During the second half of the 20th century, the Caribbean island of Barbados emerged as a key player in the creation and nurturing of Caribbean popular music.
Darkthrone's A Blaze in the Northern Sky (1992) is a foundational keystone of the musical and aesthetic vision of the notorious Norwegian black metal scene and one of the most beloved albums of the genre.
Introduces the richly varied musical traditions of the Caribbean from interdisciplinary perspectives that will support decolonised curricula and research.
Richard Egues and Jose Fajardo are universally regarded as the leading exponents of charanga flute playing, an improvisatory style that crystallized in 1950s Cuba with the rise of the mambo and the chachach.
This collection presents intriguing explanations of extraordinary musical creations from across the world, concentrating on how the music works as sound in process.
In 1997 the rap group Racionais MCs (the 'Rational' MCs) recorded the album Sobrevivendo no Inferno (Surviving in Hell), subsequently changing the hip-hop scene in Sao Paulo and firmly establishing itself as the point of reference for youth across Brazil.
Tracing Tangueros offers an inside view of Argentine tango music in the context of the growth and development of the art form's instrumental and stylistic innovations.
Kwakwaka'wakw welcome songs, an aria from Joseph Quesnel's 1808 opera Lucas et Cecile, rubbaboos (a combination of elements from First Peoples, French, and English music), the Tin Pan Alley hits of Shelton Brooks, and the contemporary work of Claude Vivier and Blue Rodeo all dance together in Canada's rich musical heritage.
This volume provides a transnational study of the impact of musicalcultures in the Eastern Baltics Lithuania, Latvia, Poland, and Russia at the end of theCold War and in the early post-Communist period.
In this critical appraisal of The Clean's landmark release, Boodle Boodle Boodle, Geoff Stahl explores how it impacted the emergence of a new DIY scene alongside a retrospective on the role The Clean played in shaping New Zealand's independent music industry.
Thought and Play in Musical Rhythm offers new understandings of musical rhythm through the analysis and comparison of diverse repertoires, performance practices, and theories as formulated and transmitted in speech or writing.
In Kinesthetic City, author SanSan Kwan explores the contentious nature of Chineseness in diaspora through the lens of moving bodies as they relate to place, time, and identity.
More than simply a paragon of Brazilian samba, Dona (Lady) Ivone Lara's 1981 Sorriso Negro (translated to Black Smile) is an album deeply embedded in the political and social tensions of its time.
Critiques and calls for reform have existed for decades within music education, but few publications have offered concrete suggestions as to how things might be done differently.
After a string of commercial disappointments, in 1986 Australian rock band The Church were simultaneously dropped by Warner Brothers in the US and EMI in Australasia.
Beginning in the 1930s, men and a handful of women came from India's many communities-Marathi, Parsi, Goan, North Indian, and many others--to Mumbai to work in an industry that constituted in the words of some, "e;the original fusion music.
'A joyous treasure trove' Michael Morpurgo'A delight' Tom Jones'A Tour De Force' Roger PhillipsCook your way around the world with Cerys Matthews' Where the Wild Cooks Go, with a Spotify playlist ready for each country, as well as poems, proverbs, curiosities and some very surprising aspects of world history.
On September 2, 1945, Ho Chi Minh read out the Vietnamese Declaration of Independence over a makeshift wired loudspeaker system to thousands of listeners in Hanoi.
The first cultural history of the Philippines during the twentieth century, Musical Renderings of the Philippine Nation focuses on the relationships between music, performance, and ideologies of nation.
Sin Documentos is a landmark album in Spanish popular culture and continues to maintain considerable popularity more than two decades after its release.
Over the past four decades, the "e;globalized"e; aspects of cultural circulation have received the majority of scholarly-and consumer-attention, particularly in the study of South Asian music.
In the 1920s and 30s, musicians from Latin America and the Caribbean were flocking to New York, lured by the burgeoning recording studios and lucrative entertainment venues.
How can a traditional music with little apparent historical connection to Berlin become a way of hearing and making sense of the bustling German capital in the twenty-first century?
Call it batida, kuduro, Afro house, Lisbon bass: anyone with a keen ear for contemporary developments in global electronic dance music can't fail to have noticed the rise in popularity and influence of Lisbon-based DJs such as DJ Marfox, DJ Nervoso and Nidia.
Leipzig, Germany, is renowned as the city where Johann Sebastian Bach worked as a church musician until his death in 1750, and where Felix Mendelssohn Bartholdy directed the famed Gewandhaus orchestra until his own death in 1847.
From the late 1990s until today, China's sound practice has been developing in an increasingly globalized socio-political-aesthetic milieu, receiving attentions and investments from the art world, music industry and cultural institutes, with nevertheless, its unique acoustic philosophy remaining silent.
Divine Inspirations: Music and Islam in Indonesia brings together the work of 11 international scholars into an unprecedented volume focused on religion and performance in a nation celebrated for its extraordinary arts, religious diversity, and natural beauty.
Musical Intimacies and Indigenous Imaginaries explores several styles performed in the vital aboriginal musical scene in the western Canadian province of Manitoba, focusing on fiddling, country music, Christian hymnody, and step dancing.
Today, teachers and performers of Turkish classical music intentionally cultivate melancholies, despite these affects being typically dismissed as remnants of the Ottoman Empire.
