ConFound 2016

Z-Unavailable Solis, Gabriel, and Bruno Nettl. 2009. Musical Improvisation: Art, Education, and Society. Urbana: University of Illinois Press.

"Cutting across traditional subject boundaries in music and cultural studies, this admirably comprehensive work adopts a welcome interdisciplinary ideal and makes a truly significant contribution to our knowledge of musical improvisation."--Robert Witmer, professor emeritus of music, York University.

Z-Online Cook, Nicholas. 2004. "Introduction: Trajectories of Twentieth-Century Music." In The Cambridge History of Twentieth-Century Music, Nicholas Cook and Anthony Pople, eds. Pp. 1-17. Cambridge: Cambridge University Press.

-this history is of course partial as any history is - one interpretation, and a critical history because it is aware of the fact that it is an interpretation -the fact that there are so many editors means the result is a "compromise" since the authors disagree on the relationship between history and value judgment -competition between the authors' competing partialities in writing history -there is one historical perspective (the dominant one that I learned as a student of music theory at the undergraduate level) that is the "Vienna History" of 20th-century music (p. 5) that focuses on history as organized by approach to composition, which is why it starts with the "Second Viennese School" - and this approach to composition way can be a discursive strategy to organizing other genres, systems, and domains of music that are understood to be under the umbrella of Western music in the 20th century can easily conform to this strategy (ex. jazz) -focuses on the construction of the mainstream, and when I think of mainstream I usually think about the genres of music that comprise the mainstream, but I think Cook is widening the use of the mainstream to mean the historiographic mainstream - what made it into the writing of history in particular ways, and why? He suggests that certain genres of music that were born out of the US Southern states might not have been written about the way they have had dominant historians not come from the victorious "Union" during the American Civil War -historicism - taken from the 19th century - means the endeavour to explore the terms and value framework in which "past ages saw themselves" and try to understand them in those frameworks -Benjamin argues, however, that we should try and understand history from the point of view of "histories from below" (the "vanquished rather than the victors" - p. 6) which makes me think of other similar endeavours outside of music history - histories from below (Thompson, Hobsbawm, etc.) and Subaltern History (Ranajit Guha, Dipesh Chakrabarty, etc.) -the containing authors themselves disagree on the idea of a mainstream, since for some it is about pluralities in the 20th century (of music) -so, the book is about music, and musics

Z-Saved Abbate, Carolyn. 2004. "Music - Drastic or Gnostic?" Critical Inquiry 50:505-536.

-writing about a performance - isn't this ethnography -human bodies wired to notational prescriptions -analyzing a performance as music means adding a body - adding a theatrical element -why is world music always analyzed as performance - the absence of a score? Therefore we have other visual representation of "the music" - the performance itself -hints at reconstructive gestures for what historical music (Wagner) would have sounded like in his performance? -returns to the question by saying where has live performance gone? This is crazy -real music is a temporal event with material presence -in terms of the title, ___ argues for a "drastic" rather than "gnostic" effect of music on its listeners/consumers. This comes from another theorist -"Again, the point is not that musical works are being explained as reflecting cultural values or biographical facts. It is not even that musical works are being said to reveal something inaccessible, some social truth not conveyed by any other medium, though this is an idea well worth scrutinizing in greater detail. The point is that these ideas and truths are being made monumental and given aura by music." (p. 520)

GN345.F15 [1983? 2002 unavailable] Fabian, Johannes, and Matti Bunzl --. 2002. Time and the Other: How Anthropology Makes Its Object. New York: Columbia University Press.

A classic work that critically reexamined the relationship between anthropologists and their subjects and reoriented the approach literary critics, philosophers, and historians took to the study of humankind. Challenges the assumption that anthropologists live in the "here and now," that their subjects live in the "there and then," and that the "other" exists in a time not contemporary with our own. Pinpoints the emergence, transformation, and differentiation of a variety of uses of time in the history of anthropology that set specific parameters between power and inequality.

PN94.E15 Eagleton, Terry. 1983. Literary Theory: An Introduction. Minneapolis: University of Minnesota Press.

A critical overview of the history of literary theory starting just before the emergence of the Romantic movement in eighteenth-century England and ending with the post-Structuralists in 1970s and 1980s. Through this historical approach, ___ explores the questions "What is literature?" and "What is literary theory?" After undermining the answers various schools of thought give to this answer, he concludes that literature is simply a social construct and literary theory, therefore, is an artificial discipline.

DP676.S25P56 1995 Pinto, Atonio. C. (1995). Salazar's Dictatorship and European Fascism: Problems of Interpretation. New York: Columbia University Press.

A small country with a vast colonial empire, Portugal was to experience the longest-surviving right-wing dictatorship in twentieth-century Europe. Costa Pinto identifies the links between Salazarism and European fascism. He includes an analytical summary of the interpretations of Salazarism and its origins, both in the context of the debate on European fascism and, more generally, in the context of authoritarian regimes of the twentieth century.

Z-Online Chakrabarty, Dipesh. 2000. Provincializing Europe: Postcolonial Thought and Historical Difference. Princeton: Princeton University Press.

Addresses the mythical figure of Europe that is often taken to be the original site of modernity in many histories of capitalist transition in non-Western countries. This imaginary Europe is built into the social sciences. The very idea of historicizing carries with it some peculiarly European assumptions about disenchanted space, secular time, and sovereignty. Measured against such mythical standards, capitalist transition in the third world has often seemed either incomplete or lacking. Proposes that every case of transition to capitalism is a case of translation as well--a translation of existing worlds and their thought--categories into the categories and self-understandings of capitalist modernity. This book globalizes European thought by exploring how it may be renewed both for and from the margins. From "Domestic Cruelty and the Birth of the Subject": SUPPLEMENTING THE SUBJECT OF ENLIGHTENMENT: A TRANSLATION OF DIFFERENCE There were two problems with the Bengali adaptation of a natural theory of compassion in dealing with the question of domestic cruelty toward widows. One was inherent in the theory: by making truly human sentiments natural and universal, it filled up what would later be regarded as the space of human subjectivity with reason alone. But reason, being universal and public, could never delineate the private side of the modern individual. To this problem, I will turn in the next section. The second problem was that Bengali history was not a clean slate on which Enlightenment questions and answers could be written at will. It was not that the question of compassion had never been discussed in Bengali history before the arrival of the British. There were alternative understandings of the problem that also determined Bengali responses to the Enlightenment question, "From where does compassion come?"

ML1711.8.N3 W62 2013 Wollman, Elizabeth L. 2012. Hard Times: The Adult Musical in 1970s New York City, Oxford University Press.

After the success of Hair in 1968, the low-budget adult musical proliferated. The most famous was the long-running "Oh! Calcutta!", but countless more made it to stage: "Stag Movie," "Let My People Come," "The F.aggot," and others. Structured like old-fashioned revues, with thematically interconnected songs and skits, they received little respect from critics, who either condemned them for going too far in the direction of hard-core pornography, or for not being erotic enough. The public thought otherwise, flooding the theaters and pouring cash into box-office tills. Shows that adult musicals represented far more than a silly fad from a silly decade: they reflected experimentation with newfound sexual freedom, not to mention the rise of the women's and gay liberation movements. Examines the impact of the Stonewall riots on gay musicals; how feminism was reflected on stage; and how "porno chic" and hard-core porn influenced performances.

ML3838 .M949 2003 Magrini, Tulia, ed. 2003. Music and gender: Perspectives from the Mediterranean. Chicago: University of Chicago Press.

Although scholars have long been aware of the crucial roles that gender plays in music, and vice versa, the contributors to this volume are among the first to systematically examine the interactions between the two. This book is also the first to explore the diverse, yet often strikingly similar, musics of the areas bordering the Mediterranean from comparative anthropological perspectives. From Spanish flamenco to Algerian raï, Greek rebetika to Turkish pop music, Sephardi and Berber songs to Egyptian belly dancers, the contributors cover an exceedingly wide range of geographic and musical territories. Individual essays examine musical behavior as representation, assertion, and sometimes transgression of gender identities; compare men's and women's roles in specific musical practices and their historical evolution; and explore how music and gender relate to such issues as ethnicity, nationality, and religion.

DU740.42 .F44 2012 Feld, Steven. 2012[1982{1990}]. Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. Durham and London: Duke University Press.

An ethnographic study of sound as a cultural system--that is, a system of symbols--among the Kaluli people of Papua New Guinea. It shows how an analysis of modes and codes of sound communication leads to an understanding of life in Kaluli society. By studying the form and performance of weeping, poetics, and song in relation to the Kaluli natural and spiritual world, ___ reveals Kaluli sound expressions as embodiments of deeply felt sentiments.

Z-Unavailable Bohlman, Philip V. 2002. World Music: A Very Short Introduction. Oxford: Oxford University Press.

An introduction to world music from an ethnomusicological perspective. In fact, I would argue that the book is an introduction to an ethnomusicological study of world music. World music takes shape in a marketing category, unified 'other' (against Western music), and an umbrella of sub-categories that feature sacred music, popular music of other parts of the world.

Z-Saved Hardt, Michael. 1999. "Affective Labor." boundary 2 26(2):89-100.

An overview of the role of immaterial labor in the history of production and hints at ways that it might be applied for non-capitalist purposes and efforts towards liberation. Outlines a succession of three economic paradigms in economically dominant countries: the first paradigm, focused on agriculture and the extraction of raw materials; modernization brought about the second paradigm of industry; postmodernization or informatization, starting roughly in the 70s

Z-Online Ortner, S. (1972). Is Female to Male as Nature Is to Culture? Feminist Studies, 1(2), 5-31.

Argument that culture is associated with men, and although women are important participants in culture, they are more aligned more closely with nature. A decade later, researchers abandoned this notion and began searching for individual cultural constructions that create and legitimate differences rather than universals. However, to prove — point, — argues that a woman's body and its functions keep her closer to nature more than a man's physiology, allowing him more freedom to work in culture. The purpose of culture, in one sense, is to rise above nature; therefore, if women are more aligned with nature then they fall socially below cultural men. Ultimately, both a woman's body and her social position create a different psychic structure for her.

Z-Online (http://www.mtosmt.org/issues/mto.05.11.3/mto.05.11.3.burns_frames.html) Burns, Lori. 2005. Feeling the Style: Vocal Gesture and Musical Expression in Billie Holiday, Bessie Smith, and Louis Armstrong. Music Theory Online, 11(3).

As Billie Holiday described her unique brand of vocal expression, she claimed that she wanted the "style" of Louis Armstrong and the "feeling" of Bessie Smith. These aesthetic and expressive goals can be interrogated for their analytic and interpretive potential. What elements of her musical presentation capture the jazz stylings of Armstrong and the Classic-blues subjectivity of Smith? Can affective gestures be teased apart from the structural features of the musical performance? Might these apparently distinct elements be in fact integrally bound, the stylistic elements (conventions, manners) serving feeling, and concomitantly the affective elements (emotion, subjectivity, affect) serving structure? By recognizing these distinctive aspects and qualities of a singer's vocal expression, do we take a step closer to his or her distinctive musical artistry? This article explores the analytic potential of Billie Holiday's self-proclaimed performance goals by interpreting vocal gesture in her versions of two songs also recorded by Louis Armstrong and Bessie Smith. The songs chosen for consideration are "'Tain't Nobody's Biz-ness If I Do" (words and music by Porter Grainger and Everett Robbins), written in 1922 and "I Gotta Right to Sing the Blues" (music by Harold Arlen, lyrics by Ted Koehler), written in 1932. Billie Holiday's recordings of these songs are credited as tributes to her idols Bessie Smith and Louis Armstrong. The analysis illustrates how Holiday gave tribute to Smith and Armstrong through specific strategies of vocal content and gesture while still forging an innovative style and feeling in her own musical expression.

Z-Saved Rollefson, J. G. (2008). The 'Voodoo Robot Power' Thesis: Afrofuturism and Anti-Anti-Essentialism from Sun Ra to Kool Keith. Black Music Research Journal, 28(1), 83-109.

As a partial corrective for this potential pitfall of the Afrofuturist project, I will propose a theoretical framework for Afrofuturism premised on Paul Gilroy's notion of "anti-anti-essentialism," which first appeared in the pages of Black Music Research Journal in 1991. Central to this model is the idea manifest in Nelson's explication of Afrofuturism that the idea of a "race-free future" smacks of a white (male) future. As Dery asks: "Can a community whose past has been deliberately rubbed out, and whose energies have subsequently been consumed by the search for legible traces of its history, imagine possible futures? Furthermore, isn't the unreal estate of the future already owned by the technocrats, futurologists, streamliners, and set designers--white to a man--who have engineered our collective fantasies?" (1993, 738). In order to expose this false utopia the Afrofuturist project also focuses on the past through its tactical recovery of black soul.

E99.A6 S28 2004 Samuels, David William. 2004. Putting a Song On Top of It: Expression and Identity On the San Carlos Apache Reservation. Tucson: University of Arizona Press.

As in many Native American communities, people on the San Carlos Apache reservation in southeastern Arizona have for centuries been exposed to contradictory pressures. One set of expectations is about conversion and modernization—spiritual, linguistic, cultural, technological. Another is about steadfast perseverance in the face of this cultural onslaught. Within this contradictory context lies the question of what validates a sense of Apache identity. For many people on the San Carlos reservation, both the traditional calls of the Mountain Spirits and the hard edge of a country, rock, or reggae song can evoke the feeling of being Apache. Using insights gained from both linguistic and musical practices in the community—as well as from his own experience playing in an Apache country band—___ explores the complex expressive lives of these people to offer new ways of thinking about cultural identity. Samuels analyzes how people on the reservation make productive use of popular culture forms to create and transform contemporary expressions of Apache cultural identity. This richly detailed study challenges essentialist notions of Native American tribal and ethnic identity by revealing the turbulent complexity of everyday life on the reservation. Is a multifaceted exploration of the complexities of sound, of language, and of the process of constructing and articulating identity in the twenty-first century.

Z-Unavailable Keucheyan, Razmig. 2013. The Left Hemisphere: Mapping Critical Theory Today. London: Verso.

As the crisis of capitalism unfolds, the need for alternatives is felt ever more intensely. The struggle between radical movements and the forces of reaction will be merciless. A crucial battlefield, where the outcome of the crisis will in part be decided, is that of theory. Over the last twenty-five years, radical intellectuals across the world have produced important and innovative ideas. The endeavour to transform the world without falling into the catastrophic traps of the past has been a common element uniting these new approaches. This book—aimed at both the general reader and the specialist—offers the first global cartography of the expanding intellectual field of critical contemporary thought. More than thirty authors and intellectual currents of every continent are presented in a clear and succinct manner. A history of critical thought in the twentieth and twenty-first centuries is also provided, helping situate current thinkers in a broader historical and sociological perspective.

Z-Saved Dueck, Byron. 2007. "Public and Intimate Sociability in First Nations and Métis Fiddling." Ethnomusicology 51(1):30-63

Basically the article analyzes that in Metis fiddle performance at this particular festival, intimacy as being performed among fiddlers and one another, since they were previously strangers, and between the performers and their audiences. I don't think this is a very advanced argument, but is a musical example that sort of supports mine. That intimacy is being created, and I take it a step further to say that that relationship is being performed. The musicians, the author argues, create a musical public (defined by Warner 2002) and then create intimacy. Reference that when musicians are performing together, they are creating intimacy through "musical socialibilities" being created, that is one form of those listed below. He also terms it "stranger sociability."

Z-Online Becker, Judith O. 2004. Deep Listeners: Music, Emotion, and Trancing. Bloomington: Indiana University Press.

Brings together scientific and cultural approaches to the study of music and emotion, and music and trancing. Claims that persons who experience deep emotions when listening to music are akin to those who trance within the context of religious rituals. Using new discoveries in the fields of neuroscience and biology, ___ outlines an emotion-based theory of trance using examples from Southeast Asian and American musics. My intent is to begin to bridge the gulf between disciplines whose approach to the embodiment of experience involves different approaches and leads to differing results. There are at least three ways to think about embodied experience, none of which can be separated cleanly from the others. Each of the three can provide special insights into music and trancing and all three, separately or concurrently, will frame the discussions in the chapters that follow. 1) The body as a physical structure in which emotion and cognition happen 2) The body as the site of first-person, unique, inner life 3) The body as involved with other bodies in the phenomenal world, that is, as being-in-the-world In Chapter 1, "Rethinking 'Trance;" contemporary semiotic, cultural approaches to trancing are traced from Jean-Jacques Rousseau in the eighteenth century to the present. Chapter 2, "Deep Listeners," examines the issue of ANS (autonomic nervous system) arousal in relation to musical listening and the implications for both deep listeners and trancers. Chapter 3, "Habitus of Listening," explores the idea that different musics are linked with different styles of listening, whether quiet and introspective as at a Western concert of classical music or a North Indian classical concert, or expectant of illumination as with Sufis at a sama' or anticipating rage at a Balinese Rangda/Barong ceremony. Chapter 4, "Trancing Selves," explores the idea that the normative model for a post-Enlightenment Western "self" can be antithetical to trancing. Chapter 5, "Being-in-the-World: Culture and Biology," explores a biological approach to music/participant interaction influenced by European phenomenology and put forward by biologists and by neuroscientists. Chapter 6, "Magic through Emotion: Toward a Theory of Trance Consciousness," discusses Damasio's two-layered theory of consciousness-"core" consciousness and "extended" consciousness-and its implications for a theory of trance consciousness.

Z-Unavailable Winkler, Peter. 1997. Writing Ghost Notes: The Poetics and Politics of Transcription. In A. K. David Schwarz, and Lawrence Siegel (Ed.), Keeping Score: Music, Disciplinarity, and Culture. Charlottesville: University Press of Virginia.

Concerned with the process of transcription of popular songs. He focuses on Aretha Franklin's "I Never Loved a Man (The Way I Love You)" to interrogate the advantages and politics of the transcription process. The chapter is really well written, and changed my mind in many ways to the idea of transcription in the first place. Even though it's a mere approximation of what is performed, that can be its strength, as long as this is acknowledged and engaged with. Experiments with different processes to arrive at his approximation, including intense math subdivisions of rhythms and things until he produces what looks like a Western score. The point is that transcription is valuable, and perhaps transcriptions can be treated like fieldnotes - intensely subjective, but as a means to enter the thing studied. And also, that the transcription is most valuable to the person who transcribed.

Z-Unavailable Taylor, Timothy Dean. 2007. Beyond Exoticism: Western Music and the World. Durham: Duke University Press.

Considers how western cultures' understandings of racial, ethnic, and cultural differences have been incorporated into music from early operas to contemporary television advertisements, arguing that the commonly used term "exoticism" glosses over such differences in many studies of western music. Encompasses a range of musical genres and musicians, including Mozart, Beethoven, Jean-Philippe Rameau, Maurice Ravel, Charles Ives, Henry Cowell, Bally Sagoo, and Bill Laswell as well as opera, symphony, country music, and "world music." Yet, more than anything else, it is an argument for expanding the purview of musicology to take into account not only composers' lives and the formal properties of the music they produce but also the larger historical and cultural forces shaping both music and our understanding of it. Beginning with a focus on musical manifestations of colonialism and imperialism, ___ discusses how the "discovery" of the New World and the development of an understanding of self as distinct from the other, of "here" as different from "there," was implicated in the development of tonality, a musical system which effectively creates centers and margins. He describes how musical practices signifying nonwestern peoples entered the western European musical vocabulary and how Darwinian thought shaped the cultural conditions of early-twentieth-century music. In the era of globalization, new communication technologies and the explosion of marketing and consumption have accelerated the production and circulation of tropes of otherness. Considering western music produced under rubrics including multiculturalism, collaboration, hybridity, and world music, ___ scrutinizes contemporary representations of difference. He argues that musical interpretations of the nonwestern other developed hundreds of years ago have not necessarily been discarded; rather they have been recycled and retooled.

Z-Unavailable Middleton, Richard. 1990. Studying Popular Music. Milton Keynes [England] ; Philadelphia: Open University Press.

Contends that popular music can be properly understood only through interdisciplinary study methods. Demonstrates this through a critical analysis of issues from the political economy of popular music, its history and ethnography, to its aesthetics and ideology.

Z-Online Feldman, Martha and Bonnie Gordon ed. 2006. The Courtesan's Arts: Cross-cultural Perspectives. New York: Oxford University Press.

Courtesans, hetaeras, tawaif-s, ji-s--these women have exchanged artistic graces, elevated conversation, and sexual favors with male patrons throughout history and around the world. Of a different world than common prostitutes, courtesans deal in artistic and intellectual pleasures in ways that are wholly interdependent with their commerce in sex. In pre-colonial India, courtesans cultivated a wide variety of artistic skills, including magic, music, and chemistry. In Ming dynasty China, courtesans communicated with their patrons through poetry and music. Yet because these cultural practices have existed primarily outside our present-day canons of art and have often occurred through oral transmission, courtesans' arts have vanished almost without trace. Delves into this hidden legacy, unveiling the artistic practices and cultural production of courtesan cultures with a sideways glance at the partly-related geisha. Balancing theoretical and empirical research, this interdisciplinary collection is the first of its kind to explore courtesan cultures through diverse case studies--the Edo period and modern Japan, 20th-century Korea, Ming dynasty China, ancient Greece, early modern Italy, and India, past and present. Each essay puts forward new perspectives on how the arts have figured in the courtesan's survival or demise. Shows that while courtesans cultures have appeared regularly in various times and places, they are universal neither as a phenomenon nor as a type. To the contrary, when they do crop up, wide variations exist. What binds together courtesans and their arts in the present-day post-industrialized world of global services and commodities is their fragility. Once vital to cultures of leisure and pleasure, courtesans are now largely forgotten, transformed into national icons or historical curiosities, or reduced to prostitution. -Despite wide variations from these general trends, authors in this volume find that certain tendencies in the social and economic conditions under which courtesan cultures surface repeat themselves with striking frequency, even between those that are temporally and geographically distant from one another: highly stratified societies, often undergoing processes of modernization from feudal to "bourgeois," marked by new forms of mercantilism, accelerated forms of cultural production and circulation, heightened potential for social mobility, and marriage systems that separate love and sexual passion from the institution of matrimony. The establishment of Italian courtesans in early modern cities, for example, allowed them a new mobility tied to their ability to refuse individual clients. During the same time a contraction in the marriage market (which had always been more about politics and power than love) continued to allow courtesans to serve as important escapes from and substitutes for the marital bed, and thus to separate passionate from reproductive sex. Similarly, precolonial Indian ganika (courtesans of the feudal courts) and devadasi (temple goddesses) both filled a problematic sexual role that differed sharply from that of the wife and was necessary for society's self-sustenance. In that world (as Doris Srinivasan stresses) wives were keepers of lineage and courtesans were keepers of culture. -For courtesans, art is never an extracurricular activity but one that permeates their lives. -Far more focus on Italian courtesans than any others

Z-Online Taruskin, Richard, and Christopher Howard Gibbs. 2013. The Oxford History of Western Music. New York: Oxford University Press.

Covers Western music from its earliest days to the sixteenth century, the seventeenth and eighteenth century, the nineteenth century, the early twentieth century, and the late twentieth century. Taking a critical perspective, sets the details of music, the chronological sweep of figures, works, and musical ideas, within the larger context of world affairs and cultural history. Combines an emphasis on structure and form with a discussion of relevant theoretical concepts in each age, to illustrate how the music itself works, and how contemporaries heard and understood it. Describes how the context of each stylistic period - key cultural, historical, social, economic, and scientific events - influenced and directed compositional choices.

Z-Saved Middleton, Richard. 1993. "Popular Music Analysis and Musicology: Bridging the Gap." Popular Music 12(2):177-190.

Discusses the importance of locating another domain for the analysis of popular music. Musicology does not offer an adequate set of terms for popular music analysis, since form, harmony, etc. are not perhaps as important in popular music. Uses the idea of rhythm as a springboard into his suggestions, which eventually include the analysis of gesture in popular music. By gesture, he means all kinds of movement, which include somatic movement of the body to popular music as well as movement and gesture within a popular piece that includes the quality of the voice, movement of instrument in space, etc. Gesture is here used widely, and perhaps intentionally to provide an alternative 'term' that can be explored in the context of popular music. Proves his point with his proposed [gestural] analysis of Madonna's "Where's the Party" and Bryan Adams's "[Everything I Do] I Do It For You". Both analyses are written in a sort of analysis chart that uses space and illustration - perhaps to further prove his point. Concludes with the suggestion that perhaps musicologists in the past have been trying to search for the domain of gesture to analyze classical music, which provides a body that may also be useful in gestural analysis. Summarizes his argument in the closing few sentences: What I would suggest is that these three areas - gesture, connotation, argument - operate in different repertories in diverse ratios and inter-relationships; and analysis needs to reflect that. Within musicology, gestural analysis is the poor relation. For historical and cultural reasons, popular songs offer ideal material for starting to put that neglect to rights." (pp. 189)

JC311.H525 1997 Herzfeld, Michael. 1997. Cultural Intimacy: Social Poetics in the Nation-state. New York: Routledge.

Draws on the author's own extensive fieldwork in Greece, as well as on a wide range of comparisons from the United States, Africa, Western Europe, and elsewhere. Explores many topics - from sheep-thieves to flight attendants, from the banality of polite chit-chat to the divine vengeance invoked against perjury, and from the personal styles of coffeehouse and barroom to the politics of academia. In all these arenas he finds revealing tensions between the formal idealization of collective self-recognition.

Z-Unavailable Rings, Steven. 2011. Tonality and Transformation. New York: Oxford University Press.

Employs transformational music theory to illuminate diverse aspects of tonal hearing - from the infusion of sounding pitches with familiar tonal qualities to sensations of directedness and attraction. In the process, ___ introduces a host of new analytical techniques for the study of the tonal repertory, demonstrating their application in vivid interpretive set pieces on music from Bach to Mahler. The analyses place the book's novel techniques in dialogue with existing tonal methodologies, such as Schenkerian theory, avoiding partisan debate in favor of a methodologically careful, pluralistic approach. Engages neo-Riemannian theory-a popular branch of transformational thought focused on chromatic harmony-reanimating its basic operations with tonal dynamism and bringing them into closer rapprochement with traditional tonal concepts. Written in a direct and engaging style, with lively prose and plain-English descriptions of all technical ideas, ___ balances theoretical substance with accessibility: it will appeal to both specialists and non-specialists. It is a particularly attractive volume for those new to transformational theory: in addition to its original theoretical content, the book offers an excellent introduction to transformational thought, including a chapter that outlines the theory's conceptual foundations and formal apparatus, as well as a glossary of common technical terms. A contribution to our understanding of tonal phenomenology and a landmark in the analytical application of transformational techniques, ___ is an indispensible work of music theory.

Z-Saved Moehn, Frederick. 2008. "Music, Mixing and Modernity in Rio De Janeiro." Ethnomusicology Forum 17, no. 2: 165-202.

Explores how practices of and ideas about musical mixing in Brazilian popular music are a sort of synecdoche for the modernist discourses of Brazilian national identity by examining how tropes concerning racial and cultural mixture (i.e., "cannibalist" intermediation) regularly crop up in subjects' descriptions of what they believe to be the distinguishing features of the popular music scene in Rio. Argues that such tropes speak to the ambivalence of a middle-class of Rio's privileged "South zone," which often feels caught in the middle of the dynamics and problems of modernity—between the idealized narrative of the middle class and the realities of capitalism in developing countries. The term "mixture," ___ argues, is more evocative than "hybridity" to denote the cultural dynamics on which he focuses insofar as it communicates a continual, open-ended process and, unlike fusion, suggests that specific elements remain identifiable even as they are mixed into the always-already mixed "Brazilian race." By arguing that musical mixture in Brazilian popular music, to use Frederick Jameson's word, "allegorizes" the ways in which the ambivalent middle class experiences Brazilian modernity (in terms of pride and hope, anxiety and disappointment), ___ highlights how senses of place contour that ways in which subjects experience music-making in modernity and how music-making contours senses of place in modernity. There is a sort of feedback loop between sense of place and the discourses about and the practices of music-making. Author's abstract: This article explores a music production setting centered in a relatively privileged neighborhood of Rio de Janeiro known as the 'South Zone', where the author conducted participant-observation field research and interviews during 1998-99 and in 2007. It focuses on the meanings and uses of specific metaphors about cultural mixture and mediation associated with modernist discourses of Brazilian national identity first formulated in the 1920s and 30s, but persistently evoked today to describe Brazilian music-making. It proposes to explain this persistence by reading practices of, and discourses about, musical mixture as "allegorizing" the ways in which middle class subjects experience modernity in this setting. It further considers how these dynamics inform the career and music of Fernanda Abreu, known for mixing funk, disco and samba styles, and a number of her collaborators in this music production network.

Z-Saved Salley, Keith. 2011. "On the Interaction of Alliteration and Rhythm and Metre in Popular Music." Popular Music, 30, 409-432.

Explores the idea of physically producing the words in pop songs, and the importance of how lyrics are rendered musically, and how listeners participate in this process by singing along and embodying and emulating these themselves. The geography of his article is mapped out such that he spends most of the article analyzing particular pop songs, and searching for examples of how rhyme, alliteration, and metre inform salient musical (melodic and rhythmic) moments in the pop songs. I offer a criticism of the article - that Salley seems to spend a disproportionate amount of time in his introduction emphasizing the importance of speech acts to encourage singing along by fans, that I would have expected him to focus a bit on how fans and listeners enact this idea. He instead shifts in the conclusion (following score and phonetic analysis) to suggesting that this COULD be the reason listeners seek to emulate and embody pop songs, because of their fun and catchy alliterative and rhyme-related aspects. Nevertheless this study is pertinent to perhaps how people with accents 'lose' their accents in emulating American pop songs, as well as the idea of ginan (that the text is sung rather than recited, and even bol recitation in kathak (and its relation to embodying somehow). -"I am concerned with how recorded vocal melodies from pop songs engage listeners at the level of the phoneme." (pp. 409) -"When listeners sing along with a song, they physically engage in the process of phonation in an attempt to reproduce the performances they admire, and when they do, they experience patterns of vocal articulations and enjoy the way those patterns interact with melodic rhythm, harmonic rhythm and metre. Furthermore, listeners are likely to experience these effects whether they physically participate in singing along or not." (pp. 410) - the 'motor theory of speech perception' theorizes the idea that people are engaging muscularly with singing along, even while not actually singing along. -"These observations suggest that whatever prompts a listener to attempt to recreate a singer's performance involves much more than the literal meaning of the lyrics." (pp. 411)

Z-Online Long, Michael. 2008. Beautiful Monsters: Imagining the Classic in Musical Media. Berkeley: University of California Press.

Explores the ways in which "classical" music made its way into late twentieth-century American mainstream culture—in pop songs, movie scores, and print media. Surveys a complex cultural field and draws connections between "classical music" (as the phrase is understood in the United States) and selected "monster hits" of popular music. Addressing such wide-ranging subjects as surf music, Yiddish theater, Hollywood film scores, Freddie Mercury, Alfred Hitchcock, psychedelia, rap, disco, and video games, ___ proposes a holistic musicology in which disparate musical elements might be brought together in dynamic and humane conversation. Considers the ways in which critical commonplaces like nostalgia, sentiment, triviality, and excess might be applied with greater nuance to musical media and media reception. It takes into account twentieth-century media's capacity to suggest visual and acoustical depth and the redemptive possibilities that lie beyond the surface elements of filmic narrative or musical style, showing us what a truly global view of late twentieth-century music in its manifold cultural and social contexts might be like.

Z-Online DjeDje, Jacqueline Cogdell. 2008. Fiddling in West Africa: Touching the Spirit in Fulbe, Hausa, and Dagbamba Cultures. Bloomington: Indiana University Press.

Fiddling has had a lengthy history in Africa which has long been ignored. ___ corrects this oversight with an expansive study on fiddling in the Fulbe, Hausa, and Dagbamba cultures of West Africa. Not only explains the history of the instrument itself, but also discusses the processes of stylistic transference and adaptation, suggesting how these may have contributed to differing performance practices. Additionally, delves into the music, the performance context, the musicians behind the fiddle, the meaning of the instrument, and its use in these three cultures. This detailed work helps the reader understand and appreciate three little-known musical cultures in West Africa and the fiddle's influence upon them. -Fiddling is also musicking -multi-sited geographically and topically

Z-Online Friedson, Steven M. 2009. Remains of Ritual: Northern Gods in a Southern Land. Chicago: University of Chicago Press.

Focuses on the Brekete/Gorovodu religion of the Ewe people. Presents a multifaceted understanding of religious practice through a historical and ethnographic study of one of the dominant ritual sites on the southern coast of Ghana: a medicine shrine whose origins lie in the northern region of the country. Each chapter of this fascinating book considers a different aspect of ritual life, demonstrating throughout that none of them can be conceived of separately from their musicality—in the Brekete world, music functions as ritual and ritual as music. Dance and possession, chanted calls to prayer, animal sacrifice, the sounds and movements of wake keeping, the play of the drums all come under careful scrutiny, as does his own position and experience within this ritual-dominated society. -Musical experience, the term used here to encompass the entirety of this way of being, something I have written about previously in my work on the dancing prophets of Malawi (1996), is not merely one more event among others that happens within the horizons of ritual life, but is the very terms of existence from which all else flows. People experience their gods and each other, first and foremost, in the immediacy of a musical way of being- in- the-world, sharing a specific time and space inscribed by cross- rhythmic effect, engendering a multidimensional movement that is always-already on its way. -spirit possession and trance -The spirit is made flesh in West Africa in very particular ways. Divine horse-men ride their mounts in an extravagant immersion into the sensorium of human experience. It seems that West African gods have an intense desire to feel the sweat and smell of finitude, to sense light set upon the eyes, the pull of gravity holding one close to the earth, but, especially, to experience a rhythm upon the body, music that fills the ears. Gods dance themselves into existence, living the death of another while those whom they ride die the life of the other. This dark formula is what allows gods to be gods, and humans sometimes to be horses.41 For the Vodu shrines of West Af-rica, Léopold Senghor's (1974) ontological turn—"I dance . . . therefore I am"—is not a statement of a devotee, but a declaration of the gods. In the in- between of a danced existence, divine horsemen ride in musical fields.

Z-Unavailable Albright, Daniel. 2000. Untwisting the Serpent: Modernism in Music, Literature, and Other Arts. Chicago: University of Chicago Press.

From its dissonant musics to its surrealist spectacles (the urinal is a violin!), Modernist art often seems to give more frustration than pleasure to its audience. Shows that this perception arises partly because we usually consider each art form in isolation, even though many of the most important artistic experiments of the Modernists were collaborations involving several media—Igor Stravinsky's The Rite of Spring is a ballet, Gertrude Stein's Four Saints in Three Acts is an opera, and Pablo Picasso turned his cubist paintings into costumes for Parade. Views these works as either figures of dissonance that try to retain the distinctness of their various media (e.g. Guillaume Apollinaire's Les Mamelles de Tirésias) or figures of consonance that try to lose themselves in some total effect (e.g. Arnold Schoenberg's Erwartung). In so doing he offers a fresh picture of Modernism, and provides a compelling model for the analysis of all artistic collaborations.

Z-Saved Christopher Reynolds. 2007. "Porgy and Bess, 'An American Wozzeck'" Journal of the Society for American Music 1.

George Gershwin greatly admired Alban Berg and his opera Wozzeck. He visited Berg in Vienna; the score he owned of Wozzeck was reputedly one of his prize possessions; and he traveled to Philadelphia in 1931 to attend the American premiere. This study argues that Gershwin's Porgy and Bess is heavily indebted to Berg's Wozzeck. The debts primarily involve structural processes—understanding structure as patterns of discrete events shared by the two operas. Motives and chords play a small role in the discussion, taking their place alongside musical events that range from the large—a fugue or a lullaby—to the small—a pedal, an ostinato, or some detail of counterpoint. Beyond the presence in both operas of a lullaby, a fugue, a mock sermon, and an upright piano, the greater relevance of these parallels and others is to be found in the ways in which Gershwin situated them in comparable musical contexts. Evidence, in the form of an overlooked interview and a previously unknown recollection by one of Gershwin's friends, supports this argument and leads to questions about how we are to understand Gershwin's use of Wozzeck.

Z-Saved Robertson, Anne Walters. 2006. "The Savior, the Woman, and the Head of the Dragon in the Caput Masses and Motet." Journal of the American Musicological Society 59, no. 3: 537-630.

God's dramatic curse of Adam, Eve, and the serpent, as recorded in Genesis 3:14-15, contains a theological ambiguity that played out in the visual arts, literature, and, as this article contends, music of the fifteenth and sixteenth centuries. Translations of this passage leave in doubt whether a male, a female, or both, will defeat sin by crushing Satan's head ("caput"). This issue lies at the heart of the three Caput masses by an anonymous Englishman, Johannes Ockeghem, and Jacob Obrecht, and the Caput Motet for the Virgin by Richard Hygons from the Eton Choirbook. Fifteenth-century discussions of the roles of Christ and Mary in confronting sin, often called the "head of the dragon," help unravel the meaning of these works. The Caput masses are Christ-focused and emphasize the Savior or one of his surrogates suppressing the beast's head, as seen in illumination, rubric, and canon found in the masses. Folklorically based rituals and concepts of liturgical time are similarly built around the idea of the temporary reign of the Devil, who is ultimately trodden down by Christ. Hygons's motet appears after celebration of the Immaculate Conception was authorized in the late fifteenth century. This feast proclaimed Mary's conquest of sin through her own trampling on the dragon; the motet stresses Marian elements of the Caput theology, especially the contrast between the Virgin's spotlessness and Eve's corruption. Features of the Caput tradition mirror topics discussed in astrological and astronomical treatises and suggest that the composer of the original Caput Mass may also have been an astronomer. The disappearance of the Caput tradition signals its lasting influence through its progeny, which rise up in yet another renowned family of polyphonic masses. Together, the Caput masses and motet encompass the multifaceted doctrine of Redemption from the late middle ages under one highly symbolic Caput rubric.

ML410.G9R63 2002 [1ST FLOOR RESERVE DESK, 2-HOUR LIMIT] Robertson, Anne Walters. 2002. Guillaume De Machaut and Reims: Context and Meaning in His Musical Works. Cambridge ; New York: Cambridge University Press.

Guillaume de Machaut, fourteenth-century French composer and poet, wrote the first polyphonic Mass and many other important musical works. Friend of royalty, prelates, noted poets, and musicians, Machaut was a cosmopolitan presence in late medieval Europe. He also served as canon of the cathedral of Reims, the coronation site of French kings. From this penetrating study of his music, Machaut emerges as a composer deeply involved in the great crises of his day, one who skillfully and artfully expressed profound themes of human existence in ardent music and poetry. Provides information on the music and poetry of the most renowned composer of fourteenth-century France. An alternative understanding of the interaction of music, poetry, and theology in the late Middle Ages. Provides further understanding of the relationship between late medieval music and politics.

GV1589.S52 1988 [VIDEO/DVD = GV1589.S52 1988] Hahn, Tomie. 2007. Sensational Knowledge: Embodying Culture Through Japanese Dance. Middletown, Conn.: Wesleyan University Press.

How do music and dance reveal the ways in which a community interacts with the world? How are the senses used in communicating cultural knowledge? Uncovers the process and nuances of learning nihon buyo, a traditional Japanese dance form. She uses case studies of dancers at all levels, as well as her own firsthand experiences, to investigate the complex language of bodies, especially across cultural divides. Paying particular attention to the effect of body-to-body transmission, and how culturally constructed processes of transmission influence our sense of self, argues that the senses facilitate the construction of "boundaries of existence" that define our physical and social worlds. In this flowing and personal text, Hahn reveals the ways in which culture shapes our attendance to various sensoria, and how our interpretation of sensory information shapes our individual realities.

Z-Online Garrett, C. H., & American Council of Learned Societies. 2008. Struggling to define a nation: American music and the twentieth century. Berkeley: University of California Press.

Identifying music as a vital site of cultural debate, Struggling to Define a Nation captures the dynamic, contested nature of musical life in the United States. In an engaging blend of music analysis and cultural critique, ___ examines a dazzling array of genres—including art music, jazz, popular song, ragtime, and Hawaiian music—and numerous well-known musicians, such as Charles Ives, Jelly Roll Morton, Louis Armstrong, and Irving Berlin. Argues that rather than a single, unified vision, an exploration of the past century reveals a contested array of musical perspectives on the nation, each one advancing a different facet of American identity through sound. -The furor surrounding the song engages with questions that have always been critical to defining American identity. What is America? Who is American? And who has the right to decide? -themes vital to the study of American music and culture, including music and national identity, music and politics, and music and social protest. My work enters into each of these debates, while acknowledging how unrealistic it would be to expect to resolve them in the course of a single book. For that matter, regardless of how the dust settles in the current battle over immigration policy, the uproar produced by the sounds of "Nuestro Himno" will never be quelled.

ML3503.A4S33 1999 Schade-Poulsen, Marc. 1999. Men and popular music in Algeria: The social significance of raï. Austin: University of Texas Press.

In a ground-breaking study, anthropologist — uses this popular music genre as a lens through which — views Algerian society, particularly male society. — situates raï within Algerian family life, moral codes, and broader power relations. The study, in its innovative approach to music as a template of society, helps the reader understand the two major movements among today's Algerian youth: one toward the mosque and the other toward the West.

Z-Online Hochschild, Arlie Russell. The Managed Heart: Commercialization of Human Feeling. Berkeley: University of California Press, 1983.

In private life, we try to induce or suppress love, envy, and anger through deep acting or "emotion work," just as we manage our outer expressions of feeling through surface acting. In trying to bridge a gap between what we feel and what we "ought" to feel, we take guidance from "feeling rules" about what is owing to others in a given situation. Based on our private mutual understandings of feeling rules, we make a "gift exchange" of acts of emotion management. We bow to each other not simply from the waist, but from the heart. But what occurs when emotion work, feeling rules, and the gift of exchange are introduced into the public world of work? In search of the answer, ___ closely examines two groups of public-contact workers: flight attendants and bill collectors. The flight attendant's job is to deliver a service and create further demand for it, to enhance the status of the customer and be "nicer than natural." The bill collector's job is to collect on the service, and if necessary, to deflate the status of the customer by being "nastier than natural." Between these extremes, roughly one-third of American men and one-half of American women hold jobs that call for substantial emotional labor. In many of these jobs, they are trained to accept feeling rules and techniques of emotion management that serve the company's commercial purpose. Just as we have seldom recognized or understood emotional labor, we have not appreciated its cost to those who do it for a living. Like a physical laborer who becomes estranged from what he or she makes, an emotional laborer, such as a flight attendant, can become estranged not only from her own expressions of feeling (her smile is not "her" smile), but also from what she actually feels (her managed friendliness). This estrangement, though a valuable defense against stress, is also an important occupational hazard, because it is through our feelings that we are connected with those around us. -What is emotional labor? What do we do when we manage emotion? What, in fact, is emotion? What are the costs and benefits of managing emotion, in private life and at work? -tends to make gendered assertions that aren't necessarily backed up by substantive data, nor are they intersectional

Z-Online Brinner, Benjamin. 2009. Playing Across a Divide: Israeli-Palestinian Musical Encounters. Oxford University Press.

In the last decade of the twentieth century and on into the twenty-first, Israelis and Palestinians saw the signing of the Oslo Peace Accords, the establishment of the Palestinian Authority, the assassination of Israeli Prime Minister Yitzhak Rabin, and the escalation of suicide bombings and retaliations in the region. During this tumultuous time, numerous collaborations between Israeli and Palestinian musicians coalesced into a significant musical scene informed by these extremes of hope and despair on both national and personal levels. Following the bands Bustan Abraham and Alei Hazayit from their creation and throughout their careers, as well as the collaborative projects of Israeli artist Yair Dalal, ___ demonstrates the possibility of musical alternatives to violent conflict and hatred in an intensely contested, multicultural environment. These artists' music drew from Western, Middle Eastern, Central Asian, and Afro-diasporic musical practices, bridging differences and finding innovative solutions to the problems inherent in combining disparate musical styles and sources. Creating this new music brought to the forefront the musicians' contrasting assumptions about sound production, melody, rhythm, hybridity, ensemble interaction, and improvisation. Traces the tightly interconnected field of musicians and the people and institutions that supported them as they and their music circulated within the region and along international circuits. Argues that the linking of Jewish and Arab musicians' networks, the creation of new musical means of expression, and the repeated enactment of culturally productive musical alliances provide a unique model for mutually respectful and beneficial coexistence in a chronically disputed land.

D16.9 .M299 2007 [Special collections; otherwise unavailable] Megill, Allan. 2007. Historical Knowledge, Historical Error: A Contemporary Guide to Practice. Chicago: University of Chicago Press.

In the past thirty years, historians have broadened the scope of their discipline to include many previously neglected topics and perspectives. They have chronicled language, madness, gender, and sexuality and have experimented with new forms of presentation. They have turned to the histories of non-Western peoples and to the troubled relations between "the West" and the rest. ___ suggests that there is now confusion among historians about what counts as a justified account of the past. Dispels some of the confusion. Discusses issues of narrative, objectivity, and memory. Attacks irresponsible uses of evidence while accepting the art of speculation, which incomplete evidence forces upon historians. Offers succinct accounts of the epistemological road historians have traveled from Herodotus and Thucydides through Leopold von Ranke and Alexis de Tocqueville, and on to Hayden White, Natalie Zemon Davis, and Lynn Hunt.

Z-Online Behar, Ruth, ed. 1995. Women Writing Culture. Berkeley: University of California Press.

In this collection of new reflections on the sexual politics, racial history, and moral predicaments of anthropology, feminist scholars explore a wide range of visions of identity and difference. How are feminists redefining the poetics and politics of ethnography? What are the contradictions of women studying women? How have gender, race, class, and nationality been scripted into the canon? Through autobiography, fiction, historical analysis, experimental essays, and criticism, the contributors offer exciting responses to these questions. Several pieces reinvestigate the work of key women anthropologists like Elsie Clews Parsons, Margaret Mead, and Ruth Benedict, while others reevaluate the writings of women of color like Zora Neale Hurston, Ella Deloria, and Alice Walker. Some selections explore how sexual politics help to determine what gets written and what is valued in the anthropological canon. Other pieces explore new forms of feminist ethnography that 'write culture' experimentally, thereby challenging prevailing, male-biased anthropological models. ___ follows in the spirit of This Bridge Called My Back by refusing to separate creative writing from critical writing. Our book is multivoiced and includes biographical, historical, and literary essays, fiction, autobiography, theater, poetry, life stories, travelogues, social criticism, fieldwork accounts, and blended texts of various kinds. The Gender of TheoryCatherine Lutz How does gender play into the formation of the canons of anthropology? One central way is through the designation of particular works as theoretical and the masculinizing of theory. In this essay I ask how that process has worked and explore its implications for the reception of women's writing and feminist theory, with particular reference to anthropology.

Z-Online Le Guin, Elisabeth. 2006. Boccherini's Body: An Essay in Carnal Musicology. Berkeley: University of California Press.

In this elegant study of the works of the undeservedly neglected composer Luigi Boccherini, ___ uses knowledge gleaned from her own playing of the cello as the keystone of her original approach to the relationship between music and embodiment. In analyzing the striking qualities of Boccherini's music—its virtuosity, repetitiveness, obsessively nuanced dynamics, delicate sonorities, and rich palette of melancholy affects—___ develops a historicized critical method based on the embodied experience of the performer. In the process, she redefines the temperament of the musical Enlightenment as one characterized by urgent, volatile inquiries into the nature of the self.

Z-Saved Benadon, Fernando. 2006. "Slicing the Beat: Jazz Eighth-Notes as Expressive Microrhythm." Ethnomusicology 50(1):73-98.

In this study, I examine the nature of the jazz eighth-note in order to assess its expressive function, its relationship to melody and harmony, and its accordance with the "swing triplet" concept. The rhythmic unevenness of the eighth-note is one of the hallmarks of jazz. Scholars have addressed this complex stylistic attribute in different ways and to varying degrees. Waadeland (2001) used frequency modulation algorithms to create human movement curves that simulate varying physical approaches to rhythmic production, including that of uneven jazz eighth-notes. Other studies have tended to quantify the magnitude of the long-short ratio and its dependability on tempo by zeroing in on different elements of the jazz ensemble. Collier and Collier (1996) focused on the ride cymbal, Friberg and Sundström (2002) on the ride cymbal and on soloists, Rose (1989) on the rhythm section, Ellis (1991) on the saxophone, Reinholdsson (1987) on drummer Roy Haynes, and Collier and Collier (2002) on Louis Armstrong. Since these studies examine a relatively narrow pool of styles and performers, I chose to sample a broader selection in order to complement their findings

Z-Unavailable Cusset, François. 2008. French Theory: How Foucault, Derrida, Deleuze, & Co. Transformed the Intellectual Life of the United States. Minneapolis: University of Minnesota Press.

The arrival of works by Michel Foucault, Jacques Derrida, Jean-François Lyotard, Jean Baudrillard, Gilles Deleuze, and Félix Guattari on American shores in the late 1970s and 1980s caused a sensation. ___ is the first comprehensive account of the American fortunes of these unlikely philosophical celebrities. Reveling in the gossipy history, ___ reveals how French theory has become inextricably bound with American life.

Z-Online Hubbs, Nadine. 2004. The Queer Composition of America's Sound: Gay Modernists, American Music, and National Identity. Berkeley: University of California Press.

In this vibrant and pioneering book, — shows how a gifted group of Manhattan-based gay composers were pivotal in creating a distinctive "American sound" and in the process served as architects of modern American identity. Focusing on a talented circle that included Aaron Copland, Virgil Thomson, Leonard Bernstein, Marc Blitzstein, Paul Bowles, David Diamond, and Ned Rorem, — hones in on the role of these artists' self-identification—especially with tonal music, French culture, and homosexuality—in the creation of a musical idiom that even today signifies "America" in commercials, movies, radio and television, and the concert hall. -Whatever the effects of their various other identity factors, there can be no doubt but that the composers named here, when they were identified as homosexual, occupied a marked identity position. As such, they would automatically be relegated to membership in a qualifying class, much like their (rare) colleagues "the female composer" and "the Negro composer,"or "the girl saxophonist" in a swing band. In other words, whenever a gay white male composer was identified as gay, he was subject to a (here, marginalized) collective identity that threatened to displace the radically individualized identity to which he was otherwise entitled as a white male, and that was essential to his creative relevance and authority. -This book seeks to enrich and complicate our understanding of the role of queer artists in conceiving and producing American cultural identity, and doing so in a time of intense homophobia. It also reveals how movements in the little-known realm of concert music have shaped, and continue to shape, American queer life and world-making. More broadly, this book explores the sites of U.S. gay modernist composers' individual and collective achievements to account for the ways in which queer lives and culture have shaped American musical, and larger, life and culture. In the process, it underscores the extent to which the Manhattan-centered milieu in which these artists moved and worked, and likewise its Paris"annex," was occupied not only with musical and artistic modernism, but with queer sexuality, identity, life, and culture -evolving concept of manliness in American cultural discourse

Z-Online McClary, Susan. 1991. Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press.

Influenced by Adorno and Subotnik - sees both as railing against musical autonomy. Crosses divide between modernism and mass culture, or high art and low art, by including essays on Madonna and the classical repertoire in the same volume. Lists new musicologists: Kramer, Subotnik, Tomlinson, Abbate, Walser, Leppert, Brett. The final sonority is postponed beyond the downbeat, or, in terms of excess, it refuses the hegemonic control of the barline. Locates gender in major/minor, and desire in Schenker's graphs. Sonata allegro form - masculine/feminine themes - comes from A.B. Marx. Questions the virtual invisibility of gender with regards to studies of music at the time of her writing (1991). Influenced by cultural theorists, particularly Adorno, Foucault, and Gramsci (although, surprisingly, also by Meyer, Kerman, and Cone), ___ seeks to ruffle the 'proper object' of musicology by demonstrating how constructions of gender can be located at the center of form in the Western musical canon. Criticisms: cursory mention of gay issues, but certainly not a focus. And musicological sources are 'obvious' (Carmen, Madonna), not yet to Beethoven.

ML3916 .M879 2013 Born, Georgina, ed. 2013. Music, Sound and Space: Transformations of Public and Private Experience. Cambridge: Cambridge University Press.

Integrates research from musicology and sound studies on music and sound as they mediate everyday life. Music and sound exert an inescapable influence on the contemporary world, from the ubiquity of MP3 players to the controversial use of sound as an instrument of torture. In this book, leading scholars explore the spatialisation of music and sound, their capacity to engender modes of public and private, their constitution of subjectivity and the politics of sound and space. Chapters discuss music and sound within specific settings, including sound installation art, popular music recordings, offices and hospitals, and music therapy. With international examples, from the Islamic soundscape of the Kenyan coast, to religious music in Europe, to First Nation musical sociability in Canada, this book offers a new global perspective on how music, sound and space transform the nature of public and private experience; The first book to integrate and address issues of music and technology, sound and space. Sound studies and debates over music and space are areas of enormous contemporary interest but until now they have been treated separately; Offers a theoretical breakthrough that brings musicology, ethnomusicology and sociology of music into dialogue with sound studies, with chapters by outstanding leading figures from most of these fields; Addresses issues of profound relevance for composers, musicians and creative practitioners and will also be relevant to creative practitioners and students in music, electro-acoustic and digital music, sound art and sonic arts

Z-Online Averill, Gage. 2003. Four Parts, No Waiting: A Social History of American Barbershop Harmony. New York: Oxford University Press.

Investigates the role that vernacular, barbershop-style close harmony has played in American musical history, in American life, and in the American imagination. Starting with a discussion of the first craze for Austrian four-part close harmony in the 1830s, ___ traces the popularity of this musical form in minstrel shows, black recreational singing, vaudeville, early recordings, and in the barbershop revival of the 1930s. In his exploration of barbershop, uncovers a rich musical tradition--a hybrid of black and white cultural forms, practiced by amateurs, and part of a mythologized vision of small-town American life. Barbershop harmony played a central -- and overlooked -- role in the panorama of American music. Demonstrates that the barbershop revival was part of a depression-era neo-Victorian revival, spurred on by insecurities of economic and social change. Contemporary barbershop singing turns this nostalgic vision into lived experience. Arguing that the "old songs" function as repositories of idealized social memory, reveals ideologies of gender, race, and class. This engagingly-written, often funny book critiques the nostalgic myths (especially racial myths) that have surrounded the barbershop revival, but also celebrates the civic-minded, participatory spirit of barbershop harmony. The contents of the CD have been replaced by a companion website with helpful links, resources, and audio examples.

Z-Online Mahmood, Saba. 2005. Politics of piety: The Islamic revival and the feminist subject. Princeton, N.J.: Princeton University Press.

Is a groundbreaking analysis of Islamist cultural politics through the ethnography of a thriving, grassroots women's piety movement in the mosques of Cairo, Egypt. Unlike those organized Islamist activities that seek to seize or transform the state, this is a moral reform movement whose orthodox practices are commonly viewed as inconsequential to Egypt's political landscape. — compelling exposition of these practices challenges this assumption by showing how the ethical and the political are indelibly linked within the context of such movements. The book addresses three central questions: How do movements of moral reform help us rethink the normative liberal account of politics? How does the adherence of women to the patriarchal norms at the core of such movements parochialize key assumptions within feminist theory about freedom, agency, authority, and the human subject? How does a consideration of debates about embodied religious rituals among Islamists and their secular critics help us understand the conceptual relationship between bodily form and political imaginaries?

ML3540.5 .F55 2000 Fikentscher, K. 2000. "You better work!": Underground dance music in New York City. Hanover, NH: University Press of New England.

Is the first detailed study of underground dance music or UDM, a phenomenon that has its roots in the overlap and cross-fertilization of African American and gay cultural sensibilities that have occurred since the 1970s. UDM not only predates and includes disco, but also constitutes a unique performance practice in the history of American social dance. Shows how UDM functions in the lives of its DJs and dancers, and how it is used as the primary identifier of an urban subculture shaped essentially by the relationships between music, dance, and marginality. Goes beyond stereotypical images of club and disco to explore the cult and culture of the DJ, the turntable and vinyl recordings as musical instruments, and the vital relationship between music and dance at underground clubs. Including interviews, photographs, and an extensive discography, this ethnographic account tells the story of a celebration of collective marginality through music and dance.

Z-Online Solie, Ruth A. 2004. Music in Other Words: Victorian Conversations. Berkeley: University of California Press.

Just as the preoccupations of any given cultural moment make their way into the language of music, the experience of music makes its way into other arenas of life. To unearth these overlapping meanings and vocabularies from the Victorian era, ___ examines sources as disparate as journalism, novels, etiquette manuals, religious tracts, and teenagers' diaries for the muffled, even subterranean, conversations that reveal so much about what music meant to the Victorians. Her essays, giving voice to "what goes without saying" on the subject—that cultural information so present and pervasive as to go unsaid—fill in some of the most intriguing blanks in our understanding of music's history. This much-anticipated collection, bringing together new and hard-to-find pieces by an acclaimed musicologist, mines the abundant casual texts of the period to show how Victorian-era people—English and others—experienced music and what they understood to be its power and its purposes. ___ essays start from topics as varied as Beethoven criticism, Macmillan's Magazine, George Eliot's Daniel Deronda, opera tropes in literature, and the Victorian myth of the girl at the piano. They evoke common themes—including the moral force that was attached to music in the public mind and the strongly gendered nature of musical practice and sensibility—and in turn suggest the complex links between the history of music and the history of ideas.

ML3575.B7S36 2004 Seeger, Anthony. 2004. Why Suyá Sing: A Musical Anthropology of an Amazonian People. Urbana and Chicago: University of Illinois Press.

Like many other South American Indian communities, the Suyá Indians of Mato Grosso, Brazil, devote a great deal of time and energy to making music, especially singing. Considers the reasons for the importance of music for the Suyá--and by extension for other groups-- through an examination of myth telling, speech making, and singing in the initiation ceremony. Based on over twenty-four months of field research and years of musical exchange, ___ analyzes the different verbal arts and then focuses on details of musical performance. He reveals how Suyá singing creates euphoria out of silence, a village community out of a collection of houses, a socialized adult out of a boy, and contributes to the formation of ideas about time, space, and social identity.

Z-Online Hubbs, Nadine. 2014. Rednecks, queers, and country music. Berkeley: University of California Press.

Looks at how class and gender identity play out in one of America's most culturally and politically charged forms of popular music. Skillfully weaving historical inquiry with an examination of classed cultural repertoires and close listening to country songs, — confronts the shifting and deeply entangled workings of taste, sexuality, and class politics. — dissects this gesture, examining how provincial white working people have emerged since the 1970s as the face of American bigotry, particularly homophobia, with country music their audible emblem. — challenges the conventional wisdom and historical amnesia that frame white working folk as a perpetual bigot class. — zeroes in on flawed assumptions about how country music models and mirrors white working-class identities.

HQ1426.H6750 1984 [OR D'Angelo HQ1426.H6750 1984] hooks, bell. 1984. Feminist theory from margin to center. Boston, MA: South End Press.

Maintains that mainstream feminism's reliance on white, middle-class, and professional spokeswomen obscures the involvement, leadership, and centrality of women of color and poor women in the movement for women's liberation. — argues that feminism's goal of seeking credibility and acceptance on already existing ground -- rather than demanding the lasting and more fundamental transformation of society -- has shortchanged the movement. A sweeping examination of the core issues of sexual politics, — argues that contemporary feminists must acknowledge the full complexity and diversity of women's experiences to create a mass movement to end women's oppression.

ML3918.P67 M82 2013 Kutschke, Beate, and Barley Norton. 2013. Music and Protest in 1968. Cambridge, UK ; New York: Cambridge University Press.

Music was integral to the profound cultural, social and political changes that swept the globe in 1968. This collection of essays offers new perspectives on the role that music played in the events of that year, which included protests against the ongoing Vietnam War, the May riots in France and the assassination of Martin Luther King, Jr. From underground folk music in Japan to antiauthoritarian music in Scandinavia and Germany, ___ explores music's key role as a means of socio-political dissent not just in the US and the UK but in Asia, North and South America, Europe and Africa. Contributors extend the understanding of musical protest far beyond a narrow view of 'protest song' to explore how politics and social protest played out in many genres, including experimental and avant-garde music, free jazz, rock, popular song and film and theatre music. Provides a comprehensive picture of music and protest in 1968 from a global perspective, considering a range of countries in Europe, North and South America, Asia and Africa. Covers a wide range of musical styles and genres such as rock, popular song (including the 'protest song'), experimental/avant-garde music, early music performance, folk, jazz, and film and theatre music, crossing conventional disciplinary boundaries within music studies. Offers new perspectives on the relationship between music and social protest around 1968 that will appeal not only to those within the field of music studies, but also those interested in socio-political issues in the arts, humanities and social sciences

Z-Online Wong, Deborah. 2006. "Ethnomusicology and Difference." Ethnomusicology, 50(2), 259-279.

My generation of ethnomusicologists experienced two things: the arrival of multiculturalism in the academy, and the ascendance of cultural studies in the humanities. Many of us who finished our graduate work and began teaching in the 1990s did so in music departments struggling with the (often unasked-for) necessity of opening up to difference, and some of us explored new critical tools in an effort to explain what was needed and why. I offer a snapshot of ethnomusicology and the culture wars of the 1990s. My understanding of that decade was shaped by own experiences, but I take a two-pronged approach to the bigger question of why many ethnomusicologists found themselves immersed in the effort to introduce difference into music departments at a historical moment when the American academy was in transition. First, I address the question of why ethnomusicologists have been somewhat reluctant to engage with various critical approaches to difference (feminist theory, minoritarian discourse, etc.) that are well-established in ethnic studies, women's studies, popular culture studies, and literary studies. Second, I deploy the method I know best?ethnography?to address the kinds of institutional conflicts that ethnomusicologists experienced during that decade. This essay is thus an effort to draw together several kinds of considerations: historical overview, close ethnographic work, and prolegomenon.

HD87.H374 2005 [D'ANGELO LAW LIBRARY ONLY] Harvey, David. 2007. A Brief History of Neoliberalism. Oxford ; New York: Oxford University Press.

Neoliberalism - the doctrine that market exchange is an ethic in itself, capable of acting as a guide for all human action - has become dominant in both thought and practice throughout much of the world since 1970 or so. Its spread has depended upon a reconstitution of state powers such that privatization, finance, and market processes are emphasized. State interventions in the economy are minimized, while the obligations of the state to provide for the welfare of its citizens are diminished. Tells the political-economic story of where neoliberalization came from and how it proliferated on the world stage. While Thatcher and Reagan are often cited as primary authors of this neoliberal turn, ___ shows how a complex of forces, from Chile to China and from New York City to Mexico City, have also played their part. In addition he explores the continuities and contrasts between neoliberalism of the Clinton sort and the recent turn towards neoconservative imperialism of George W. Bush. Finally, through critical engagement with this history, ___ constructs a framework not only for analyzing the political and economic dangers that now surround us, but also for assessing the prospects for the more socially just alternatives being advocated by many oppositional movements.

ML3600 .S55 2012 Silverman, Carol. 2012. Romani Routes: Cultural Politics and Balkan Music in Diaspora. Oxford University Press.

Now that the political and economic plight of European Roma and the popularity of their music are objects of international attention, ___ provides a timely and insightful view into Romani communities both in their home countries and in the diaspora. Over the past two decades, a steady stream of recordings, videos, feature films, festivals, and concerts has presented the music of Balkan Gypsies, or Roma, to Western audiences, who have greeted them with exceptional enthusiasm. Yet, Roma are revered as musicians and reviled as people. Introduces readers to the people and cultures who produce this music, offering a sensitive and incisive analysis of how Romani musicians address the challenges of discrimination. Focusing on southeastern Europe then moving to the diaspora, ___ examines the music within Romani communities, the lives and careers of outstanding musicians, and the marketing of music in the electronic media and "world music" concert circuit. Touches on the way that the Roma exemplify many qualities--adaptability, cultural hybridity, transnationalism--that are taken to characterize late modern experience. And rather than just celebrating these qualities, ___ presents the musicians as complicated, pragmatic individuals who work creatively within the many constraints that inform their lives.

ML3797.1.R48 1999 Cook, Nicholas and Mark Everist, eds. 1999. Rethinking Music. London: Oxford University Press.

Offers a comprehensive re-evaluation of current thinking about music. In this book, 24 distinguished musicologists, music theorists, and ethnomusicologists review different dimensions of musical study, revealing a range of concerns that are shared across the discipline: the nature of musicological practice, its social and ethical dimensions, issues of canon and value, and the relationship between academic study and musical experience.

ML3877 .M37 2014 Margulis, Elizabeth Hellmuth. 2014. On Repeat: How Music Plays the Mind. New York, NY: Oxford University Press.

Offers the first in-depth inquiry into music's repetitive nature, focusing not on a particular style, or body of work, but on repertoire from across time periods and cultures. Draws on a diverse array of fields including music theory, psycholinguistics, neuroscience, and cognitive psychology, to look head-on at the underlying perceptual mechanisms associated with repetition. Her work sheds light on a range of issues from repetition's use as a compositional tool to its role in characterizing our behavior as listeners, and then moves beyond music to consider related implications for repetition in language, learning, and communication.

Z-Saved Stokes, Martin. 2004. "Music and the Global Order." Annual Review of Anthropology 33:47-72.

Often music is used as a metaphor of global social and cultural processes; it also constitutes an enduring process by and through which people interact within and across cultures. The review explores these processes with reference to an anthropological and ethnomusicological account of globalization that has gathered pace over the last decade. It outlines some of the main ethnographic and historical modes of engagement with persistent neoliberal and other music industry-inspired global myth making (particularly that associated with world music), and argues for an approach to musical globalization that contextualizes those genres, styles, and practices that circulate across cultural borders in specific institutional sites and histories.

Z-Online Koskoff, E. 2014. A feminist ethnomusicology: Writings on music and gender. Urbana: University of Illinois Press.

One of the pioneers of gender studies in music, — edited the foundational text Women and Music in Cross Cultural Perspective, and — career evolved in tandem with the emergence and development of the field.In this intellectual memoir, — describes — journey through the maze of social history and scholarship related to — work examining the intersection of music and gender. — collects new, revised, and hard-to-find published material from mid-1970s through 2010 to trace the evolution of ethnomusicological thinking about women, gender, and music, offering a perspective of how questions emerged and changed in those years, as well as — reassessment of the early years and development of the field. — goal: a personal map of the different paths to understanding — took over the decades, and how each inspired, informed, and clarified — scholarship.

Z-Unavailable Stobart, Henry ed. 2008. The New (ethno)musicologies. Lanham, Md.: Scarecrow Press.

Over the past twenty years, a range of radical developments has revolutionized musicology, leading certain practitioners to describe their discipline as 'New.' What has happened to ethnomusicology during this period? Have its theories, methodologies, and values remain rooted in the 1970s and 1980s or have they also transformed? What directions might or should it take in the new millennium? Seeks to answer these questions by addressing and critically examining key issues in contemporary ethnomusicology. Set in two parts, the volume explores ethnomusicology's shifting relationship to other disciplines and to its own 'mythic' histories and plots a range of potential developments for its future. It attempts to address how ethnomusicology might be viewed by those working both inside and outside the discipline and what its broader contribution and relevance might be within and beyond the academy.

ML3916.T87 2008 Turino, Thomas. 2008. Music As Social Life: The Politics of Participation. Chicago: University of Chicago Press.

People around the world and throughout history have used music to express their inner emotions, reach out to the divine, woo lovers, celebrate weddings, inspire political movements, and lull babies to sleep. Explores why it is that music and dance are so often at the center of our most profound personal and social experiences. Begins by developing tools to think about the special properties of music and dance that make them fundamental resources for connecting with our own lives, our communities, and the environment. These concepts are then put into practice as he analyzes various musical examples among indigenous Peruvians, rural and urban Zimbabweans, and American old-time musicians and dancers. To examine the divergent ways that music can fuel social and political movements, ___ looks at its use by the Nazi Party and by the American civil rights movement. Wide-ranging, accessible to anyone with an interest in music's role in society. "A final hint to music's importance in social life is that, like the other arts, musical experiences foreground the crucial interplay between the Possible and the Actual [...]. The Possible includes all those things that we might be able to do, hope, think, know, and experience, and the Actual comprises those things that we have already thought and experienced."

Z-Saved Abu-Lughod, Lila. 1991. "Writing Against Culture." Pp. 137-62 in Recapturing Anthropology: Working in the Present, edited by R. G. Fox. Santa Fe, NM: School of American Research Press.

Point of departure is the lack of representation of the perspectives of feminists and halfies in Clifford and Marcus's (1986) Writing Culture. — argues for anthropologists to write "against" the essentialist, separatist, and hierarchical culture that is prevalent in anthropology at the time. Halfies were thought of as not having enough critical distance from their "own" and had an "easier" time with fieldwork. Feminists offer to anthropology that the construction of the self is in fact a construction and not natural, and creating the self as the other is a violent act. For the halfie, partiality comes from being an observer, and for the feminist, as the thing presented. Both halfies and feminists encounter multiple audiences, and how to negotiate and represent power relations in their work. Since culture is thought of as an essentialist, static, and coherent concept, — argues for writing against culture in the following ways: talking about practice rather than "discourse," discussing connections between peoples and patterns (rather than coherent bubbles of "cultures"), writing ethnographies of the particular (balancing ethnographic particularities and broader conclusions), and utilizing everyday language in the ethnographic product. She delves into examples from — own fieldwork among Bedouin peoples in Egypt. Overall, writing against culture is a means by which anthropologists can establish and enact humanism in ethnographic writing.

Z-Online Negus, Keith. 2008. Bob Dylan. London: Equinox Pub.

Presents Bob Dylan primarily as musician, focusing on the qualities of his songs that have received little attention, such as melody, rhythm, instrumental texture, and his performing voice. Explores the way Dylan's musical sensibility has been shaped by the blues and folk ballad traditions and highlights how he has frequently created unique musical identities by personalizing borrowed phrases, tunes or riffs. In tracing the various phases of a career that has lasted almost half a century, ___ stresses the centrality of performance to Dylan's life as a musician and songwriter, as well as detailing the way he has treated his songs as continually open to change and rearrangement in concert. Through listening to Dylan's words as sounds, rhythms and tunes in the air rather than reading them as prose on a page, we can gain an insight into one of the most enigmatic, enthralling, yet unpredictable, of contemporary popular musicians.

Z-Online McClary, Susan. 2004. Modal Subjectivities: Self-Fashioning in the Italian Madrigal. Berkeley: University of California Press.

Presents an illuminating cultural interpretation of the Italian madrigal, one of the most influential repertories of the Renaissance. A genre that sought to produce simulations in sound of complex interiorities, the madrigal introduced into music a vast range of new signifying practices: musical representations of emotions, desire, gender stereotypes, reason, madness, tensions between mind and body, and much more. In doing so, it not only greatly expanded the expressive agendas of European music but also recorded certain assumptions of the time concerning selfhood, making it an invaluable resource for understanding the history of Western subjectivity. Covers the span of the sixteenth-century polyphonic madrigal, from its early manifestations in Philippe Verdelot's settings of Machiavelli in the 1520s through the tortured chromatic experiments of Carlo Gesualdo. Although ___ takes the lyrics into account in shaping her readings, she focuses particularly on the details of the music itself—the principal site of the genre's self-fashionings. In order to work effectively with musical meanings in this pretonal repertory, she also develops an analytical method that allows her to unravel the sophisticated allegorical structures characteristic of the madrigal. This pathbreaking book demonstrates how we might glean insights into a culture on the basis of its nonverbal artistic enterprises.

ML3918.R37 M674 2009 Morgan, Marcyliena H. 2009. The Real Hiphop: Battling for Knowledge, Power, and Respect in the LA Underground. Durham: Duke University Press.

Project Blowed is a legendary hiphop workshop based in Los Angeles. It began in 1994 when a group of youths moved their already renowned open-mic nights from the Good Life, a Crenshaw district health food store, to the KAOS Network, an arts center in Leimert Park. The local freestyle of articulate, rapid-fire, extemporaneous delivery, the juxtaposition of meaningful words and sounds, and the way that MCs followed one another without missing a beat, quickly became known throughout the LA underground. Leimert Park has long been a center of African American culture and arts in Los Angeles, and Project Blowed inspired youth throughout the city to consider the neighborhood the epicenter of their own cultural movement. ___ is an in-depth account of the language and culture of Project Blowed, based on the seven years ___ spent observing the workshop and the KAOS Network. Excerpts from interviews and transcripts of freestyle lyrics. Providing a thorough linguistic interpretation of the music, teases out the cultural antecedents and ideologies embedded in the language, emphases, and wordplay. Discusses the artistic skills and cultural knowledge MCs must acquire to rock the mic, the socialization of hiphop culture's core and long-term members, and the persistent focus on skills, competition, and evaluation. Brings attention to adults who provided material and moral support to sustain underground hiphop, identifies the ways that women choose to participate in Project Blowed, and vividly renders the dynamics of the workshop's famous lyrical battles.

Z-Online Born, Georgina and David Hesmondhalgh. 2000. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley, CA: University of California Press.

Provide an edited volume on the ways in which Western music has sought to engage with and represent "other" musics in history. The authors begin with an introduction on the value of postcolonial work, which sought to critique the ways in which colonial power relations extended to things like historical documentation, nation-making, and cultural forms (for example). The result is that though colonies were subjugated, they're not poor victims in need of saving. They spend some time talking about Said's Orientalism, which in part showed that Orientalism was the result of Western searching for Eastern understanding. They search for this in music, which lends itself very well to this being a problematic undertaking historically. The book is written following a couple important essays, which includes Taruskin's on the idea that certain signifiers of Russian orientalism were in fact arbitrary in certain pieces (?). They define the beginnings of the borrowing of "other" musics in modernist music, in which composers looked for old forms (neo-classical ones) such as in Stravisnky, or folk/other forms, such as in Debussy. They argue that the incorporation of non-Western music into Western music happened through the modernist impulse to recognize and incorporate non-Western musics to make it better and into high art (the privilege of inclusion into Western music), OR the complete establishment of a difference away from the notion of a primitiveness, as in serialism. This establishes a purity in this kind of modern (and post-modern) music, in which Western composers don't have to rely on other musics to innovate in the Western canon. They actually identify the composers such as Reich and Glass as postmodern ones, who found impetus to incorporate non-Western musics, since there is a universality among music (looking back to the Enlightenment), as well as a more globalized tendency for economic reliance on other nation-states for musical profitability. This is the beginning of "hybridity," which may or may not stand in for a neo-exoticist approach depending on how one looks at things. I sort of stopped reading the introduction because it got too long, and didn't read any of the articles contained in the volume.

Z-Online Fry, Andy. 2014. Paris Blues: African American Music and French Popular Culture, 1920-1960. University of Chicago Press.

Provides an alternative history of African American music and musicians in France, one that looks beyond familiar personalities and well-rehearsed stories. Pinpoints key issues of race and nation in France's complicated jazz history from the 1920s through the 1950s. While ___ deals with many of the traditional icons—such as Josephine Baker, Django Reinhardt, and Sidney Bechet, among others—what ___ asks is how they came to be so iconic, and what their stories hide as well as what they preserve. Focuses throughout on early jazz and swing but includes its re-creation—reinvention—in the 1950s. Along the way, pays tribute to forgotten traditions such as black musical theater, white show bands, and French wartime swing. Provides a nuanced account of the French reception of African Americans and their music and contributes greatly to a growing literature on jazz, race, and nation in France.

Z-Saved Bickford, Tyler. 2007. "Music of Poetry and Poetry of Song: Expressivity and Grammar in Vocal Performance." Ethnomusicology 51, no. 3: 439-76.

Purpose is to locate the space, and perhaps even deconstruct this space, between speech and song. He uses methodologies related to analyzing speech (i.e. linguistics) to do so, in which he investigates the role of phonology and phonetics (vowels, syllables, feet, phrases in combination with melody, rhythm, timbre, and dynamics) in vocal performance. He begins his article with a contextualizing of sorts, perhaps making a case for the incorporation of language analysis and semiotics into song. He then moves to his case study - Bob Dylan's "Down the Highway" (The Freewheelin' Bob Dylan), in which he analyzes and questions certain elements in the song using his methods. He then moves to more bird's eye theoretical analysis that strengthens his case, commenting on the idea of language in music, speech in song, and why (again) these methods are important. -"Dylan's performance asserts the primacy of the voice in this expressive relation: the voice has full authority over the musical and poetic texts and their interrelations. An analysis that does not account for the containment of music and poetry within the domain of the voice misses a remarkably clear example of a distinctly musico-poetic progression that builds large formal structures out of tiny musical and poetic elements." (pp. 462) -"The boundaries of "grammar," "music," "poetry," "genre," and "style" are invariably blurred in practice, but together they contribute to a vocal gestalt that can have practical social power to produce movement, interaction, and even more expressive vocalization." (pp. 466) -"These intersections [between music and language] appear to involve the intuitive relationships between musical and prosodic rhythm, the sound quality of notes and syllables as an integration of timbre and assonance, and a tension between gradient and categorical relations in the structures of artistic form." (pp. 467)

Z-Online (http://abahlali.org/files/Can_the_subaltern_speak.pdf) Spivak, Gayatri Chakravorty. 1988. "Can the Subaltern Speak?" In Marxism and the Interpretation of Culture, Cary Nelson and Lawrence Grossberg, eds. Pgs. 271-313. Urbana: University of Illinois Press.

Relates to the manner in which western cultures investigate other cultures. Uses the example of the Indian Sati practice of widow suicide. Critically deals with an array of western writers starting from Marx to Foucault, Deleuze and Derrida. The basic claim and opening statement is that western academic thinking is produced in order to support western economical interests. ___ holds that knowledge is never innocent and that it expresses the interests of its producers. For ___ knowledge is like any other commodity that is exported from the west to the third world for financial and other types of gain. ___ is wondering how can the third world subject be studied without cooperation with the colonial project. Points to the fact that research is in a way always colonial, in defining the "other", the "over there" subject as the object of study and as something that knowledge should be extracted from and brought back "here". Basically we're talking about white men speaking to white men about colored men/women. When ___ examines the validity of the western representation of the other, she proposes that the discursive institutions which regulate writing about the other are shut off to postcolonial or feminist scrutiny. This limitation is due to the fact that critical thinking about the "other" tends to articulate its relation to the other with the hegemonic vocabulary. This is similar to feminist writers which abide by the patriarchic rules for academic writing.

HM621 .C75 2012 [in 4 volumes] Rojek, Chris, ed. 2012. Popular Culture. London ; New York: Routledge.

Research in and around popular culture continues to flourish. And its study is, more than ever, a key component of Media and Communications Studies courses, and a vital part of Cultural Studies and Cultural Sociology curricula. The sheer scale of the available research exploring popular culture--and the breadth and complexity of the canon on which it draws--makes this new four-volume Routledge collection especially timely. It answers the urgent need for a wide-ranging collection which provides ready access to the key items of scholarly literature, material that is often inaccessible or scattered throughout a variety of specialist journals and books from a broad range of disciplines. Volume I ('History and Theory') brings together the best work on the rise of popular culture as a subject for serious academic study, uncovering its roots and exploring its rapid development in the years after the Second World War. Key debates (e.g. between base and superstructure, hegemony and control, colonialism and postcolonialism) are traced to provide users with a clear understanding of the foundational approaches that inform the more applied examinations of popular culture in the succeeding volumes. Volume II assembles the most important thinking on 'Ideology and Representation', including work drawn from feminism, structuralism, post-structuralism, and postmodernism. Volume III gathers crucial work on 'Fissures and Fusions', while the last volume in the set is organized around 'Critical Departures'.

ML3916 .R43 2010 Bayley, Amanda, ed. 2010. Recorded Music: Performance, Culture and Technology. Cambridge, UK ; New York: Cambridge University Press, 2010.

Research in the area of recorded music is becoming increasingly diverse. Contributions from a variety of fields, including music performance, composition and production, cultural studies and philosophy, are drawn together here, for the contrasting perspectives they bring to a range of music genres. Discourses in jazz, ethnomusicology and popular music - whose histories and practices have evolved principally from recordings - are presented alongside those of Western classical music, where analysis of recordings is a relatively recent development. Different methodologies have evolved in each of these subdisciplines where recordings have been contextualised variously as tools, texts, or processes, reflective of social practices. This book promotes the sharing of such differences of approach. Attitudes of performers are considered alongside developments in technology, changing listening practices, and social contexts, to explore the ways in which recordings influence the study of music performance and the nature of musical experience. Organized conceptually into different themed sections rather than according to genre, encouraging the reader to transfer ideas across conventional disciplinary boundaries. Audio examples are available on an accompanying website, bringing the subject to life for the reader. Includes perspectives of performers and their attitudes towards recordings.

Z-Saved Gray, Lila Ellen. 2007. "Memories of Empire, Mythologies of the Soul: Fado Performance and the Shaping of Saudade." Ethnomusicology 51(1):106-130.

Saudade means longing/nostalgia; Though myths of fado's origins come from perhaps the Arabs/Moors, Africans, Brazilians, etc. it is still firmly grounded (in colloquial) narrative among the Portuguese as a Portuguese genre; The general idea is that it's either from the Africans via the slave trade through the port city of Lisbon or the Arabs (Moorish presence); The author's argument is that discourse on origins in fado is a productive framework to think about how musical experience produces spatial and localized belonging and identity; Theorizes fado as an "originary trope" for feeling, enabling expression (?); Place to sound to soul in fado performance - these are all markers of fado performance and practice; The EN censored, professionalized, and cleaned fado of its past to freeze it in time to an "idyllic past" but through fado performance, and particular interventions by individual performers, other things come out in the music; Spaces of performance: the tasca (neighbourhood bar) - "amateur fado" is performed, casa de fado (fado houses, where professional fado is performed for mostly tourist audiences); Another myth of fado - it cannot be learned, but you can learn how to perform soul - through details in the voice; There is a deifying of the fado singer Amália Rodrigues (from the 1950s and 1960s) - people illuminate her picture before they sing in the tasca, and this part of the "preparations" - this also includes appropriate clothing (a shawl around a woman's shoulders, etc.); It is the quivers, silences, breathy qualities of fado in which soulfulness is performed; Article brings a about a mini ethnography of a tasca O Jaime; Author talks about some of the performative nuances that are contained in fado, many located to Amália, whose style is marked as having an Arab sound, substantiating the story that fado is born in Mouraria (the Moorish quarter of a Portuguese city) - Lisbon's Mouraria is an ethnically diverse neighbourhood; Also a performance of soul is a performance of tears - the lyrics talk about tears and audience members perform their crying as a marker that a fado is moving, but singers cannot break down crying to the point that they must stop singing; Place is literally referenced - especially Lisbon - in fado's lyrics And this place is intimately tied with saudade - that fado was born at sea, during the time of Portuguese imperial discovery during which seafarers played fado on board, needing some sort of musical expression for saudade and the preservation of saudade; This inextricable link between fado and saudade is invented around 1900 The EN latched onto this idea to promote a KIND of feeling - national identity, Portugueseness, etc. that allowed censory control over fado; Today's saudade contained in fado is not that for the regime (nostalgia), but rather for a time in which Portugal wasn't constantly attempting to modernize, etc.; Improvization in an "artful" way is also a means to performing soulfully; The voice in a soulful performance is on the verge of tears, has a raspy quality, audibly longs for (performs saudade), etc.; Fado has a history with female prostitution (first fadista/prostitute Maria Severa in early 1800s) - really similar to some of the genres in India

Z-Online Bohlman, Philip Vilas, ed. 2013. The Cambridge History of World Music. Cambridge: Cambridge University Press.

Scholars have long known that world music was not merely the globalized product of modern media, but rather that it connected religions, cultures, languages and nations throughout world history. The chapters in this History take readers to foundational historical moments - in Europe, Oceania, China, India, the Muslim world, North and South America - in search of the connections provided by a truly world music. Historically, world music emerged from ritual and religion, labor and life-cycles, which occupy chapters on Native American musicians, religious practices in India and Indonesia, and nationalism in Argentina and Portugal. The contributors critically examine music in cultural encounter and conflict, and as the critical core of scientific theories from the Arabic Middle Ages through the Enlightenment to postmodernism. Overall, the book contains the histories of the music of diverse cultures, which increasingly become the folk, popular and classical music of our own era; Provides a music-historical reference for students and scholars interested in musics throughout the world, going far beyond the usual histories of Western classical music; Includes chapters with in-depth histories of music in major world regions - Africa, Asia, Europe, Latin America - as well as individual nations, balancing new theoretical innovation in the historiography in music with specific examples; Illustrates historical and contemporary theoretical approaches for the study of music worldwide, and will therefore be extremely valuable as a reference work for students and scholars of music in institutions throughout the world On world music as a concept in the history of music scholarship, Bruno Nettl -Johann Gottfried Herder (volksleid) + Guido Adler (Musicological Quarterly Journal) + Sourindro Mohun Tagore (Universal History of Music, Calcutta 1896) + Hugo Riemann (Handbuch der Musikgeschichte) -Oxford History of Music (1901) vs. New Oxford History of Music (1957) -The New Grove (2001) -The Garland Encyclopedia of World Music (1998) - Encounter music in Oceania: cross-cultural musical exchange in eighteenth- and early nineteenth-century voyage accounts By Vanessa Agnew

Z-Online Jackson, Travis A. 2012. Blowin' The Blues Away: Performance and Meaning on the New York Jazz Scene. Berkeley, Los Angeles, and London: University of California Press.

Seeks to discuss jazz from a particular ethnographic perspective—doing fieldwork, being a participant observer, seeing what's actually going on from the point of view of things on the ground in the straight-ahead jazz scene in New York in the 1990s (premier musicians). The introduction talks of the need for this kind of ethnography, which differs from jazz being talked about as the world's "American classical music" or quintessentially American music. The location of jazz isn't in the notes, and such an approach for ___ is incomplete. It's about space, history, culture, race, the everyday, etc. Chapter 2 is a discussion of jazz in the discussion of race and culture. Is it an African American or American music? Of course this is a loaded question that cannot be diadified, but he does conclude the chapter by saying that there is an African Americanness in the pathways that musicians had to take to perform and learn this music. And these pathways are raced and have been so because of the history of the 20th century in the United States, as jazz came to the fore. Chapter 3 discusses the importance of space, and particularly spatiality in jazz. Spatiality means a bit more than space, since it is how actors within spaces manipulate these spaces. Spatiality takes into consideration relationships, negotiations, etc. that are moving. Talks about the jazz scene, always referring to place, space, and geographic location. Jazz in prominent jazz cities, for example New York, New Orleans, and Chicago, was performed in black neighborhoods at clubs, and then migrated out of this for "safer" places in whiter neighborhoods, leading to the demise of these areas as jazz neighborhoods. This is a good example of the marriage of scenes and history in jazz. Chapters 7 and 8 are almost entirely ethnographic.

Z-Unavailable Bohlman, Philip. 2011. "Analyzing Aporia." Twentieth-Century Music 8(2):133-151.

Seeks to look at borders between music, and uses the term "aporia" (taken from Derrida) to refer to the ways in which borders connect in "knowing the unknowable." Begins with his first case study: the border between sound and silence in South Asian music. He writes "South Asia" in general, but refers in particular to Buddhism and Hinduism, in which he arouses examples like "om" etc. that come from silence that is itself the fullness of musical sound in the earth. These examples are not the real core case studies of the essay, but rather set up the framing of borders in general that are messy in talking about sound and music. Seeks to use the methodologies of music analysis to study borders, but not between Western and non-Western musics, for example, but between borders that we ourselves construct. And therefore they are modern concepts. The aporias analyzed are borders between musics—music and the extra-musical. The first core case study is that of epic tradition and performance in the Balkan context. Uses the term "caesura" (pause, break) in performance, text, and even broadly in the concept to talk about the aporia between life and death. A performer of epic will use caesuras to mark memory and other things, while caesura in text also provide the idea of a score and its improvisation (?). The caesura also provides a means for translation. From a sort of music theory perspective, ___ uses distances between caesura in epic performance to determine the smallest unit of performance, and therefore the kernel that determines poetic meter, rhythm, instrumental accompaniment, etc. The second core case study is khali in Indian music, which represents emptiness and fullness (one cannot happen without the other in Indian thought). He arouses the example of rupak, where khali is both khali and sam almost. ___ third case study is a composition during the Holocaust by Ullmann, who composed into his music reference to the end of time—life and death; silence and emptiness. Ends by stating the reason that this essay is in a journal on twentieth-century music, and it's because aporia and borders should be reconsidered in what is defined as 20th-century music.

Z-Unavailable Trippett, David. 2013. Wagner's Melodies: Aesthetics and Materialism in German Musical Identity. Cambridge, UK ; New York: Cambridge University Press.

Since the 1840s, critics have lambasted Wagner for lacking the ability to compose melody. But for him, melody was fundamental - 'music's only form'. This incongruity testifies to the surprising difficulties during the nineteenth century of conceptualizing melody. Despite its indispensable place in opera, contemporary theorists were unable even to agree on a definition for it. Re-examines Wagner's central aesthetic claims, placing the composer's ideas about melody in the context of the scientific discourse of his age: from the emergence of the natural sciences and historical linguistics to sources about music's stimulation of the body and inventions for 'automatic' composition. Interweaving a rich variety of material from the history of science, music theory, music criticism, private correspondence and court reports, ___ uncovers a new and controversial discourse that placed melody at the apex of artistic self-consciousness and generated problems of urgent dimensions for German music aesthetics. The first study to link the emergence of the natural sciences and technological thinking to Wagner's aesthetics of expression; Interweaves a wide variety of source material from the history of science, music theory, music criticism and aesthetics, including material from private correspondence, newspapers and court reports, as well as published books; Translates a great many sources into English for the first time and un

Z-Unavailable Leppert, Richard D., and Susan McClary, ed. 1987. Music and Society: The Politics of Composition, Performance, and Reception. Cambridge [Cambridgeshire]: Cambridge University Press.

Socially and politically grounded enterprises such as feminism, semiotics and deconstruction have effected a major transformation in the ways in which the arts and humanities are studied. This provocative volume of essays challenges the ideology that insists music occupies an autonomous sphere. By examining the ways in which music and society interact with and mediate one another within and across socio-cultural boundaries, these authors--musicologists, sociologists, cultural theorists--provide a sound argument.

Z-Saved Holton, Kimberly DaCosta. 2002. "Bearing Material Witness to Musical Sound: Fado's L94 Museum Debut." Luso-Brazilian Review 39(2):107-123.

Sound has been historically excluded from the museum space; Occularcentrism - the privileging of vision over the other senses - this is the predicate of anthropology Article discusses the exhibition of fado in Lisbon's 1994 exhibition at Museu Nacional de Etnologia (referred to as L94) - the exhibition was called: Fado: Vozes e Sombras (Fado: Voices and Shadows); The exhibition of fado in this exhibition was scientifized - systematized to elevate fado to a level of serious national music; The exhibition is filled with different types of sound - immersive to create anthropology, the music as object, etc.; Fado is posed as "indigenous treasure"; The exhibition plays with curated silences and different positionalities of sound to empower the embodied viewer to be aware of more than just the visual sense (silent films, ethnographic immersion, a performance by Amália Rodrigues - fado's "grand diva" accompanied by photographs - and in fact this last one is interesting because sound is the main object while the photographs are meant to visually supplement what is heard); Fado is posed in the exhibition as the form that prevails through Portugal's various political iterations - colonized, fascist, revolution, communism to democracy - and fado has lasted through - perhaps it is a metaphor for democracy?; Salwa was the ethnomusicologist involved in the process; The exhibition was very important - a turning point in the social place of fado in Portugal and in Lisbon's society in particular; From here a new generation of fado singers came about; Just 4 years later a museum of fado was founded and 2011 fado was proposed by the Portuguese government for the famous UNESCO transcription of intangible cultural material

Z-Online Small, Christopher. 1988. Musicking: The Meanings of Performing and Listening. Hanover, NH: University Press of New England.

Strikes at the heart of traditional studies of Western music by asserting that music is not a thing, but rather an activity. Outlines a theory of what he terms "musicking," a verb that encompasses all musical activity from composing to performing to listening to a Walkman to singing in the shower. Using Gregory Bateson's philosophy of mind and a Geertzian thick description of a typical concert in a typical symphony hall, ___ demonstrates how musicking forms a ritual through which all the participants explore and celebrate the relationships that constitute their social identity.

ML420.L553 T46 2009 Thomas, Greg. 2009. Hip-Hop Revolution in the Flesh: Power, Knowledge, and Pleasure in Lil' Kim's Lyricism. New York: Palgrave Macmillan.

Studies Lil' Kim's lyrics for the overarching main argument that she powerfully subverts the male-dominated capitalist rap system that is in place in the genre. Examines Lil' Kim's anti-sexist, gender-defiant and ultra-erotic verse alongside issues of race and the politics of imprisonment. This is the first study to apply the tools of literary criticism to Hip Hop's lyrical writings.

ML3531.R670 1994 Rose, Tricia. 1994. Black Noise: Rap Music and Black Culture in Contemporary America. Wesleyan University press.

Studies hip hop from its historical formation to its political effects and of course the gendered aspect, where females are simultaneously subversive and subjugated. This is one of the first in-depth sources on hip-hop, and remains foundational in the literature on rap/hip-hop.

Z-Online Spitzer, John, ed. 2012. American Orchestras in the Nineteenth Century. Chicago: University of Chicago Press.

Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today. But as this book reveals, audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall. And what they heard weren't just symphonic works—programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes. This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, the book considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians' unions. Shows that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players. Painting a rich and detailed picture of nineteenth-century concert life, this collection will greatly broaden our understanding of America's musical history. -A cumulative effect of the chapters in this volume is to suggest that the earlier standard narrative about American orchestras in the nineteenth century— that they were sporadic, sparse, struggling to establish themselves, and entirely male— severely undervalued and misrepresented the richness and significance of orchestras in the web of culture. Earlier historians tended to treat the nineteenth century as the "prehistory" of the American symphony orchestra, a cultural institution that came into its own only in the twentieth century. Now we are in a position to understand that orchestral music and musicians were an important part of Americans' lives during most of the nineteenth century. The present authors try to understand the lives of men and women who played in those orchestras, look at the ensembles as part of the "businesses" of entertainment and culture, and examine orchestral history in the framework of ethnicity and national identification. Viewing the nineteenth-century American orchestra through these new lenses makes for a new, exciting, and entertaining story.

DS12.S240 1978 [ALSO AT RRESERVE DESK] Said, Edward W. Orientalism. London: Penguin, 2003.

Surveys the history and nature of Western attitudes towards the East, considering Orientalism as a powerful European ideological creation - a way for writers, philosophers and colonial administrators to deal with the 'otherness' of Eastern culture, customs and beliefs. He traces this view through the writings of Homer, Nerval and Flaubert, Disraeli and Kipling, whose imaginative depictions have greatly contributed to the West's romantic and exotic picture of the Orient. In his new preface, ___ examines the effect of continuing Western imperialism after recent events in Palestine, Afghanistan and Iraq.

ML3411.5 .L38 2003 Lawrence, Tim. 2003. Love Saves the Day: A History of American Dance Music Culture, 1970-1979. Durham [N.C.]: Duke University Press.

Tells the definitive story of American dance music culture in the 1970s—from its subterranean roots in NoHo and Hell's Kitchen to its gaudy blossoming in midtown Manhattan to its wildfire transmission through America's suburbs and urban hotspots such as Chicago, Boston, San Francisco, Los Angeles, Newark, and Miami. Tales of nocturnal journeys, radical music making, and polymorphous sexuality flow. They are interspersed with a detailed examination of the era's most powerful djs, the venues in which they played, and the records they loved to spin—as well as the labels, musicians, vocalists, producers, remixers, party promoters, journalists, and dance crowds that fueled dance music's tireless engine. Includes material from over three hundred original interviews with the scene's most influential players, including David Mancuso, Nicky Siano, Tom Moulton, Loleatta Holloway, Giorgio Moroder, Francis Grasso, Frankie Knuckles, and Earl Young. It incorporates more than twenty special dj discographies—listing the favorite records of the most important spinners of the disco decade—and a more general discography cataloging some six hundred releases.

Z-Online Falkenhausen, Lothar von. 1993. Suspended Music: Chime-bells in the Culture of Bronze Age China. Berkeley: University of California Press.

The Chinese made the world's first bronze chime-bells, which they used to perform ritual music, particularly during the Shang and Zhou dynasties (ca. 1700-221 B.C.). Rich and detailed study reconstructs how the music of these bells—the only Bronze Age instruments that can still be played—may have sounded and how it was conceptualized in theoretical terms. ___ analysis and discussion of the ritual, political, and technical aspects of this music provide a unique window into ancient Chinese culture. This is the first interdisciplinary perspective on recent archaeological finds that have transformed our understanding of ancient Chinese music. Of great significance to the understanding of Chinese culture in its crucial formative stage, it provides a fresh point of departure for exploring later Asian musical history and offers great possibilities for comparisons with music worldwide. -2 views of music in ancient documents: music is used by ruler to affect people; music is spontaneously created and a reflection of the ruler's effectiveness -The Yue Ji's somewhat ambivalent descriptions of how music and government interrelate may reflect different strata of Chinese musical thought. In a general way, however, the conception of music as a moralpolitical entity pervades the earliest textual sources on ancient Chinese musical theory, which date from the fourth to the second centuries B.C. Their authors imputed a farreaching cosmic effect to ritual music, whether conceived of as subject to a ruler's administration or as a political agent in itself. -Discovery of Marquis Yi's tomb and bells -As a consequence of their high prestige, considerable economic resources and technological acumen were expended on the manufacture of chimebells. It is no exaggeration to say that they embody some of the highest achievements of science and technology of the Chinese Bronze Age. An approach that synthesizes the technological history of bells with what we know about Chinese musical theory may therefore yield important insights. How was technology put to the service of music?

Z-Saved Shreffler, Anne C. 2003. "Berlin Walls: Dahlhaus Knepler, and Ideologies of Music History." The Journal of Musicology 20, no. 4: 498-525.

The author discusses Carl Dahlhaus's Grunglagen der Musikgeschichte (Foundations of Music History) and focuses on what Dahlhaus was writing against: "the prolific and increasingly sophisticated Marxist musicology emanating from the other side of the divided city, East Berlin, only a mile or two away." It is an important point that the author contends that East German Marxist musicology of the 1960s and 1970s "anticipated" the new musicology. The author compares Dahlhaus's book (above) to Georg Knepler's Geschichte als Weg zum Musikverstandnis (History as a Means of Understanding Music). Shreffler creates an East-West thing here, where Knepler was considered a Marxist musicologist and Dahlhaus an anti-Marxist. Shreffler writes that Knepler was very well-known in "the East" and "sought to apply Marxist methodologies in the study of music, but more ambitiously, to place musicology in the context of a universal system of knowledge, to which objective lawas pertain." Marxist musicologists believed music history to just be part of larger history. Knepler argued that historical objects shouldn't be collected, but rather theory and method should be developed, and there was much focus on popular and folk genres, rather than elite ones. "The most urgent task for Marxist music historians was to reconnect music with society." Knepler dedicated his life to revising the writing of music history to incorporate these things, and talk about music in society. He believed that human creativity is the essence of human life. Dahlhaus believed in the autonomy of the score as the musical object, and said that it could construct music history, but social and cultural histories could not. While he did say that aesthetic productions of music (performances) have merit, they cannot contribute to a writing of music history the way the work—a score—can. Knepler's method is much more similar to the goals of ethnomusicology today. Dahlhaus believes in music history to be a history of art, meaning a history of high art. He believes that music is autonomous, meaning that one can read history through the work. Knepler doesn't believe this, because it is human function that makes music happen.

Z-Unavailable Macarthur, Sally. 2012. "Music and Violence." Musicology Australia 34(1):101-110.

The author reviews three of Cusick's articles on music and violence, including the one written in JAMS in 2010 on the global war on terror. She writes that Cusick writes in the first two on the very real and graphic consequences of music used as tools for violence in detention camps and prisons. The third questions the viability of musicology to deal with this as musicology, since this music is here rather used as sound. It is not used as music at all. She writes that musicologists are silenced in the process of music harnessed in this way, since the music itself is usually popular music used that is itself marginalized. She questions whether the privileging of classical music listening and its associated ideologies perpetuated at universities might influence the people that do "no-touch" torture. Cusick notices that most of the genres are metal or rap, and these are masculine and heteronormative that do violence to those gendered and not included in these groups. She argues that soldiers listen to this music (in the GI helmets), which is associated with masculine rage, and then this tortures Muslim men by "creating a soundscape in which US men defeat them in a struggle of masculinities."

Z-Saved Nora, Pierre. 1989. "Between Memory and History: Les Lieux De Mémoire." Representations, no. 26: 7-24.

The author seeks to discuss the differences between "history" and "memory" using the framework of lieux de mémoire, sites of memory. There is not a necessary difference between history and memory, and his comparison is premised on his own constructed difference. That is not to say that I don't think this is productive work, I just think he does this badly. He makes large essentialist statements that betray his ignorance and even racism, creating polemics between "us" and "them" in terms of modern and pre-modern, and stating that colonialism is "over." Some of his statements on history and memory include that the birth of nation-states gave rise to history as something needing to be recorded and studied. He talks about museums and festivals as things that freeze and give the illusion of preserving the past, but of course we know they do important work for exhibiting the present. A lot of what he says are wrapped up in language I just don't understand (not difficulty-wise, but just that they don't make any sense). Museums and archives enter the discussion in institutionalizing the space between memory and history, and he states that there are three aspects of the lieux de mémoire: material, symbolic and functional. The point of the article is meant to be a melancholic argument about the disappearance of history in France; he was fashioning himself as melancholic; the lieux that he's talking about are the sites that we should put the memories instead of carrying them around with us

Z-Saved Nooshin, Laudan. 2003. "Improvisation as 'Other': Creativity, Knowledge and Power: The Case of Iranian Classical Music." Journal of the Royal Musical Association 128, no. 2.

The author writes a historical account of how improvisation came to be. This can be used in conjunction with Nettl's edited volume on improvisation, which begins with the idea that the term should never have been invented to talk about music. Basically, ___ writes that in the period of colonialism, when European travels went to the Orient to write about musical ideas, they started to "other" improvised traditions such that they were the opposite of real art - European art. This was the beginning of improvised music as not having yet aspired to true and good European art. ___ does write on when jazz came about, and Ingrid Monson wrote on the free capacities of improvisation, but that still doesn't solve the problem of musics that were never conceived in terms of notated traditions that are to be expressed. She brings up Ram Narayan, who identifies that there is no such thing as improvising, because you just don't conceptualize it that way in Indian traditions. Others (Berliner, I believe) offer that it takes a lifetime to learn how to improvise, because it happens in such conventional settings. Iranian musicians came to accept the idea of improvisation on the radif, but this didn't come without heated debates.

Z-Online Thompson, Marie and Ian Biddle. 2013. "Introduction: Somewhere between the signifying and the sublime." In Sound, Music, Affect: Theorizing Sonic Experience, Marie Thompson and Ian Biddle, eds. Pp. 1-24. New York: Bloomsbury.

The authors introduce the goals of the book, which is in part to look at how affect is produced by music and sound. It focuses on what music and sound do rather than what they mean. This is a huge paradigmatic focus away from hermeneutic analysis. Affect is sort of like aura - the production of aura, feeling, somatic response, something you feel and just know it, in response to music or sound. I think this is what I'm good at as a performer - producing and circulating affect. They define two theoretical versions of affect: Freud's and Deleuze and Gauttari's. I don't know the Freud one from this chapter, but Deleuze and Gauttari (2004) write that there is a difference between affect (an intensity of experience transmitted from one body that may cause another body to act) and affection (also called affectio - affective encounter of bodies with other ones and this process). The DJ and crowd at a club is an affective relationship - relying on one another to produce and circulate affect. This is a good introduction and book to come back to for comps, since they cite many of the budding scholars that are working in the area of affect.

ML3752 .P55 2012 Pilzer, Joshua D. 2012. Hearts of Pine: Songs in the Lives of Three Korean Survivors of the Japanese "Comfort Women." New York: Oxford University Press.

The book is largely about how Korean "comfort women" (a euphemism that designates Korean sexual slaves during the period of Japanese colonial control of Korea) utilize song as a means to speak, vocalize, protest, and act about a very painful past. "Comfort women" have begun to be addressed in the postcolonial state of South Korea as a national issue that are de-personified from the actual women themselves. They are treated as a monolith that represents the problem of women during the Japanese colonial era, and this ethnography, for all intents and purposes, seeks to treat these women as people and understand their performance of song. The discourse of han (sharing) permeates discourse surrounding the "comfort women" and works in positive and not so positive ways. They themselves share anger, resentment, etc. but on a national level, the discourse of han is used to have others be able to similarly 'feel' how they feel. In general, ___ describes self as a listener rather than ethnographer, and project as that of listening rather than ethnography. And what follows are the resulting accounts of three "comfort women": Pak Duri ("PAAK DOORI"), Mun Pulgi ("MUN PIR/LGI"), and Bae Chunhui ("PEH CHUNHEE")

ML3800 .S543 2007 Losseff, Nicky, and Jennifer R. Doctor, eds. 2007. Silence, Music, Silent Music. Aldershot, England ; Burlington, VT: Ashgate.

The contributions in this volume focus on the ways in which silence and music relate, contemplate each other and provide new avenues for addressing and gaining understanding of various realms of human endeavour. The book maps out this little-explored aspect of the sonic arena with the intention of defining the breadth of scope and to introduce interdisciplinary paths of exploration as a way forward for future discourse. Topics addressed include the idea of 'silent music' in the work of English philosopher Peter Sterry and Spanish Jesuit St John of the Cross; the apparently paradoxical contemplation of silence through the medium of music by Messiaen and the relationship between silence and faith; the aesthetics of Susan Sontag applied to Cage's idea of silence; silence as a different means of understanding musical texture; ways of thinking about silences in music produced during therapy sessions as a form of communication; music and silence in film, including the idea that music can function as silence; and the function of silence in early chant. Perhaps the most all-pervasive theme of the book is that of silence and nothingness, music and spirituality: a theme that has appeared in writings on John Cage but not, in a broader sense, in scholarly writing. The book reveals that unexpected concepts and ways of thinking emerge from looking at sound in relation to its antithesis, encompassing not just Western art traditions, but the relationship between music, silence, the human psyche and sociological trends - ultimately, providing deeper understanding of the elemental places both music and silence hold within world philosophies and fundamental states of being. Silence, Music, Silent Music will appeal to those working in the fields of musicology, psychology of religion, gender studies, aesthetics and philosophy.

ML430.7.I47 1998 Bruno Nettl, ed. 1998. In the Course of Performance: Studies in the World of Musical Improvisation. Chicago: University of Chicago Press.

The first book in decades to illustrate and explain the practices and processes of musical improvisation. Improvisation, by its very nature, seems to resist interpretation or elucidation. This difficulty may account for the very few attempts scholars have made to provide a general guide to this elusive subject. With contributions by seventeen scholars and improvisers, ___ offers a history of research on improvisation and an overview of the different approaches to the topic that can be used, ranging from cognitive study to detailed musical analysis. Such diverse genres as Italian lyrical singing, modal jazz, Indian classical music, Javanese gamelan, and African-American girls' singing games are examined. The most comprehensive guide to the understanding of musical improvisation available, In the Course of Performance will be indispensable to anyone attracted to this fascinating art.

Z-Unavailable Amy Lynn Wlodarski, Tina Frühauf, Lily E. Hirsch, and Philip Vilas Bohlman, eds. Dislocated Memories: Jews, Music, and Postwar German Culture. New York, NY: Oxford University Press, 2014.

The first volume of its kind, ___ draws together three significant areas of inquiry: Jewish music, German culture, and the legacy of the Holocaust. Jewish music-a highly debated topic-encompasses a multiplicity of musics and cultures, reflecting an inherent and evolving hybridity and transnationalism. German culture refers to an equally diverse concept that, in this volume, includes the various cultures of prewar Germany, occupied Germany, the divided and reunified Germany, and even "German (Jewish) memory," which is not necessarily physically bound to Germany. In the context of these perspectives, the volume makes powerful arguments about the impact of the Holocaust and its aftermath in changing contexts of musical performance and composition. In doing so, the essays in ___ cover a wide spectrum of topics from the immediate postwar period with music in the Displaced Persons camps to the later twentieth century with compositions conceived in response to the Holocaust and the klezmer revival at the turn of this century. Builds on a wide range of recent and critical scholarship in Cold War studies, cultural history, German studies, Holocaust studies, Jewish studies, and memory studies. What binds these distinct fields tightly together are the contributors' specific theoretical inquiries that reflect separate yet interrelated themes such as displacement and memory. While these concepts link the multi-faceted essays on a micro-level, they are also largely connected in their conceptual query by focus, on the macro-level, on the presence and the absence of Jewish music in Germany after 1945. Filled with original research by scholars at the forefront of music, history, and Jewish studies, Dislocated Memories will prove an essential text for scholars and students alike.

BD255 .I566 2013 Born, Georgina, ed. 2013. Interdisciplinarity: Reconfigurations of the Social and Natural Sciences. Abingdon, Oxon ; New York, NY: Routledge.

The idea that research should become more interdisciplinary has become commonplace. According to influential commentators, the unprecedented complexity of problems such as climate change or the social implications of biomedicine demand interdisciplinary efforts integrating both the social and natural sciences. In this context, the question of whether a given knowledge practice is too disciplinary, or interdisciplinary, or not disciplinary enough has become an issue for governments, research policy makers and funding agencies. Interdisciplinarity, in short, has emerged as a key political preoccupation; yet the term tends to obscure as much as illuminate the diverse practices gathered under its rubric. This volume offers a new approach to theorising interdisciplinarity, showing how the boundaries between the social and natural sciences are being reconfigured. It examines the current preoccupation with interdisciplinarity, notably the ascendance of a particular discourse in which it is associated with a transformation in the relations between science, technology and society. Contributors address attempts to promote collaboration between, on the one hand, the natural sciences and engineering and, on the other, the social sciences, arts and humanities. From ethnography in the IT industry to science and technology studies, environmental science to medical humanities, cybernetics to art-science, the collection interrogates how interdisciplinarity has come to be seen as a solution not only to enhancing relations between science and society, but the pursuit of accountability and the need to foster innovation.

Z-Saved Taylor, Timothy D. "The Commodification of Music at the Dawn of the Era of 'Mechanical Music'."Ethnomusicology 51(2):281-305. 2007.

The main goal of this article is to argue that whatever the music-commodity is, it is utterly dependent on the circumstances surrounding its commodification, which are largely driven by its means of reproduction, themselves commodities. The production and dissemination of music involves a wide range of technological artifacts: violins, pianos, tin whistles, radios, CD players, mp3 players, and so forth. Each of these technologies exists as a separate commodity—yet inextricably intertwined with the musical commodities they contribute to producing. Ultimately, the commodity status of each depends on the other: music could not exist as a commodity without the technologies involved with its making and transmission; nor would those technologies serve much purpose without the music they purvey.

ML3798 .R53 2014 Rice, Timothy. 2014. Ethnomusicology: A Very Short Introduction. Oxford: Oxford University Press.

The most valuable thing here is a short history of the discipline of ethnomusicology. Origins can be related to how distinct cultures wrote on their music in China, India, and the Arab Middle East, for example. Philosophers wrote on these things concurrently as Greeks did. The creation and collecting of folk musics as world music (Herder) happened during the Enlightenment. In the 19th century this changed to the idea of comparative musicology, which included such figures as Carl Stumpf and Hornbostel. This then led to the official beginnings of an institutionalization of ethnomusicology (self-proclaimed) by people such as Charles Seeger and Alan Merriam in the 1930s. This leads to today, in which we don't necessarily do comparative work anymore, and have changed our conception of the field (i.e. it can be at home), etc. Collecting, ethnographic documentation, fieldwork, representation, and theorization still figure into ethnomusicology, which takes its "origins" from many places and times.

Z-Saved Scott L. Marcus. 1992. "Modulation in Arab Music: Documenting Oral Concepts, Performance Rules and Strategies." Ethnomusicology 36, no. 2: 171-95.

The music and Arabic-language theoretical works under consideration are from the eastern Mediterranean region ranging from Egypt to Syria and Lebanon. In this article, I will address four points based largely on fieldwork conducted in Cairo, Egypt, but also taking into consideration the few modem-day writers who have addressed these issues. After affirming the central importance of modulation in Arab music, I will discuss classificatory concepts which exist most commonly in oral rather than written realms, rules which govern current modulatory practice, and performers' strategies for executing specific modulations.

Z-Online DeNora, Tia. 2000. Music in Everyday Life. Cambridge ; New York: Cambridge University Press.

The power of music in everyday life is widely recognized and this is reflected in social theory from Plato to Adorno that portrays music as an influence on character, social structure and action. This book uses a series of ethnographic studies and in-depth interviews to show how music is a constitutive feature of human agency. Drawing together concepts from psychology, sociology and sociolinguistics it develops a theory of music's active role in the construction of social life and highlights the aesthetic dimension of social order and organization in modern societies; The first book to show how music is used in daily life as a structuring device; Novel in its application of recent perspectives from the sociology of technology and material culture; Develops recent concern with the aesthetic dimension of social action - Viewed in this way, music can be conceived of as a kind of aesthetic technology, an instrument of social ordering. -If music can affect the shape of social agency, then control over music in social settings is a source of social power; it is an opportunity to structure the parameters of action. -In what way should we specify music's link to social and embodied meanings and to forms of feeling? How much of music's power to affect the shape of human agency can be attributed to music alone? And to what extent are these questions about music affiliated with more general social science concerns with the power of artifacts and their ability to interest, enroll and transform their users?

Z-Online Huron, David. 2006. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, Mass.: MIT Press.

The psychological theory of expectation that ___ proposes in ___ grew out of the author's experimental efforts to understand how music evokes emotions. These efforts evolved into a general theory of expectation that will prove informative to readers interested in cognitive science and evolutionary psychology as well as those interested in music. The book describes a set of psychological mechanisms and illustrates how these mechanisms work in the case of music. Proposes that emotions evoked by expectation involve five functionally distinct response systems: reaction responses (which engage defensive reflexes); tension responses (where uncertainty leads to stress); prediction responses (which reward accurate prediction); imagination responses (which facilitate deferred gratification); and appraisal responses (which occur after conscious thought is engaged). For real-world events, these five response systems typically produce a complex mixture of feelings. The book identifies some of the aesthetic possibilities afforded by expectation, and shows how common musical devices (such as syncopation, cadence, meter, tonality, and climax) exploit the psychological opportunities. The theory also provides new insights into the physiological psychology of awe, laughter, and spine-tingling chills. Huron traces the psychology of expectations from the patterns of the physical/cultural world through imperfectly learned heuristics used to predict that world to the phenomenal qualia we experienced as we apprehend the world.

Z-Unavailable Adlington, Robert., ed. 2009. Sound Commitments: Avant-garde Music and the Sixties. Oxford ; New York: Oxford University Press.

The role of popular music is widely recognized in giving voice to radical political views, the plight of the oppressed, and the desire for social change. Avant-garde music, by contrast, is often thought to prioritize the pursuit of new technical or conceptual territory over issues of human and social concern. Yet throughout the activist 1960s, many avant-garde musicians were convinced that aesthetic experiment and social progressiveness made natural bedfellows. Intensely involved in the era's social and political upheavals, they often sought to reflect this engagement in their music. Yet how could avant-garde musicians make a meaningful contribution to social change if their music remained the preserve of a tiny, initiated clique? In answer, ___ examines the encounter of avant-garde music and "the Sixties" across a range of genres, aesthetic positions and geographical locations. Through music for the concert hall, tape and electronic music, jazz and improvisation, participatory "events," performance art, and experimental popular music, the essays in this volume explore developments in the United States, France, West Germany, Italy, the Netherlands, the Soviet Union, Japan and parts of the "Third World," delving into the deep richness of avant-garde musicians' response to the decade's defining cultural shifts.

ML3470.O50 1990 Adorno, Theodore. 1990 [1941]. "On Popular Music," in On Record: Rock, Pop, and The Written Word, Simon Frith and Andrew Goodwin, eds. New York: Pantheon Books. 301-314.

Theorizes how and why people consume and are enchanted by popular music. He proposes that standardization is the reason for its success. While he places large emphasis on popular music's standardization of forms, standardization in general seems to permeate the industry of popular music in his opinion, through its production processes and its adherence to sameness as a goal. He uses the term 'serious music' here as the theoretical and practical opposite to popular music, which I'm not sure is categorically appropriate in considering the implications of this nomenclature. I acknowledge, however, that there may be an inherent problem with trying to create this type of category, since other viable options may encounter the same problems. States that differences between popular and serious music include the idea that while serious music is characterized by its compositional details, attributed to the composer, popular music treats its details as unnoticed subordinates to its standard forms. This may be different than what is colloquially understood as a difference between the two, which often is attributed to the simplicity of popular music versus the complexity of serious music. It is interesting that he treats jazz as popular music, which is the result of the time of the chapter's first publication (1941). As a result, improvisation in jazz is treated as 'pseudo-individualization'. In general, ___ believes that popular music is for dance. It also offers 'stimulants' to escape the boredom of everyday life, however, its forms are so predictable that it itself becomes boring, which is the stated 'circle' that perpetuates its appreciation.

ML3470.B730 1995 Bracket, David. 1995. Interpreting Popular Music. Berkeley: University of California Press.

There is a well-developed vocabulary for discussing classical music, but when it comes to popular music, how do we analyze its effects and its meaning? Draws from the disciplines of cultural studies and music theory to demonstrate how listeners form opinions about popular songs, and how they come to attribute a rich variety of meanings to them. Exploring several genres of popular music through recordings made by Billie Holiday, Bing Crosby, Hank Williams, James Brown, and Elvis Costello, ___ develops a set of tools for looking at both the formal and cultural dimensions of popular music of all kinds.

Z-Saved Barg, Lisa. "Queer Encounters in the Music of Billy Strayhorn." Journal of the American Musicological Society, Vol. 66 No. 3, Fall 2013; (pp. 825-872)

This article addresses issues of queer identity, aesthetics, and history in jazz through a focus on two midcentury works composed and/or arranged by Billy Strayhorn: a set of four pieces written in 1953 for an Off-Broadway production of Federico García-Lorca's The Love of Don Perlimplín for Belisa in Their Garden (Amor de Don Perlimplín con Belisa en su jardín); and several movements from the Strayhorn-Ellington adaptation of Tchaikovsky's Nutcracker Suite (1960). My study considers how the two works engage artistic figures, themes, topics, and aesthetic practices that have strong queer historical affiliations. These include failed or impossible love, masking, stylized exotica, and other liminal spheres of identificatory ambiguity and reversal. Taken together, these works enable a positioning of Strayhorn within modernist queer cultural history and, more specifically, within the history of African American gay cultural production. At the same time, through showing how queerness inhabits jazz's past, my analyses of Strayhorn's queer musical encounters provide a critical vantage point from which to examine historical and cultural understandings of jazz at midcentury and, more broadly, the complex relationships between social identities (race, sexuality, gender) and composition, arrangement, and collaboration in twentieth-century music.

Z-Saved Leante, Laura. 2009. The Lotus and the King: Imagery, Gesture and Meaning in a Hindustani Rāg Ethnomusicology Forum, 18(2), 158-206.

This article brings together investigation of gesture and imagery in the study of North Indian classical music, focusing on a particular rag — S´rı rag — in detail. The research, based on extensive ethnography and analysis of audiovisual recordings, reveals how the embodiment of sound as patterns of movement is a key to understanding how musicians associate particular images and emotions with rags, and at the same time how such processes of signification are intertwined with culturally embedded meanings.

Z-Saved Philip Bullock. 2008. "Ambiguous Speech and Eloquent Silence: The Queerness of Tchaikovsky's Songs," 19th-Century Music 32.

This article considers a number of Tchaikovsky's songs——specifically those with texts by Apukhtin, Romanov, Heine, Goethe, and Tchaikovsky himself——to explore how silence constitutes a powerful yet elusive form of expression. It argues that Tchaikovsky's songs, an underappreciated and underexplored aspect of his output (at least in the West), are characterized by a degree of literary and musical sophistication seldom attributed to the composer. Their self-consciousness is held to be the product of a combination of three main social and aesthetic forces characteristic of Russian culture in the second half of the nineteenth century. Drawing first on the work of Bakhtin, the article argues that the nature of Tchaikovsky's songs as lyric forms in an age dominated by the realist novel invests them with a creative tension between the need to conceal (an imperative inherited from the lyric poetry of the 1820s and 1830s) and the need to reveal (a feature of the novel's tendency to intimacy and confession). Then, turning to the work of Foucault, it traces how a coherent discourse of homosexual identity (as opposed to an otherwise unrelated series of individual homosexual acts) arose in the later nineteenth century, forcing queer artists to address (whether consciously or otherwise) the question of how best to relate this identity to their creativity. Finally, it looks at the evolving status of the artist in late Imperial Russia and suggests that an uneasy relationship between revealing and concealing was imposed upon personalities in the public eye by an audience that wished to feel close to the artist, yet also required discretion and the avoidance of scandal. At the heart of the article lies a study of silence as a particularly expressive form of apparent non-expression, dealing with frequent instances in Tchaikovsky's songs of silence as a poetic trope, as well as with equivocation on matters of gender and identity in lyric forms as indicative of a potentially queer sensibility. Also, the article refuses to reimpose a categorically and reductively homosexual reading, posited on some presumed opposed heterosexual norm. Rather, it argues that Tchaikovsky was able to discern the peculiar appeal of lyric forms as referentially incomplete yet aesthetically self-sufficient fragments, and that he approached such lyrics in a way that emphasized qualities of ambiguity, allusion, and the uncanny. Although drawing extensively on literary models, the article also considers how music is paradoxically well placed to enact poetic silence. The relationship between words and music, and between composition, performance, and reception, is a further instance of how song became an apt medium in which the thoughtful composer could explore issues of personal and creative identity in an age of profound artistic and social transformation.

Z-Saved Scruggs, T.M. 2005. "(Re)Indigenization?: Post-Vatican II Catholic Ritual and "Folk Masses" in Nicaragua." The World of Music 47, no. 1: 91-123.

This article considers the move to reconstitute the Catholic mass after the mid-1960s with the use of vernacular expression, i.e., local language and music. The concept of "indigenizing" Christianity is critiqued within a context where adherence to the religion is long-standing but the cultural expression is reworked to "re-indigenize" the liturgy. I suggest that the turn to the vernacular within the mass, the most stylistically conservative part of Catholic worship, divides into two types: "translation" and "socially committed" masses. I analyze the two masses created in Nicaragua to illustrate the historical trajectory of post-Vatican II masses in Latin America and the problematic of "indigenizing" Catholic ritual within already established parameters of Christian worship. The article locates these masses in relation to others in Latin America to consider imperatives of regionalism and nationalism, and their relation to the process of indigenization with later global circulation.

Z-Saved Diamond, Beverley. "Native American Contemporary Music: The Women." The World of MusicVolume 44(1):11-39, 2002.

This article explores issues raised in interviews with traditional and contemporary Native American musicians and recording artists of the 1990s. It exemplifies how they view their roles vis à vis traditional gender structures and community obligations , how they draw upon different media to communicate their messages , and how they use their work as a form of social action . Their narratives reveal a wide variety of strategies by which they negotiate the double consciousness and multiple relationships of their lives, balancing historically rooted values and traditions with modern ones. I attempt to develop a feminist interpretation that is respectful of the cultural values these women expressed in their conversations with me.

Z-Saved Castelo-Branco, Salwa El-Shawan, and Toscano Maria Manuela. 1988. ""In Search of a Lost World": An Overview of Documentation and Research on the Traditional Music of Portugal." Yearbook for Traditional Music 20: 158-92.

This article will assess written documentation and research on Traditional Portuguese Music from rural areas. Our focus on rural traditions is partially determined by the fact that, although TPM thrives in both rural and urban contexts, with the exception of Lisbon's Fado, extant research primarily deals with rural traditions.

HX531.W470 Williams, Raymond. 1977. Marxism and Literature. Oxford [Eng.] ; New York: Oxford University Press.

This book extends the theme of ___ earlier work in literary and cultural analysis. He analyzes previous contributions to a Marxist theory of literature from Marx himself to Lukacs, Althusser, and Goldmann, and develops his own approach by outlining a theory of `cultural materialism' which integrates Marxist theories of language with Marxist theories of literature. ___ moves from a review of the growth of the concepts of literature and idealogy to a redefinition of `determinism' and `hegemony'. His incisive discussion of the 'social material process' of cultural activity culminates in a re-examination of the problems of alignment and commitment and of the creative practice in individual authors and wider social groups.

ML3838 .Z25 2002 Zbikowski, Lawrence Michael. 2002. Conceptualizing Music: Cognitive Structure, Theory, and Analysis. New York: Oxford University Press.

This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes: categorization, cross-domain mapping, and the use of conceptual models, and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in cognitive science, framed around specific musical examples. The second part brings this perspective to bear on a number of issues with which music scholarship has often been occupied, including the emergence of musical syntax and its relationship to musical semiosis, the problem of musical ontology, the relationship between words and music in songs, and conceptions of musical form and musical hierarchy.

Z-Unavailable Brown, Julie A., ed. 2007. Western music and race. Cambridge, UK ; New York: Cambridge University Press.

This contributory volume, the first book of its kind, provides a snapshot of the ways in which discourse about Western music and race overlapped and became intertwined during the period from Wagner's death to the rise of National Socialism and fascism elsewhere in Europe. At these two framing moments such overlapping was at its most explicit: Wagner's racially inflected 'regeneration theories' were at one end and institutionalized cultural racism at the other. The book seeks to provide insights into the key national contexts in which such discourses circulated in the interim period, as well as to reflect a range of archival, historical, critical, and philosophical approaches to the topic. National contexts covered include Germany, France, Spain, Italy, Great Britain and North America. The contributors to the volume are leading scholars in the field, and the book contains many illustrative music examples and images which bring the subject matter to life.

ML3921.6.J83 H33 2011 HaCohen, Ruth. 2011. The Music Libel against the Jews. New Haven: Yale University Press.

This deeply imaginative and wide-ranging book shows how, since the first centuries of the Christian era, gentiles have associated Jews with noise. Focuses on a "musical libel"—a variation on the Passion story that recurs in various forms and cultures in which an innocent Christian boy is killed by a Jew in order to silence his "harmonious musicality." In paying close attention to how and where this libel surfaces, ___ covers a wide swath of western cultural history, showing how entrenched aesthetic-theological assumptions have persistently defined European culture and its internal moral and political orientations. Combines the perspectives of musicology, literary criticism, philosophy, psychology, and anthropology, tracing the tensions between Jewish "noise" and idealized Christian "harmony" and their artistic manifestations from the high Middle Ages through Nazi Germany and beyond. Concludes with a passionate and moving argument for humanizing contemporary soundspaces.

Z-Saved De Souza, Jonathan. 2013. "Music at Hand: Instruments, Bodies and Cognition." Ph.D. dissertation, Department of Music, University of Chicago.

This dissertation argues that instruments ground musicians' experience. Instruments mediate performers' actions and the sounds they create. Yet I further claim that instruments affect perception and imagination. Practicing an instrument develops auditory-motor associations in the brain, which link action and effect, hand and ear. Such associations allow an instrument to withdraw from players' awareness. Reactivated in various ways, they help shape musicians' listening, improvisation, and composition. Finally, I claim that both performers and culturally situated listeners are sensitized to patterns of body-instrument interaction, as expressed in idiomatic schemas or instrumental topics. All of this shows that music cognition is not simply embodied; it is also conditioned by musical tools.

ML3795.A884 Attali, Jacques. 1985. Noise: The Political Economy of Music. Minneapolis: University of Minnesota Press.

This is a very interesting and tragically flawed book. The most original idea of ___ is that new developments in music are harbingers of new social and political developments. Like most sociologists of music, however, ___ does not understand music qua music but only as a symbol of a highly tendentious historical methodology. Music, by ___ reasoning, is not an autonomous art but an indicator of the historical necessity for social and political change. By extension, given ___ position as special advisor to the president in the Mitterand government, this book becomes a backhanded apology for French socialism. The argument of the book is presented more as a polemic than as a reasoned argument, and combines the worst aspects of the Geistesgeschichte of Marx and the deconstructive techniques of Derrida. In addition, ___ use of fashionable cultural history jargon (``stages,'' ``paradigms'') is taken wholesale from the works of W.W. Rostow and Thomas Kuhn. All in all, ___ is a fascinating and thought-provoking sociology of music; and its author's methodological errors are certainly less egregious than those of his nearest counterparts, T.W. Adorno and Max Weber.

PN81 .T97 1999 Tyson, Lois. 1999. Critical Theory Today: A User-friendly Guide. New York: Garland Pub.

This new edition of the classic guide offers a thorough and accessible introduction to contemporary critical theory. It provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African-American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading. This book can be used as the only text in a course or as a precursor to the study of primary theoretical works. It motivates readers by showing them what critical theory can offer in terms of their practical understanding of literary texts and in terms of their personal understanding of themselves and the world in which they live. Both engaging and rigorous, it is a "how-to" book for undergraduate and graduate students new to critical theory and for college professors who want to broaden their repertoire of critical approaches to literature.

Z-Saved Lawson, Francesca R. Sborgi. 2014. "Is Music an Adaptation or a Technology? Ethnomusicological Perspectives from the Analysis of Chinese Shuochang." Ethnomusicology Forum 23, no. 1: 3-26.

This paper examines two opposing perspectives on the debate about whether music is a biological adaptation or a technology. Those who espouse the first perspective claim that recent explorations into the intrinsic musical nature of human communication suggest an adaptive function for 'communicative musicality.' The main proponent of the second perspective argues that music is not an adaptation, but considers it biologically significant as a transformative technology. Based on my research into northern Chineseshuochang('speaking-singing'), I support the notion that musilanguage—an evolutionary antecedent of communicative musicality—is an adaptive trait, and consider shuochang a modern example that displays some of the characteristics of musilanguage, reflecting a difference between semanticity and musical play as the two ends of the musilinguistic spectrum. At the same time, I also suggest that shuochang has been technologised by written orthographies, making it an example of a transformative technology. In addition to recognising the significance of play on the musical side of the musilanguage gamut, I argue that humans are predisposed to technologising musilanguage, particularly in using some kind of visual orthography. I also suggest that neophilia—a biological instinct to search for the novel—may well be the root of musical play as well as the proclivity to technologise it.

ML345.T8S80 1992 Stokes, Martin. 1992. The Arabesk Debate: Music and Musicians in Modern Turkey. Oxford : Oxford ; New York: Clarendon Press ; Oxford University Press.

This social anthropological account of music in Turkey is based on an ethnographic study of popular musicians in Istanbul. Discusses the state and national cultural policy in Turkey, emphasizing the life of the "Arabesk" musicians, their performances, text, and their representation of emotion.

Z-Online O'Connell, John Morgan, and Salwa El-Shawan Castelo-Branco, ed. 2010. Music and Conflict. Urbana: University of Illinois Press.

This volume charts a new frontier of applied ethnomusicology by highlighting the role of music in both inciting and resolving a spectrum of social and political conflicts in the contemporary world. Examining the materials and practices of music making, contributors detail how music and performance are deployed to critique power structures and to nurture cultural awareness among communities in conflict. The essays here range from musicological studies to ethnographic analyses to accounts of practical interventions that could serve as models for conflict resolution. Reveals how musical texts are manipulated by opposing groups to promote conflict and how music can be utilized to advance conflict resolution. Speaking to the cultural implications of globalization and pointing out how music can promote a shared musical heritage across borders, the essays discuss the music of Albania, Azerbaijan, Brazil, Egypt, Germany, Indonesia, Iran, Ireland, North and South Korea, Uganda, the United States, and the former Yugoslavia. The volume also includes dozens of illustrations, including photos, maps, and musical scores. -music better than language in interpreting war-peace continuum -In both instances, this methodological fragmentation leads to se-mantic ambiguity, a problem that detracts from a central issue: the significance of music for understanding war and for promoting peace. Here ethnomusicologists might be in a better position to examine with critical depth and cultural awareness the many ways in which music is used as a tool to aggravate and to appease conflict.

Z-Online Nooshin, Laudan ed. 2009. Music and the Play of Power in the Middle East, North Africa and Central Asia.

This volume examines the relationship between music and power in the Islamic world. The publication brings together a diverse collection of scholars (from both sides of the Atlantic) who consider the power of music from a number of different perspectives in a range of distinctive contexts. While the authors, generally speaking, eschew an established discourse in the region that concerns the affective attributes of musical power, they offer instead a richly textured reading of the subject where musical production discloses a complex network of social relations and musical consumption reveals an intricate array of social positions. Although the editor admits that the book is loosely organized, ___ does a commendable job in finding a narrative sequence between each chapter by showing how three central themes (namely, gender, religion, and nationalism) are explored with respect to three cultural regions (namely, North Africa, Central Asia, and the Middle East). In ["The Power of Silent Voices: Women in the Syrian Jewish Musical Tradition"], Kay Kaufman Shelemay completes the volume by discussing the power behind silent voices among Syrian Jews in Brooklyn. In an article resplendent with sensitive but revealing ethnographic accounts, she traces the ways in which Jewish women remain significant traditors of the male religious genre, pizmon (plural, pizmonim). Although women are excluded from performing pizmonim in the public domain since "this is a tradition composed by males, for males, about males", she argues that they are sometimes referenced obliquely in relevant texts and that they are active agents in the successful realization of pertinent contexts. Here, women acquire the musical materials of this tradition through passive assimilation. Here also, women provide an important resource for the musical knowledge (derived from secular sources) necessary to sustain this tradition. Invoking Scott's notion of "hidden transcript" and applying it to the issue of female agency in pizmon transmission, she states that "women's silence does much more than simply mask a 'hidden transcript'". By way of criticism, this volume suffers from a number of understandable drawbacks. The scope of the topic is much too broad both in theory and in practice. Much is missing. In theory, the power of sound in not adequately addressed either in the substance of the contributions nor in the representation of the examples. In practice too, the geographical breadth of the collection is very large. Although studies range from Morocco to China, a vast tract of the Turkic heartland is not represented. Here, relevant subjects in Azerbaijan, Turkey, and Uzbekistan come to mind. While a number of religious minorities (for example, Jews) and ethnic minorities (for example, Berbers) are represented, a wide range of subaltern religious groups (for example, Christians) and disenfranchised ethnic communities (for example, Kurds) are hardly mentioned. These problems are compounded by some editorial issues (especially with regards to transliteration) and some scholarly generalizations (especially with regards to aesthetic value and ritual practice).

ML3611.M87 1998 Pettan, Svanibor, ed. 1998. Music, Politics, and War: Views From Croatia. Zagreb: Institute of Ethnology and Folklore Research.

This volume testifies to the scholarly vigor of a prolific group of Croatian musicologists, revealing the "distinctively personal nature of their response" to the 1991-92 war in Croatia. Reaching further than the "war" in the title, though, the broad time span covered makes the volume a historical monograph on Croatian music. Three essays address musical conflagrations during the early stage of the Yugoslav conflicts. Gives a vivid account of musicians of all stylistic stripes as they mobilized and presented a united musical front in response to the Serbian assault. Examining "dance events as political rituals," Tvrtko Zebec emphasizes the importance of local loyalties in the reassertion of Croatian identity, while Miroslava Hadzihusejnovi&-Valasek offers an insider's account of musical activities in the front-line city of Osijek. Overall, the volume offers valuable insight into the intersections of national ideology and music. While falling short of confronting the issue of accountability in identity expression, iews from Croatia raises a larger question: how to interpret music's association with ethnic intolerance and violence while acknowledging its powerful role in articulating group "belonging" and defense. This is a difficult issue that has yet to be systematically addressed in ethnomusicology.

Z-Saved Butler, Judith. 1988. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40, no. 4: 519-31.

Through the conception of gender acts sketched above, I will try to show some ways in which reified and naturalized conceptions of gender might be understood as constituted and, hence, capable of being constituted differently. In opposition to theatrical or phenomenological models which take the gendered self to be prior to its acts, I will understand constituting acts not only as constituting the identity of the actor, but as constituting that identity as a compelling illusion, an object of belief. In the course of making my argument, I will draw from theatrical, anthropological, and philosophical discourses, but mainly phenomenology, to show that what is called gender identity is a performative accomplishment compelled by social sanction and taboo. In its very character as performative resides the possibility of contesting its reified status.

ML3531 .K37 2012 Katz, Mark. 2012. Groove Music: The Art and Culture of the Hip-hop DJ. Oxford ; New York: Oxford University Press.

Today hip-hop is a global phenomenon, and the sight and sound of DJs mixing and scratching is familiar in every corner of the world. But hip-hop was born in the streets of New York in the 1970s when a handful of teenagers started experimenting with spinning vinyl records on turntables in new ways. Although rapping has become the face of hip-hop, for nearly 40 years the DJ has proven the backbone of the culture. Delves into the fascinating world of the DJ, tracing the art of the turntable from its humble beginnings in the Bronx in the 1970s to its meteoric rise to global phenomenon today. Based on extensive interviews with practicing DJs, historical research, and his own personal experience, ___ presents a history of hip-hop from the point of view of the people who invented the genre. Here, DJs step up to discuss a wide range of topics, including the transformation of the turntable from a playback device to an instrument in its own right, the highly charged competitive DJ battles, the game-changing introduction of digital technology, and the complex politics of race and gender in the DJ scene.

Z-Saved Locke, Ralph. 2005. "Beyond the Exotic: How 'Eastern' is Aida?" Cambridge Opera Journal 17.

Various commentators on Aida express disappointment that the music for the opera's main characters is not more distinctive, i.e., does not make much use of the exotic styles that mark the work's ceremonial scenes and ballets. Others argue that exotic style is mostly confined to female, hence powerless, characters. Much of this commentary draws on the same limited selection of data and observations: the exotic style of those few numbers, the opera's plot, and the circumstances of the work's commissioning (by the Khedive of Egypt). The present study aims to broaden the discussion. Most unusually, it dwells on various aspects of words and music that are not in themselves 'markers' of exoticism or Orientalism but that nonetheless here manifestly announce traits of this or that character (or group) and thereby communicate indelible impressions of what Egyptians and Ethiopians supposedly 'are like' (or were like in an earlier era). For example, the music of the priests is mostly not, as commentators regularly claim, marked by imitative counterpoint; rather, it engages in several distinct archaicising tendencies, some of which characterise the priestly caste (and hence the Egyptian government) as rigid and menacing. In addition, this study calls on such varied evidence (rarely if ever examined in this regard) as costume designs, directions in the disposizione scenica for the opera's first Italian production, relevant remarks by Verdi and early commentators (including two Egyptians writing in 1901 and a late interview with Verdi about European imperialism), some early sound recordings, and Western fears/knowledge of the Wahhabist strain of Islam then expanding across the Middle East. While such a multifaceted exploration certainly cannot be definitive, it can point to new possibilities for exploration.

GV1782.5 .F67 2011 Foster, Susan Leigh. 2011. Choreographing Empathy: Kinesthesia in Performance. London ; New York: Routledge.

What do we feel when we watch dancing? Do we "dance along" inwardly? Do we sense what the dancer's body is feeling? Do we imagine what it might feel like to perform those same moves? If we do, how do these responses influence how we experience dancing and how we derive significance from it? Challenges the idea of a direct psychophysical connection between the body of a dancer and that of their observer. In this groundbreaking investigation, ___ argues that the connection is in fact highly mediated and influenced by ever-changing sociocultural mores. Examines the relationships between three central components in the experience of watching a dancer dance the choreography, the kinesthetic sensations it puts forward, and the empathetic connection that it proposes to viewers. Tracing the changing definitions of choreography, kinesthesia, and empathy from the 1700s to the present day, she shows how the observation, study, and discussion of dance have changed over time. Understanding this development is key to understanding corporeality and its involvement in the body politic.

GV1796.T3S280 1995 Savigliano, Marta. 1995. Tango and the Political Economy of Passion. Boulder: Westview Press.

What is tango? Dance, music, and lyrics of course, but also a philosophy, a strategy, a commodity, even a disease. This book explores the politics of tango, tracing tango's travels from the brothels of Buenos Aires to the cabarets of Paris and the shako dansu clubs of Tokyo. The author is an Argentinean political theorist and a dance professor at the University of California at Riverside. She uses her tango tongue to tell interwoven tales of sexuality, gender, race, class, and national identity. Along the way she unravels relations between machismo and colonialism, postmodernism and patriarchy, exoticism and commodification. In the end she arrives at a discourse on decolonization as intellectual unlearning. A few sentences from the preface are indicative: Tango is my womb and my tongue, a trench where I can shelter and resist the colonial invitations to ' universalism,'& a stubborn fatalist mood when technocrats and theorists offer optimistic and seriously revised versions of ' alternatives' for the Third World, an opportunistic metaphor to talk about myself and my stories as a `success' of the civilization-development-colonization of América Latina, and a strategy to figure out through the history of the tango a hooked-up story of people like myself. Tango is my changing, resourceful source of identity. And because I am where I am — outside — tango hurts and comforts me: ' Tango is a sad thought that can be danced.' ___ employs the tools of ethnography, history, body-movement analysis, and political economy.

Z-Unavailable Fauser, Annegret. 2013. Sounds of War: Music in the United States During World War II. New York: Oxford University Press.

What role did music play in the United States during World War II? How did composers reconcile the demands of their country and their art as America mobilized both militarily and culturally for war? Explores these and many other questions in the first in-depth study of American concert music during World War II. While Dinah Shore, Duke Ellington, and the Andrew Sisters entertained civilians at home and G.I.s abroad with swing and boogie-woogie, ___ shows it was classical music that truly distinguished musical life in the wartime United States. Classical music in 1940s America had a ubiquitous cultural presence--whether as an instrument of propaganda or a means of entertainment, recuperation, and uplift--that is hard to imagine today, and ___ suggests that no other war enlisted culture in general and music in particular so consciously and unequivocally as World War II. Indeed, the day after the attack on Pearl Harbor, Group Theatre director Harold Clurman wrote to his cousin, Aaron Copland: "So you're back in N.Y. . . ready to defend your country in her hour of need with lectures, books, symphonies!" Copland was in fact involved in propaganda missions of the Office of War Information, as were Marc Blitzstein, Elliott Carter, Henry Cowell, Roy Harris, and Colin McPhee. It is the works of these musical greats--as well as many other American and exiled European composers who put their talents to patriotic purposes--that form the core of ____ enlightening account. Drawing on music history, aesthetics, reception history, and cultural history, ___ recreates the remarkable sonic landscape of the World War II era and offers fresh insight to the role of music during wartime.

ML55.Q440 1994 Brett, Philip, Gary C. Thomas, and Elizabeth Wood, ed. 1994. Queering the Pitch: The New Gay and Lesbian Musicology. New York, N.Y.: Routledge.

When the first edition of — was published in early 1994, it was immediately hailed as a landmark and defining work in the new field of Gay Musicology. The first collection of its kind, its contributors covered a wide range of subjects from analysis of the work of gay composers to queer readings of Schubert's Unfinished Symphony. Among the contributors were many then-new scholars who have since become leaders in the field.

Z-Online Gaunt, Kyra D. The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop. New York University Press, 2006.

When we think of African American popular music, our first thought is probably not of double-dutch: girls bouncing between two twirling ropes, keeping time to the tick-tat under their toes. But this book argues that the games black girls play —handclapping songs, cheers, and double-dutch jump rope—both reflect and inspire the principles of black popular musicmaking. Illustrates how black musical styles are incorporated into the earliest games African American girls learn—how, in effect, these games contain the DNA of black music. Drawing on interviews, recordings of handclapping games and cheers, and ___ own observation and memories of gameplaying, ___ argues that black girls' games are connected to long traditions of African and African American musicmaking, and that they teach vital musical and social lessons that are carried into adulthood. In this celebration of playground poetry and childhood choreography, ___ uncovers the surprisingly rich contributions of girls' play to black popular culture.

ML3565 .L35 2006 Largey, Michael. 2006. Vodou Nation: Haitian Art Music and Cultural Nationalism. University of Chicago Press.

While the Haitian musical tradition is probably best known for the Vodou-inspired roots music that helped topple the two-generation Duvalier dictatorship, the nation's troubled history of civil unrest and its tangled relationship with the United States is more intensely experienced through its art music, which combines French and German elements of classical music with Haiti's indigenous folk music. Examines art music by Haitian and African American composers who were inspired by Haiti's history as a nation created by slave revolt. Around the time of the United States's occupation of Haiti in 1915, African American composers began to incorporate Vodou-inspired musical idioms to showcase black artistry and protest white oppression. Together with Haitian musicians, these composers helped create what ___ calls the "___," an ideal vision of Haiti that championed its African-based culture as a bulwark against America's imperialism. Highlighting the contributions of many Haitian and African American composers who wrote music that brought rhythms and melodies of the Vodou ceremony to local and international audiences, ___ sheds light on a black cosmopolitan musical tradition that was deeply rooted in Haitian culture and politics.

Z-Saved Neal, Jocelyn R. 2007. "Narrative Paradigms, Musical Signifiers, and Form as Function in Country Music." Music Theory Spectrum 29, no. 1: 41-72.

Within country music's songwriting practices, musical form and harmonic structure often become functional contributors to a song's story; these combinations of form and theme can be modeled as distinct narrative paradigms. This essay defines a Time-Shift narrative paradigm that relates a central trope in country music's texts to formal, structural, and poetic devices. It then presents analyses of several songs to show how the use of the narrative paradigm reinforces the core identity of country as a genre, and connects art, biography, and interpretation. -Sawyer Brown's recording of "The Walk," epitomizes this narrative paradigm in practice

HD6072 .G55 2003 Ehrenreich, Barbara Ehrenreich and Arlie Russell Hochschild, eds. 2003. Global Woman: Nannies, Maids, and Sex Workers in the New Economy. New York: Metropolitan Books.

Women are moving around the globe as never before. But for every female executive racking up frequent flier miles, there are multitudes of women whose journeys go unnoticed. Each year, millions leave third world countries to work in the homes, nurseries, and brothels of the first world. This broad-scale transfer of labor results in an odd displacement, in which the female energy that flows to wealthy countries is subtracted from poor ones—easing a "care deficit" in rich countries, while creating one back home. Confronting a range of topics from the fate of Vietnamese mail-order brides to the importation of Mexican nannies in Los Angeles, ___ offers an original look at a world increasingly shaped by mass migration and economic exchange. This groundbreaking anthology reveals a new era in which the main resource extracted from developing nations is no longer gold or silver, but love.

Z-Online Gossett, Philip. 2006. Divas and Scholars: Performing Italian Opera. Chicago: University of Chicago Press.

Writing as a fan, a musician, and a scholar, ___, the world's leading authority on the performance of Italian opera, brings colorfully to life the problems, and occasionally the scandals, that attend the production of some of our most favorite operas. Begins by tracing the social history of nineteenth-century Italian theaters in order to explain the nature of the musical scores from which performers have long worked. Illuminates the often hidden but crucial negotiations opera scholars and opera conductors and performers: What does it mean to talk about performing from a critical edition? How does one determine what music to perform when multiple versions of an opera exist? What are the implications of omitting passages from an opera in a performance? In addition to vexing questions such as these, also tackles issues of ornamentation and transposition in vocal style, the matters of translation and adaptation, and even aspects of stage direction and set design. -As fan, musician, and scholar, then, I aim in this book to address the many problems that theaters and performers face when they produce a nineteenth century Italian opera, concentrating on the period from the advent of Rossini in 1810 through Verdi's revision of Macbeth for Paris in 1865. -1 MARE O MONTI: TWO SUMMER FESTIVALS This section is expanded PART I Knowing the Score 2 SETTING THE STAGE 3 TRANSMISSION VERSUS TRADITION 4 SCANDAL AND SCHOLARSHIP 5 THE ROMANCE OF THE CRITICAL EDITION This section is expanded INTERMEZZO 6 SCHOLARS AND PERFORMERS: THE CASE OF SEMIRAMIDE This section is expanded PART II Performing the Opera 7 CHOOSING A VERSION 8 SERAFIN'S SCISSORS 9 ORNAMENTING ROSSINI 10 HIGHER AND LOWER: TRANSPOSING BELLINI AND DONIZETTI 11 WORDS AND MUSIC: TEXTS AND TRANSLATIONS 12 INSTRUMENTS OLD AND NEW 13 FROM THE SCORE TO THE STAGE

ML3795.M782 2000 Radano, Ronald and Philip V. Bohlman. 2000. Music and the Racial Imagination. Chicago: University of Chicago Press.

Yet the intimate relationship between race and music has rarely been examined by contemporary scholars, most of whom have abandoned it for the more enlightened notions of ethnicity and culture. Here, a distinguished group of contributors confront the issue head on. Representing an unusually broad range of academic disciplines and geographic regions, they critically examine how the imagination of race has influenced musical production, reception, and scholarly analysis, even as they reject the objectivity of the concept itself. Each essay follows the lead of the substantial introduction, which reviews the history of race in European and American, non-Western and global musics, placing it within the contexts of the colonial experience and the more recent formation of "world music." Offering a bold, new revisionist agenda for musicology in a postmodern, postcolonial world, this book will appeal to students of culture and race across the humanities and social sciences.

Z-Online Bowman, Richard. 2003. The Determining Role of Performance in the Articulation of Meaning: The Case of 'Try a Little Tenderness'. In A. F. Moore (Ed.), Analyzing Popular Music. Cambridge: Cambridge University Press.

___ is one of the highpoints of this book, providing a focus on the performative, and related issues of interpretation, through a recording history of 'Try a Little Tenderness'. Compares recordings of this song by Bing Crosby, Aretha Franklin, Sam Cooke and Otis Redding. Differences in musical parameters such as tempo and articulation are noted and a significant amount of detailed description is presented. But, these details are related to much larger issues, concluding with reflections on the musical text, with the individuality of performance and interpretation questioning the status of composition and authorship. This chapter is full of potential for further consideration of the interrelated processes of recording, performance, interpretation A lot of analysis, not much conclusively spoken of meaning, a bit patronizing in describing Black music ("primordial"???)

Z-Saved Qureshi, Regula Burckhardt. 2000. "Confronting the Social: Mode of Production and the Sublime for (Indian) Art Music." Ethnomusicology 44, no. 1: 15-38.

___ reach to Marx is directly a result of her desire to study social relations in Hindustani musical production. Marx didn't see exchange value in the performance of music, rather just use value. Holds that there is no exchange value, which makes music-making in the feudal system so interesting, because in that one moment, music makers experience a lot of power. She commits in this article to utilizing the mode of production theory—since it IS useful in doing a larger-than-hermeneutic analysis on art music—to understand Indian art music as a case study. She kind of uses mode of production but at the same time proves how it is in its contemporary state relegated to Western case studies and theories and can be applied to feudal structures.