Guide to BIPOC musicians and related literature

Empowering Song: Music Education from the Margins weaves together subversive pedagogy and theories of resistance with community music education and choral music, inspiring professionals to revisit and reconsider their pedagogical practices and approaches. The authors' unique insight into some of the most marginalized and justice-deprived contexts in the world -- prisons, refugee shelters, detention facilities, and migrant encampments -- breeds evocative and compassionate enquiry, laying the theoretical groundwork for pedagogical practices while detailing the many facets of equity-centered, musical leadership. Presenting an orientation to healing informed by theory, Empowering Song explores the ways in which music education might take on the challenging questions of cultural responsiveness within the context of justice, seeking to change not only how choral music is led but also our conceptions of why it should matter to all.

This book challenges simplified claims of racial, national, and ethnic belonging in music education by presenting diaspora as a new paradigm for teaching music, departing from the standard multicultural guides and offering the idea of unfinished identities for musical creations. While multiculturalism--the term most commonly used in music education--had promised a theoretical framework that puts classical, folk, and popular music around the world on equal footing, it has perpetuated the values of Western aesthetics and their singular historical development. Breaking away from this standard, the book illuminates a diasporic web of music's historical pathways, avoiding the fragmentation of music by categories of presumed origins whether racial, ethnic, or national.

This book brings together research at the intersection of music, cultural industries, management, antiracist politics and gender studies to analyse music as labour, in particular highlighting social inequalities and activism. Providing insights into labour processes and practices, the authors investigate the changing role of manifold actors, institutions and technologies and the corresponding shifts in the valuation and evaluation of music achievements that have shaped the relationship between music, labour, the economy and politics. With research into a variety of geographic regions, chapters shed light on the various ways by which musicians' work is performed, constructed and managed at different times and show that musicians' working practices have been marked by precarity, insecurity and short-term contracts long before capitalism invited everybody to 'be creative'. In doing so, they specifically examine the dynamics in music professions and educational institutions, as well as gatekeepers and mechanisms of inclusion and exclusion. With a specific emphasis on inequalities in the music industries, this book will be essential reading for scholars seeking to understand the collective actions and initiatives that foster participation, inclusion, diversity and fair pay amongst musicians and other workers.

Music Education for Social Change: Constructing an Activist Music Education develops an activist music education rooted in principles of social justice and anti-oppression. Based on the interviews of 20 activist-musicians across the United States and Canada, the book explores the common themes, perceptions, and philosophies among them, positioning these activist-musicians as catalysts for change in music education while raising the question: amidst racism and violence targeted at people who embody difference, how can music education contribute to changing the social climate? Music has long played a role in activism and resistance. By drawing upon this rich tradition, educators can position activist music education as part of a long-term response to events, as a crucial initiative to respond to ongoing oppression, and as an opportunity for youth to develop collective, expressive, and critical thinking skills. This emergent activist music education--like activism pushing toward social change--focuses on bringing people together, expressing experiences, and identifying (and challenging) oppressions. Grounded in practice with examples integrated throughout the text, Music Education for Social Change is an imperative and urgent consideration of what may be possible through music and music education.

Race and Gender in the Western Music History Survey: A Teacher's Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncover a different cultural facet that is often minimized in traditional music history classrooms but which, if explored, lead to topics in which other perspectives and people can be included organically in the curriculum, while not excluding canonical composers.

Every academic discipline has an origin story complicit with white supremacy. Racial hierarchy and colonialism structured the very foundations of most disciplines' research and teaching paradigms. In the early twentieth century, the academy faced rising opposition and correction, evident in the intervention of scholars including W. E. B. Du Bois, Zora Neale Hurston, Carter G. Woodson, and others. By the mid-twentieth century, education itself became a center in the struggle for social justice. Scholars mounted insurgent efforts to discredit some of the most odious intellectual defenses of white supremacy in academia, but the disciplines and their keepers remained unwilling to interrogate many of the racist foundations of their fields, instead embracing a framework of racial colorblindness as their default position. This book challenges scholars and students to see race again. Examining the racial histories and colorblindness in fields as diverse as social psychology, the law, musicology, literary studies, sociology, and gender studies, Seeing Race Again documents the profoundly contradictory role of the academy in constructing, naturalizing, and reproducing racial hierarchy. It shows how colorblindness compromises the capacity of disciplines to effectively respond to the wide set of contemporary political, economic, and social crises marking public life today.  

How is the classical music industry responding to the challenges of #MeToo, Black Lives Matter, and other social justice movements? Is increasing attention to equity and diversity in the classical music profession over recent years leading to systemic change? In this book, scholars, activists and musicians from countries across Europe and North America analyze inequalities in the classical music profession and introduce strategies for making change. Exploring racism, class and gender inequalities, disability representation, "authenticity", changing the canon, and neoliberalism, the book brings together analyses from academics alongside contributions from musicians and industry leaders working in the classical music industry who reflect on issues of diversity and share insights and best practices. Themes of the book include institutional legacies and possibilities for change; racial, classed and gendered inequalities and marginalised voices; and strategies for activism, whether reflective practices, informal networks, or larger organisations leading change. The book also discusses questions such as whether musical change is necessary for social change in classical music, and how activists can acknowledge structural inequalities whilst holding on to the possibility of change. Opening up the interdisciplinary field of "classical music studies," this book lays the groundwork for empirically-founded, theoretically-informed, and practice-based approaches to tackling inequalities in the classical music profession. As such, it will be a significant point of reference for musicians, students, classical music administrators, policy-makers, teachers, and academics -- and anyone else who wants to make classical music more inclusive.

The impact of Afro-Brazilian culture, both inside of Brazil and abroad, has been immense, particularly in the area of popular culture. Audiences around the world are familiar with it through the work of popularizers such as Carmen Miranda or films such as the 1959 classic Black Orpheus. However a much richer and more complex story lies behind these popular images, one that spans from the long slave trade that flourished in Brazil between 1538 and the 1850s to the more recent rise of urban black and cultural nationalist movements of the 1970s and beyond.This less well-known history is the subject of John Gray's latest bibliography. While primarily about music the literature it documents reflects on all aspects of black life and culture in Brazil from language and religion to gender relations and race.

People of African descent have been active in Western art music since its inception. Black performers were valued members of court orchestras starting in the early 1500s, and since the 18th century have been acclaimed as both performers and composers in locales ranging from Europe and the United States to sub-Saharan Africa, the Caribbean and Latin America. However, this rich legacy remains little known. This monumental new work seeks to correct that oversight. A long-awaited sequel to John Gray's acclaimed Blacks in Classical Music it draws on more than three decades of research to survey the vast amount of print, digital and archival material that has emerged since the late 1980s. Fully annotated and cross-referenced it offers a comprehensive overview of all scholarly writings on the subject as well as a more selective representation of reportage from the mainstream and Black press.

A companion to the author's earlier volume Jamaican Popular Music, this landmark new work helps fill a major gap in the reference literature. For the first time ever it offers students and researchers an in-depth guide to the large body of materials available on masquerade and popular music traditions of the English-speaking Caribbean. Comprised of some 3400 annotated entries it documents a literature, both popular and scholarly, that now spans more than 85 years and ranges across disciplines as diverse as social and cultural history, anthropology, ethnomusicology, literature and economics.
The book"s main focus is on three tightly intertwined topics: Carnival, calypso and steel pan, and how each has evolved, both inside of Trinidad, their most important hub, and abroad in the large West Indian enclaves of New York, London and Toronto. The Carnival side of this trinity, a critical showcase for the region"s music and dance styles, is treated comprehensively. This includes an unprecedented level of detail on each of the four major Caribbean Carnivals,Trinidad Carnival, Brooklyn's Labor Day Carnival, London's Notting Hill Carnival, and Toronto's Caribana; as well as important precursors such as Harlem's West Indian Day Parades of the 1940s and '50s and the early London Carnivals organized by Claudia Jones. Carnival's musical aspects, both calypso and steel pan, are also covered in depth. In the case of calypso that encompasses all of its various forms, from its antecedents in kalinda stick-fighting to the "jump and wave" soca of today. A multitude of contemporary offshoots (e.g., binghi, chutney soca, ragga soca, ringbang, and gospelypso) are also documented in full. Numerous other sources help illuminate calypso's central role as a vehicle for social and political commentary and its perspective on issues as diverse as immigration, race and gender relations, and national identity. Steel pan, calypso's cousin, is discussed from the music's introduction on the regional and international scene in the 1950s to its more recent role in the music programs of North America and Great Britain. A substantial Biographical and Critical Studies section documents the contributions made to these traditions by almost 600 individual performers and ensembles.
Citations span from 1852 to 2012, with the bulk having been published between the 1930s and 2012. They encompass musical and cultural analyses, ethnographies, oral histories, popular histories and reportage along with a wealth of archival, audio-visual, and electronic resources. The book concludes with an extensive reference section that includes a list of Sources Consulted, a guide to relevant Libraries and Archives, two appendices, and separate Author and Subject Indexes.

Creative Improvised Music picks up where Fire music left off, focusing on the literature on American free jazz and European free improvisation published since the early 1990s, as well as older works and archival material not included in its predecessor. Users will find information on the music’s pioneers as well as hundreds of other improviser-composers, ensembles, and collectives that have emerged in recent years.

The volume includes a detailed subject index that offers a key to all of the book’s sections and a way to quickly pinpoint citations by topic, geographical location, personal name, and instrument.

Ya-Hui Cheng examines the emergence of popular music genres - jazz, rock, and hip-hop - in Chinese society, covering the social underpinnings that shaped the development of popular music in China and Taiwan, from imperialism to westernization and from modernization to globalization. The political sensitivities across the strait have long eclipsed the discussion of these shared sonic intimacies. It was not until the rise of the digital age, when entertainment programs from China and Taiwan reached social media on a global scale, that audiences realized the existence of this sonic reciprocation. Analyzing Chinese pentatonicism and popular songs published from 1927 to the present, this book discusses structural elements in Chinese popular music to show how they aligned closely with Chinese folk traditions. While the influences from Western genres are inevitable under the phenomenon of globalization, Chinese songwriters utilized these Western inspirations to modernize their musical traditions. It is a sensitivity for exhibiting cultural identities that enabled popular music to present a unique Chinese global image while transcending political discord and unifying mass cultures across the strait.

Global Jazz: A Research and Information Guide is an annotated bibliography that explores the global impact of jazz, detailing the evolution of the African American musical tradition as it has been absorbed, transformed, and expanded across the world's historical, political, and social landscapes. With more than 1,300 annotated entries, this vast compilation covers a broad range of subjects, people, and geographic regions as they relate to interdisciplinary research in jazz studies. The result is a vivid demonstration of how cultures from every corner of the globe have situated jazz--often regarded as America's classical music--within and beyond their own musical traditions, creating new artistic forms in the process. Global Jazz: A Research and Information Guide presents jazz as a common musical language in a global landscape of diverse artistic expression.

For more than a quarter century African Music, the author's acclaimed 1991 bibliography, has been a standard reference work on the subject. Now, at long last, we have its companion. Comprised of entirely new material, Music of Sub-Saharan Africa offers users a comprehensive guide to the enormous literature which has emerged on sub-Saharan music and dance in recent decades.

This much expanded and revised edition is organized into five easy to navigate sections—General Works; Musical Instruments; Regional Studies; African Music Abroad; and Biographical and Critical Studies—allowing users to quickly access the information they need. It also includes a detailed subject index which offers a key to all of the book's sections and another way to quickly pinpoint citations by topic, genre, instrument type, geographical location or ethnic group.

Written by one of the best-known academic writers on African music, On African Music is a collection of seven essays addressing various techniques, influences, and scholarly approaches to African music. After a concise introduction spelling out the rationale for the book, successive chapters develop answers to questions such as: How does a "minimalist impulse" animate creativity in Africa, and does "Western minimalism" differ from "African minimalism"? How do we explain the prevalence of iconic effects in African expressive forms? How has (European) tonality functioned as a "colonizing force" in African music? Why is the (written) art music of the continent talked about so little when it has been in existence since the middle of the nineteenth century? How might the discipline of music theory be rejuvenated by "aid" from Africa? What are the strengths and limitations of ethnotheory as a methodology? Who is who in theorizations of African rhythm, and how might we explain the shape of the existing archive? This book thus deals with analytical and interpretive issues, the politics of scholarship, and salient features of African music. Laced with provocative viewpoints on each page, On African Music should appeal not only to readers curious about the structural underpinnings of African music but also to those who wish to reflect critically and philosophically on how we study and write about the music of the continent, how we might approach its global status with a firm understanding from the inside, and what our priorities might be in promoting an empowering cosmopolitan discourse.

This book explores the genealogy of Jamaican dancehall while questioning whether dancehall has a spiritual underscoring, foregrounding dance, and cultural expression. This study identifies the performance and performative (behavioural actions) that may be considered as representing spiritual ritual practices within the reggae/dancehall dance phenomenon. It does so by juxtaposing reggae/dancehall against Jamaican African/neo-African spiritual practices such as Jonkonnu masquerade, Revivalism and Kumina, alongside Christianity and post-modern holistic spiritual approaches. This book will be of great interest to students and scholars in performance studies, popular culture, music, theology, cultural studies, Jamaican/Caribbean culture, and dance specialists.

Overlooked in the history of artistic endeavors are the contributions of female writers, painters, and crafters of the Caribbean. The creative works by women from the Caribbean proves to be as remarkable as the women themselves. In Caribbean Women and Their Art: An Encyclopedia, Mary Ellen Snodgrass explores the rich history of women's creative expression by examining the crafts and skill of over 70 female originators in the West Indies, from the familiar islands--Jamaica, Haiti, Cuba, Puerto Rico--to the obscurity of Roatan, Cura ao, Guanaja, and Indian Key. Focusing particularly on artistic style during the arrival of Europeans among the West Indies, the importance of cultural exchange, and the preservation of history, this book captures a wide variety of artistic accomplishment, including Folk music, acting, and dance Herbalism and food writing Sculpture, pottery, and adobe construction Travel writing, translations, and storytelling Individual talents highlighted in this volume include dancer Katherine Dunham, storyteller Louise Bennett-Coverley, paleontologist Sue Hendrickson, dramatist Maryse Cond , herbalist and memoirist Mary Jane Seacole, ballerina and choreographer Alicia Alonso, and athor Elsie Clews Parsons. Each entry includes a comprehensive bibliography of primary and secondary sources, as well as further readings on the female artists and their respective crafts. This text also defines and provides examples of technical terms such as ramada, slip, hematite, patois, and mola. With its informative entries and extensive examinations of artistic talent, Caribbean Women and Their Art: An Encyclopedia is a valuable resource for students, scholars, and anyone interested in learning about some of the most influential and talented women in the arts.

This book is a one-stop reference resource for the vast variety of musical expressions of the First Peoples' cultures of North America, both past and present. Encyclopedia of Native American Music of North America documents the surprisingly varied musical practices among North America's First Peoples, both historically and in the modern context. It supplies a detailed yet accessible and approachable overview of the substantial contributions and influence of First Peoples that can be appreciated by both native and nonnative audiences, regardless of their familiarity with musical theory. The entries address how ethnomusicologists with Native American heritage are revolutionizing approaches to the discipline, and showcase how musicians with First Peoples' heritage are influencing modern musical forms including native flute, orchestral string playing, gospel, and hip hop. The work represents a much-needed academic study of First Peoples' musical cultures_a subject that is of growing interest to Native Americans as well as nonnative students and readers. Provides print and Internet resources with each entry Presents exclusive information derived from the personal research and fieldwork of the editors Includes a timeline that highlights important developments in First Peoples' musical expressions Supplies an index that allows users to easily look up all of the relevant information on a topic

The Black Arts Movement (BAM) encompassed a group of artists, musicians, novelists, and playwrights whose work combined innovative approaches to literature, film, music, visual arts, and theatre. With a heightened consciousness of black agency and autonomy-along with the radical politics of the civil rights movement, the Black Muslims, and the Black Panthers-these figures represented a collective effort to defy the status quo of American life and culture. Between the late 1950s and the end of the 1970s, the movement produced some of America's most original and controversial artists and intellectuals. In Encyclopedia of the Blacks Arts Movement, Verner D. Mitchell and Cynthia Davis have collected essays on the key figures of the movement, including Maya Angelou, James Baldwin, Amiri Baraka, Nikki Giovanni, Larry Neal, Sun Ra, Sonia Sanchez, Ntozake Shange, and Archie Shepp. Additional entries focus on Black Theatre magazine, the Negro Ensemble Company, lesser known individuals-including Kathleen Collins, Tom Dent, Bill Gunn, June Jordan, and Barbara Ann Teer-and groups, such as AfriCOBRA and the New York Umbra Poetry Workshop. The Black Arts Movement represented the most prolific expression of African American literature since the Harlem Renaissance of the 1920s. Featuring essays by contemporary scholars and rare photographs of BAM artists, Encyclopedia of the Blacks Arts Movement is an essential reference for students and scholars of twentieth-century American literature and African American cultural studies.

The Encyclopedia's coverage ranges from the Bahamas to Tierra del Fuego and from Baja California to Uruguay as it describes the extraordinarily rich and varied music of people from all the countries south of the Rio Grande river.

In this volume, sixty-eight of the world's leading authorities explore and describe the wide range of musics of India, Pakistan, Bangladesh, Sri Lanka, Kashmir, Nepal and Afghanistan. Important information about history, religion, dance, theater, the visual arts and philosophy as well as their relationship to music is highlighted in seventy-six in-depth articles.

Now in its third edition, Latin American Classical Composers: A Biographical Dictionary provides a singular English-language resource for biographical information on hundreds of composers from Central and South America and the Hispanic Caribbean. Painstakingly gathered from a wide variety of sources, the information updates and expands previous editions and fills in the gaps left by the other major English-language music dictionaries and encyclopedias. Entries provide biographical data comprising full names, birth and death dates and locations, background, education, and training, as well as selective works lists for more than 2,300 composers. An index of composers by country and women composers of Latin America complement the volume. An essential part of any music library, Latin American Classical Composers is an invaluable reference for librarians, musicologists, ethnomusicologists, researchers, and music students.

In Songbooks, critic and scholar Eric Weisbard offers a critical guide to books on American popular music from William Billings's 1770 New-England Psalm-Singer to Jay-Z's 2010 memoir Decoded. Drawing on his background editing the Village Voice music section, coediting the Journal of Popular Music Studies, and organizing the Pop Conference, Weisbard connects American music writing from memoirs, biographies, and song compilations to blues novels, magazine essays, and academic studies. The authors of these works are as diverse as the music itself: women, people of color, queer writers, self-educated scholars, poets, musicians, and elites discarding their social norms. Whether analyzing books on Louis Armstrong, the Beatles, and Madonna; the novels of Theodore Dreiser, Gayl Jones, and Jennifer Egan; or varying takes on blackface minstrelsy, Weisbard charts an alternative history of American music as told through its writing. As Weisbard demonstrates, the most enduring work pursues questions that linger across time period and genre--cultural studies in the form of notes on the fly, on sounds that never cease to change meaning.

The Oxford Handbook of Musical Repatriation is a significant edited volume that critically explores issues surrounding musical repatriation, chiefly of recordings from audiovisual archives. The Handbook provides a dynamic and richly layered collection of stories and critical questions for anyone engaged or interested in repatriation or archival work. Repatriation often is overtly guided by an ethical mandate to "return" something to where it belongs, by such means as working to provide reconnection and Indigenous control and access to cultural materials. Essential as these mandates can be, this remarkable volume reveals dimensions to repatriation beyond those which can be understood as simple acts of "giving back" or returning an archive to its "homeland." Musical repatriation can entail subjective negotiations involving living subjects, intangible elements of cultural heritage, and complex histories, situated in intersecting webs of power relations and manifold other contexts. The forty-eight expert authors of this book's thirty-eight chapters engage with multifaceted aspects of musical repatriation, situating it as a concept encompassing widely ranging modes of cultural work that can be both profoundly interdisciplinary and embedded at the core of ethnographic and historical scholarship. These authors explore a rich variety of these processes' many streams, making the volume a compelling space for critical analysis of musical repatriation and its wider significance. The Handbook presents these chapters in a way that offers numerous emergent perspectives, depending on one's chosen trajectory through the volume. From retracing the paths of archived collections to exploring memory, performance, research goals, institutional power, curation, preservation, pedagogy and method, media and transmission, digital rights and access, policy and privilege, intellectual property, ideology, and the evolving institutional norms that have marked the preservation and ownership of musical archives-The Oxford Handbook of Musical Repatriation addresses these key topics and more in a deep, richly detailed, and diverse exploration.

In The Oxford Handbook of Music in China and the Chinese Diaspora, twenty-three scholars advance knowledge and understandings of Chinese music studies. Each contribution develops a theoretical model to illuminate new insights into a key musical genre or context. This handbook is categorized into three parts. In Part One, authors explore the extensive, remarkable, and polyvocal historical legacies of Chinese music. Ranging from archaeological findings to the creation of music history, chapters address enduring historical practices and emerging cultural expressions. Part Two focuses on evolving practice across a spectrum of key instrumental and vocal genres. Each chapter provides a portrait of musical change, tying musical transformations to the social dimensions underpinning that change. Part Three responds to the role that prominent issues, including sexuality, humanism, the amateur, and ethnicity, play in the broad field of Chinese music studies. Scholars present systematic orientations for researchers in the third decade of the twenty-first century. This volume incorporates extensive input from researchers based in China, Taiwan, and among Chinese communities across the world. Using a model of collaborative inquiry, The Oxford Handbook of Music in China and the Chinese Diaspora features diverse insider voices alongside authors positioned across the anglophone world.

The Palgrave Handbook of Race and the Arts in Education is the first edited volume to examine how race operates in and through the arts in education. Until now, no single source has brought together such an expansive and interdisciplinary collection in exploration of the ways in which music, visual art, theater, dance, and popular culture intertwine with racist ideologies and race-making. Drawing on Critical Race Theory, contributing authors bring an international perspective to questions of racism and anti-racist interventions in the arts in education. The book's introduction provides a guiding framework for understanding the arts as white property in schools, museums, and informal education spaces. Each section is organized thematically around historical, discursive, empirical, and personal dimensions of the arts in education. This handbook is essential reading for students, educators, artists, and researchers across the fields of visual and performing arts education, educational foundations, multicultural education, and curriculum and instruction.

Part of the series Key Concepts in Indigenous Studies, this book focuses on the concepts that recur in any discussion of nature, culture and society among the indigenous. This final volume in the five-volume series deals with the two key concepts of performance and knowledge of the indigenous people from all continents of the world. With contributions from renowned scholars, activists and experts across the globe, it looks at issues and ideas of the indigenous peoples in the context of imagination, creativity, performance, audience, arts, music, dance, oral traditions, aesthetics and beauty in North America, South America, Australia, East Asia and India from cultural, historical and aesthetic points of view. Bringing together academic insights and experiences from the ground, this unique book, with its wide coverage, will serve as a comprehensive guide for students, teachers and scholars of indigenous studies. It will be essential reading for those in social and cultural anthropology, tribal studies, sociology and social exclusion studies, cultural studies, media studies and performing arts, literary and postcolonial studies, religion and theology, politics, Third World and Global South studies, as well as activists working with indigenous communities.

How are people and communities able to prevail despite challenge? What helps them bounce back from adversity and even grow in knowledge and understanding? And can this resilience be taught? During the past decade, exciting scientific advances have shed light on how resilience operates from neurons to neighborhoods. In The Resilience Handbook, experts in the science of resilience draw on human and animal research to describe the process of resilience and follow its course as it unfolds both within individuals and in social networks. Contributors also highlight the promise of new interventions that apply what we know about resilience processes to bolster positive health, and raise some of the pressing questions and issues for the field as it matures. This handbook is designed to be used by students as an invitation to a burgeoning field; by researchers, as a framework for advancing theories, hypotheses, and empirical tests of resilience functions; and by clinicians, as a comprehensive and up-to-the-minute integration of theory and practice.

This Handbook provides a comprehensive roadmap to the burgeoning area of Afro-Latin American Studies. Afro-Latins as a civilization developed during the period of slavery, obtaining cultural contributions from Indigenous and European worlds, while today they are enriched by new social configurations derived from contemporary migrations from Africa. The essays collected in this volume speak to scientific production that has been promoted in the region from the humanities and social sciences with the aim of understanding the phenomenon of the African diaspora as a specific civilizing element. With contributions from world-leading figures in their fields overseen by an eminent international editorial board, this Handbook features original, authoritative articles organized in four coherent parts: * Disciplinary Studies; * Problem Focused Fields; * Regional and Country Approaches; * Pioneers of Afro-Latin American Studies. The Routledge Handbook of Afro-Latin American Studies will not only serve as the major reference text in the area of Afro-Latin American Studies but will also provide the agenda for future new research.

The Routledge Handbook of Asian Music: Cultural Intersections introduces Asian music as a way to ask questions about what happens when cultures converge and how readers may evaluate cultural junctures through expressive forms. The volume's thirteen original chapters cover musical practices in historical and modern contexts from Central Asia, East Asia, South Asia, and Southeast Asia, including art music traditions, folk music and composition, religious and ritual music, as well as popular music. These chapters showcase the diversity of Asian music, requiring readers to constantly reconsider their understanding of this vibrant and complex area. The book is divided into three sections: Locating meanings Boundaries and difference Cultural flows Contributors to the book offer a multidisciplinary portfolio of methods, ranging from archival research and field ethnography to biographical studies and music analysis. In addition to rich illustrations, numerous samples of notation and sheet music are featured as insightful study resources. Readers are invited to study individuals, music-makers, listeners, and viewers to learn about their concerns, their musical choices, and their lives through a combination of humanistic and social-scientific approaches. Demonstrating how transformative cultural differences can become in intercultural encounters, this book will appeal to students and scholars of musicology, ethnomusicology, and anthropology.

The word 'diaspora' has leapt from its previously confined use - mainly concerned with the dispersion of Jews, Greeks, Armenians and Africans away from their natal homelands - to cover the cases of many other ethnic groups, nationalities and religions. But this 'horizontal' scattering of the word to cover the mobility of many groups to many destinations, has been paralleled also by 'vertical' leaps, with the word diaspora being deployed to cover more and more phenomena and serve more and more objectives of different actors. With sections on 'debating the concept', 'complexity', 'home and home-making', 'connections' and 'critiques', the Routledge Handbook of Diaspora Studies is likely to remain an authoritative reference for some time. Each contribution includes a targeted list of references for further reading. The editors have carefully blended established scholars of diaspora with younger scholars looking at how diasporas are constructed 'from below'. The adoption of a variety of conceptual perspectives allows for generalization, contrasts and comparisons between cases. In this exciting and authoritative collection over 40 scholars from many countries have explored the evolving use of the concept of diaspora, its possibilities as well as its limitations. This Handbook will be indispensable for students undertaking essays, debates and dissertations in the field.

For artists, scholars, researchers, educators and students of arts theory interested in culture and the arts, a proper understanding of the questions surrounding 'interculturality' and the arts requires a full understanding of the creative, methodological and interconnected possibilities of theory, practice and research. The International Handbook of Intercultural Arts Research provides concise and comprehensive reviews and overviews of the convergences and divergences of intercultural arts practice and theory, offering a consolidation of the breadth of scholarship, practices and the contemporary research methodologies, methods and multi-disciplinary analyses that are emerging within this new field.

Access audio files at: https: //soundcloud.com/singing_in_brazilian_portuguese_recorded_examples_marcia_porter While popular forms of Brazilian music include bossa nova and samba, Brazil also has a rich classical music tradition dating back to the 1500s that exhibits a unique and diverse amalgamation of many styles and influences including African, Italian, French, and indigenous. Singing in Brazilian Portuguese: A Guide to Lyric Diction and Vocal Repertoire makes Brazilian modinhas and can es accessible to singers through an overview of the history of the language and music, brief biographies of major composers, and a sampling of selected texts transliterated into the International Phonetic Alphabet (IPA). Part I introduces the alphabet and pronunciation of sounds through IPA and is enhanced by online audio recordings of native Brazilian classical singers. Marc a D. Porter covers such topics as oral and nasal vowels, diagraphs, onset and final consonants, word stress, and syllabification. It also includes an overview of the newly implemented Acordo Ortogr fico. Part II provides IPA transliterations and both word-for-word and poetic translations of representative songs, including Villa-Lobos's Bachianas brasileiras, no. 5. The book also offers a brief overview of the history of Brazilian vocal music and biographical sketches of select major composers from various periods. Singing in Brazilian Portuguese is the first resource of its kind geared toward singers, voice teachers, vocal coaches, collaborative pianists, and others who are interested in exploring, teaching, and performing this beautiful and exciting repertoire.

Theory for Ethnomusicology: Histories, Conversations, Insights, Second Edition, is a foundational work for courses in ethnomusicological theory. The book examines key intellectual movements and topic areas in social and cultural theory, and explores the way they have been taken up in ethnomusicological research. New co-author Harris M. Berger and Ruth M. Stone investigate the discipline's past, present, and future, reflecting on contemporary concerns while cataloging significant developments since the publication of the first edition in 2008. A dozen contributors approach a broad range of theoretical topics alive in ethnomusicology. Each chapter examines ethnographic and historical works from within ethnomusicology, showcasing the unique contributions scholars in the field have made to wider, transdisciplinary dialogs, while illuminating the field's relevance and pointing the way toward new horizons of research. New to this edition: Every chapter in the book is completely new, with richer and more comprehensive discussions. New chapters have been added on gender and sexuality, sound and voice studies, performance and critical improvisation studies, and theories of participation. New text boxes and notes make connections among the chapters, emphasizing points of contact and conflict among intellectual movements.