to Qawwali in the Sufi assembly. All this leads up to a moment-by-moment account of actual Qawwali performances where the interplay between the musical sound and the diverse and often dramatic audience responses is described and analysed by the author.
Time in Indian Music by
Time in Indian Music is the first major study of rhythm, metre, and form in North Indian rag , or classical, music. Martin Clayton presents a theoretical model for the organization of time in this repertory, a model which is related explicitly to other spheres of Indian thought and culture as well as to current ideas on musical time in alternative repertoriesnullincluding that of Western music. This theoretical model is elucidated and illustrated with reference to many musical examples drawn from authentic recorded performances. These examples clarify key Indian musicological concepts such as tal (metre), lay (tempo or rhythm), and laykari (rhythmic variation). More generally, the volume addresses the implications of performance practice for the organization of rhythm and metre. Written in a clear and accessible style and illustrated with 102 music examples and diagrams, it will appeal to anyone interested in Indian aesthetic forms and the study of musical time.
Solo Tabla Drumming of North India by 
Raga unveiled India's voice : the history and essence of North Indian classical music
Super percussion of India by 
Traditional Musicians of the Central Blue Ridge by
The Central Blue Ridge, taking in the mountainous regions of northwestern North Carolina and southwestern Virginia, is well known for its musical traditions. Long recognized as one of the richest repositories of folksong in the United States, the Central Blue Ridge has also been a prolific source of commercial recording, starting in 1923 with Henry Whitter's "hillbilly" music and continuing into the 21st century with such chart-topping acts as James King, Ronnie Bowman and Doc Watson. Unrivaled in tradition, unequaled in acclaim and unprecedented in influence, the Central Blue Ridge can claim to have contributed to the musical landscape of Americana as much as or more than any other region in the United States. This reference work--part of McFarland's continuing series of Contributions to Southern Appalachian Studies--provides complete biographical and discographical information on more than 75 traditional recording (major commercial label) artists who are natives of or lived mostly in the northwestern North Carolina counties of Alleghany, Ashe, Avery, Surry, Watauga and Wilkes, and the southwestern Virginia counties of Carroll and Grayson. Primary recordings as well as appearances on anthologies are included in the discographies. A chronological overview of the music is provided in the Introduction, and the Foreword is by the celebrated musician Bobby Patterson, founder of the Mountain and Heritage record labels.
The Bluegrass Reader by
In The Bluegrass Reader, Thomas Goldsmith joins his insights as a journalist with a lifetime of experience in bluegrass to capture the full story of this beloved American music. Inspired by the question "What articles about bluegrass would you want to have with you on a desert island?" he assembled a delicious, fun-to-read collection that brings together a wide range of the very best in bluegrass writing. Goldsmith's substantial introduction describes and traces the development of the music from its origins in Anglo-American folk tradition, overlaid with African American influences, to the breakout popularity of Ralph Stanley, Alison Krauss, and the O Brother, Where Art Thou? soundtrack. He introduces each selection offering a wealth of additional information, making The Bluegrass Reader both enjoyable and invaluable for new fans of the music as well as for its lifetime devotees.
African Banjo Echoes in Appalachia by
Throughout the Upland South, the banjo has become an emblem of white mountain folk, who are generally credited with creating the short-thumb-string banjo, developing its downstroking playing styles and repertory, and spreading its influence to the national consciousness. In this groundbreaking study, however, Cecelia Conway demonstrates that these European Americans borrowed the banjo from African Americans and adapted it to their own musical culture. Like many aspects of the African-American tradition, the influence of black banjo music has been largely unrecorded and nearly forgotten--until now. Drawing in part on interviews with elderly African-American banjo players from the Piedmont--among the last American representatives of an African banjo-playing tradition that spans several centuries--Conway reaches beyond the written records to reveal the similarity of pre-blues black banjo lyric patterns, improvisational playing styles, and the accompanying singing and dance movements to traditional West African music performances. The author then shows how Africans had, by the mid-eighteenth century, transformed the lyrical music of the gourd banjo as they dealt with the experience of slavery in America. By the mid-nineteenth century, white southern musicians were learning the banjo playing styles of their African-American mentors and had soon created or popularized a five-string, wooden-rim banjo. Some of these white banjo players remained in the mountain hollows, but others dispersed banjo music to distant musicians and the American public through popular minstrel shows. By the turn of the century, traditional black and white musicians still shared banjo playing, and Conway shows that this exchange gave rise to a distinct and complex new genre--the banjo song. Soon, however, black banjo players put down their banjos, set their songs with increasingly assertive commentary to the guitar, and left the banjo and its story to white musicians. But the banjo still echoed at the crossroads between the West African griots, the traveling country guitar bluesmen, the banjo players of the old-time southern string bands, and eventually the bluegrass bands. The Author: Cecelia Conway is associate professor of English at Appalachian State University. She is a folklorist who teaches twentieth-century literature, including cultural perspectives, southern literature, and film.
Pretty Good for a Girl by
The first book devoted entirely to women in bluegrass, Pretty Good for a Girl documents the lives of more than seventy women whose vibrant contributions to the development of bluegrass have been, for the most part, overlooked. Accessibly written and organized by decade, the book begins with Sally Ann Forrester, who played accordion and sang with Bill Monroe's Blue Grass Boys from 1943 to 1946, and continues into the present with artists such as Alison Krauss, Rhonda Vincent, and the Dixie Chicks. Drawing from extensive interviews, well-known banjoist Murphy Hicks Henry gives voice to women performers and innovators throughout bluegrass's history, including such pioneers as Bessie Lee Mauldin, Wilma Lee Cooper, and Roni and Donna Stoneman; family bands including the Lewises, Whites, and McLains; and later pathbreaking performers such as the Buffalo Gals and other all-girl bands, Laurie Lewis, Lynn Morris, Missy Raines, and many others.
Tony Rice Teaches Bluegrass Guitar Book/Online Audio by
(Instructional). Tony Rice is known world-wide for his spectacular technique, brilliant improvisation and powerful soloing. In this lesson, he personally passes on to you the style he has developed during his two decades as the top bluegrass flatpicker of his generation. In careful detail, Tony analyzes licks, runs, solos and rhythm parts to hot bluegrass songs and fiddle tunes that will challenge and delight all flatpickers. Before long you'll be picking solos to the following essential bluegrass tunes: Red Haired Boy * Little Sadie * Your Love Is like a Flower * Blue Railroad Train * Home from the Forest * Wildwood Flower * Old Train * Wild Horse * and Jerusalem Ridge. Along with the music and tab, the accompanying audio download allows you to hear Tony himself teaching and demonstrating his inimitable guitar style. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files also include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
Best of Bluegrass by
(Transcribed Score). This unique pack provides complete note-for-note scores for 10 bluegrass classics. The fiddle, mandolin, and bass parts are in standard notation. The banjo parts are written in banjo tab. The CD includes the original recordings as a further reference. Songs include: Cripple Creek * Darlin' Corey * Durham's Bull * Great Speckled Bird * John Henry * Man of Constant Sorrow * Mule Skinner Blues * Salty Dog Blues * Sittin' on Top of the World * Wabash Cannonball.
May It Fill Your Soul by
In this vivid musical ethnography, Timothy Rice documents and interprets the history of folk music, song, and dance in Bulgaria over a seventy-year period of dramatic change. From 1920 to 1989, Bulgaria changed from a nearly medieval village society to a Stalinist planned industrial economy to a chaotic mix of capitalist and socialist markets and cultures. In the context of this history, Rice brings Bulgarian folk music to life by focusing on the biography of the Varimezov family, including the musician Kostadin and his wife Todora, a singer. Combining interviews with his own experiences of learning how to play, sing and dance Bulgarian folk music, Rice presents one of the most detailed accounts of traditional, aural learning processes in the ethnomusicological literature. Using a combination of traditionally dichotomous musicological and ethnographic approaches, Rice tells the story of how individual musicians learned their tradition, how they lived it during the pre-Communist era of family farming, how the tradition changed with industrialization brought under Communism, and finally, how it flourished and evolved in the recent, unstable political climate. This work--complete with a compact disc and numerous illustrations and musical examples--contributes not only to ethnomusicological theory and method, but also to our understanding of Slavic folklore, Eastern European anthropology, and cultural processes in Socialist states.
Bright Balkan Morning by
A celebration of settled "Gypsies" and music-dance in Greek Macedonia with CD. A stunningly-illustrated interweaving of first person narratives, photographs, cultural commentary and soundscapes, Bright Balkan Morning provides an unprecedented view of settled Romani lives in the Balkans and the unique roles of "Gypsy" instrument players in the region. These Romani instrumentalists from Iraklia, an ancient Greek Macedonian crossroads and market town that is home to about 2,000 Roma, provide the sounds that facilitate parties and rites of passage, performing an essential and highly valued service for their multicultural neighbors. At the heart of the book are ten first-person Romani life stories. Charles and Angeliki Keil situate these personal accounts within the cultural, historical and economic setting of Greek Macedonia, and provide an overview of musical events in diverse localities. The 161 black and white photographs by Dick Blau include parades, parties, weddings and wrestling matches; portraits of the musicians and their families; studies of domestic life in the Romani neighborhood; reproductions from Romani family albums and other historic images. Steven Feld's soundscape CD features the voices and instruments of people whose stories are told in the book. Familiar sounds of markets, church, neighborhood and countryside set the context for exuberant performances at home and at parties, cafes and nightclubs. CONTRIBUTORS: Angeliki Vellow Keil, Charles Keil, Steven Feld, Ian Hancock.
The Balkan Folkdance Music Gig Book by 
Balkan Melodies for Accordion by
This is a collection of 42 well-known Balkan songs arranged for easy to intermediate accordion. Chords are provided to facilitate improvising. Includes a familiar and interesting Hungarian czardas.
Balkans by 
Folk music of Bulgaria by 
A harvest, a shepherd, a bride village music of Bulgaria
Bulgaria by 
No strings attached by 
Music in the Culture of Northern Afghanistan by
Pioneer study in English of Afghan music particularly valuable to anthropologists and ethnomusicologists. Surveys the various facets of the music culture: instruments, styles, and music as a part of the ethnic mosaic of the region. Includes coverage of music in other areas of Central Asia.
Music and the Play of Power in the Middle East, North Africa and Central Asia by
What is it about the history, geographical position and cultures of the Middle East, North Africa and Central Asia that has made music such a potent and powerful agent? This volume presents the first direct look at the complex relationship between music and power across a range of musical genres and countries. Discourses of power in the region centre on some of the most contested social issues, most notably in relation to nationhood, gender and religion. Individual chapters examine the ways in which music serves as a forum for playing out issues of power, ideology, resistance and subversion. How does music become a space for promoting - or conversely, resisting or subverting - particular ideologies or positions of authority? How does it accrue symbolic power in ways that are very particular, perhaps unique? And how does music become a site of social control or, alternatively, a vehicle for agency and empowerment, at times overt and at others highly subtle? What is it about music that facilitates, and sometimes disrupts, the exercise and flows of power? Who controls such flows, how and for what purposes? In asking such questions in the context of countries such as Afghanistan, Egypt, Iran, Tunisia and Tajikistan, the book draws on a wide range of relevant theoretical and critical ideas, and many disciplines including ethnomusicology, anthropology, sociology, politics, Middle Eastern studies, globalization studies, gender studies and cultural and media studies. The countries and areas explored share a great deal in historical and cultural terms, including a legacy of colonial and neo-colonial encounters and predominantly Judeo-Muslim religious traditions. It is hoped that the volume will contribute ultimately to a richer understanding of the role that music plays in these societies.
Women Musicians of Uzbekistan by
Fascinated by women's distinct influence on Uzbekistan's music, Tanya Merchant ventures into Tashkent's post-Soviet music scene to place women musicians within the nation's evolving artistic and political arenas. Drawing on fieldwork and music study carried out between 2001 and 2014, Merchant challenges the Western idea of Central Asian women as sequestered and oppressed. Instead, she notes, Uzbekistan's women stand at the forefront of four prominent genres: maqom, folk music, Western art music, and popular music. Merchant's recounting of the women's experiences, stories, and memories underscores the complex role that these musicians and vocalists play in educational institutions and concert halls, street kiosks and the culturally essential sphere of wedding music. Throughout the book, Merchant ties nationalism and femininity to performances and reveals how the music of these women is linked to a burgeoning national identity. Important and revelatory, Women Musicians of Uzbekistan looks into music's part in constructing gendered national identity and the complicated role of femininity in a former Soviet republic's national project.
The Silk Road : music, art, and poetry from Istanbul to Samarqand
Music from Central Asia : Uzbekistan on the Silk Road by 
Dombra from KazakhstanMusic in Latin American Culture by
Music in Latin American Culture: Regional Traditions presents chapters that focus on specific musical cultures including: Mexico, Central American, Brazil, Chile, Columbia, Peru and more. Each chapter is written by an expert in the field and includes specific examples from the contributor's fieldwork.
Songs That Make the Road Dance by
An important and previously unexplored body of esoteric ritual songs of the Tz'utujil Maya of Santiago Atitlán, Guatemala, the "Songs of the Old Ones" are a central vehicle for the transmission of cultural norms of behavior and beliefs within this group of highland Maya. Ethnomusicologist Linda O'Brien-Rothe began collecting these songs in 1966, and she has amassed the largest, and perhaps the only significant, collection that documents this nearly lost element of highland Maya ritual life. This book presents a representative selection of the more than ninety songs in O'Brien-Rothe's collection, including musical transcriptions and over two thousand lines presented in Tz'utujil and English translation. (Audio files of the songs can be downloaded from the UT Press website.) Using the words of the "songmen" who perform them, O'Brien-Rothe explores how the songs are intended to move the "Old Ones"--the ancestors or Nawals--to favor the people and cause the earth to labor and bring forth corn. She discusses how the songs give new insights into the complex meaning of dance in Maya cosmology, as well as how they employ poetic devices and designs that place them within the tradition of K'iche'an literature, of which they are an oral form. O'Brien-Rothe identifies continuities between the songs and the K'iche'an origin myth, the Popol Vuh, while also tracing their composition to the late sixteenth and early seventeenth centuries by their similarities with the early chaconas that were played on the Spanish guitarra española, which survives in Santiago Atitlán as a five-string guitar.
De la cana se hace el guaro : a traditional Costa Rican melody arranged for three guitars by 
Marimbas du Guatemala & du Mexique by 
Wátina by 
