To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure no-reply@cambridge.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
A groundbreaking critical introduction to folk music and song focused on questions of identity, community, representation, politics, and popular culture. Written by a distinguished international team of authors, this Companion is an indispensable resource for rethinking the confluence of sound, heritage, and identity in the twenty-first century. A unique addition to the literature, it highlights the fundamentally hybrid and (post)colonial dynamics that have shaped people's cultures around the globe, from the Appalachian mountains to the Indian subcontinent. It provides students with new critical paradigms essential for understanding how and why certain musical traditions have been characterised as 'folk'-and what continues to inspire folkloric imaginaries today. The twenty specially commissioned chapters explore folk music from a variety of perspectives including ethnography, revivalism, migration, race, class, gender, protest, and the public sphere. Among these chapters are four 'Artist Voices' by world-renowned performers Peggy Seeger, Angeline Morrison, Jon Boden, and Yale Strom.
As a companion to 'music in Australia', rather than 'Australian music', this book acknowledges the complexity and contestation inherent in the term 'Australia', whilst placing the music of Aboriginal and Torres Strait Islander people at its very heart. This companion emphasizes a diversity of musical experiences in the breadth of musical practice that flows though Australia, including Indigenous song, art music, children's music, jazz, country, popular music forms and music that blurs genre boundaries. Organised in four themed sections, the chapters present the latest research alongside perspectives of current creative artists to explore communities of practice and music's ongoing entanglements between Indigenous and non-Indigenous cultural practices, the influence of places near and far, of continuity, tradition, adaptation, and change. In the final chapter, we pick up where these chapters have taken us, asking what is next for music in Australia for the future.
In the first study of the global dimensions of musical modernism, Björn Heile proposes a novel theory according to which musical modernism is constituted by a global diasporic network of composers, musicians and institutions. In a series of historical and analytical case studies from different parts of the world, this book overcomes the respective limitations of both Eurocentric and postcolonial, revisionist accounts, focusing instead on the transnational entanglements between the West and other world regions. Key topics include migration, the transnational reception and transfer of musical works and ideas, institutions such as the International Society for Contemporary Music (ISCM) and composers who are rarely discussed in Western academia, such as the Nigerian-born Akin Euba and the Korean-German Younghi Pagh-Paan. Influenced by the interdisciplinary notion of 'entangled histories', Heile critiques established dichotomies, all the while highlighting the unequal power relations on which the existing global order is founded.
The first systematic assessment of the symphonic style of the Czech composer Bohuslav Martinu (1890-1959), tracing the evolution of his musical language and including detailed analyses of all six symphonies.
Tango music rapidly became a global phenomenon as early as the beginning of the twentieth century, with about 30% of gramophone records made between 1903 and 1910 devoted to it. Its popularity declined between the 1950s and the 1980s but has since risen to new heights. This Companion offers twenty chapters from varying perspectives around music, dance, poetry, and interdisciplinary studies, including numerous visual and audio illustrations in print and on the accompanying webpages. Its multidisciplinary approach demonstrates how different disciplines intersect through performative, historical, ethnographic, sociological, political, and anthropological perspectives. These thematic continuities illuminate diverse international perspectives and highlight how the art form flourished in Argentina, Uruguay and abroad, while tracing its international and cultural impact over the last century. This book is an innovative resource for scholars and students of tango music, particularly those seeking a diverse international perspective on the subject.
Music festivals offer a chance to experience musical and cultural diversity, much needed in a country which, for a long time, had been separated from much of global culture. As such, they also serve as an opportunity to appreciate the musical traditions and productions from different groups, both those originating from foreign lands, and those situated locally, often created by ethnic minorities. The relatively easy-going atmosphere of music festivals and their focus on art allow for circumstances where conflict is not very likely, thus fostering mutual appreciation among people of various walks of life. All of the essays in this volume refer to and aim to answer two fundamental questions: can music festivals serve as spaces of diversity, that is places where people can get to know other cultures and groups of people; and if so, how? Can music festivals also be a factor of socio-cultural changes?
The Saxophone Symposium is published annually by the North American Saxophone Alliance. The Saxophone Symposium is a scholarly, peer-reviewed journal devoted solely to the saxophone. A panel of professional performers, scholars, and pedagogues of the saxophone review all articles. The journal includes articles on saxophone history, literature, pedagogy, jazz studies, contemporary practices, and interdisciplinary areas.
This book, the first collection of essays in English on Bruno Maderna, brings the reader closer to one of the greatest European composer and conductor of the last century.
First volume of a gripping collection of the writings of one of the twentieth century's finest composers, the Anglo-Polish Sir Andrzej Panufnik (1914-91), consisting of a new edition of his 1984 autobiography Composing Myself, his complete programme notes on his own compositions, his essays and articles and his interviews.
The Saxophone Symposium is published annually by the North American Saxophone Alliance. The Saxophone Symposium is a scholarly, peer-reviewed journal devoted solely to the saxophone. A panel of professional performers, scholars, and pedagogues of the saxophone review all articles. The journal includes articles on saxophone history, literature, pedagogy, jazz studies, contemporary practices, and interdisciplinary areas.
Gideon Klein was one of the most gifted musicians of his generation. This book traces his short life through his music, his diaries and documents as well as the reminiscences of his friends and family.
This book accompanies the Paul Sacher Foundation's exhibition at the Bonn Beethovenhaus. In the twentieth and twenty-first centuries, composers have referred to Beethoven in their music. The volume explores this subject and illustrates it with documents from the Foundation's archives in Basel.
The music of the Dutch composer Alphons Diepenbrock (1862-1921) is one of the glories of European late-Romantic culture, although is hardly known outside his native Netherlands. This translation makes Leo Samama's masterly study of Diepenbrock available to non-Dutch readers for the first time.
Christ Church cathedral is an Anglican cathedral in a catholic country. Musical and archival sources (the most extensive for any Irish cathedral) provide a unique perspective on the history of music in Ireland.
Until now, Kathleen Ferrier has been a glorious voice, but through the pages of these fascinating letters and diaries, never previously published, we get to the real person.