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From countercultural resistance to world music craze, Balkan music captured the attention of global audiences. Balkanology, the 1991 quintessential album of Bulgarian music, highlights this moment of unbridled creativity. Seasoned musicians all over the world are still in awe of the technical abilities of the musicians in Ansambl Trakia-their complex additive rhythms, breakneck speeds, stunning improvisations, dense ornamentation, chromatic passages, and innovative modulations. Bridging folk, jazz, and rock sensibilities, Trakia's music has set the standard for Bulgarian music until today, and its members, especially Ivo Papazov, are revered stars at home and abroad. The album reveals how Romani (Gypsy) artists resisted the state's prohibition against Romani music and fashioned a genre that became a youth movement in Bulgaria, and then a world music phenomenon. Balkanology underscores the political, economic and social roles of music during socialism and postsocialism.
The Routledge Handbook of Popular Music and Politics of the Balkans is a comprehensive overview of major topics, established debates and new directions in the study of popular music and politics in this region. The vibrant growth of this subject area since the 1990s has been intertwined with the region’s political and socio-economic transformations, including the collapse of state socialism in much of the region, the break-up of Yugoslavia, the advent of neoliberal capitalism, the rise of Romani activism, the complex politics of ‘Europeanization’ before and after the global financial crisis, and the region’s relationship to the European Union border regime. The handbook illustrates the wide range of disciplines and methods that contribute to this field’s interdisciplinary dialogue and highlights emerging approaches such as the study of Black diasporas in the region, popular music’s links with LGBTQ+ communities, and the impact of digital technologies on musical cultures. This volume will benefit specialist researchers, tutors creating or refreshing courses on popular music in the region, and students interested in these topics, especially those who are at the point of developing their own independent research projects.
This guide to this little known but deeply rewarding country, includes comprehensive accounts of all the sights from the capital Sofia to the time-warped villiages and wayside monasteries. It includes practical advice on outdoor pursuits - the best hikes, ski centres and Black Sea beaches - plus a run-dwon on all the folk festivals and informed commentaries on Bulgaria's turbulent history.
Singers generating cultural identity from K-Pop to Beverly Sills Around the world and across time, singers and their songs stand at the crossroads of differing politics and perspectives. Levi S. Gibbs edits a collection built around the idea of listening as a political act that produces meaning. Contributors explore a wide range of issues by examining artists like Romani icon Esma Redžepova, Indian legend Lata Mangeshkar, and pop superstar Teresa Teng. Topics include gendered performances and the negotiation of race and class identities; the class-related contradictions exposed by the divide between highbrow and pop culture; links between narratives of overcoming struggle and the distinction between privileged and marginalized identities; singers’ ability to adapt to shifting notions of history, borders, gender, and memory in order to connect with listeners; how the meanings we read into a singer’s life and art build on one another; and technology’s ability to challenge our ideas about what constitutes music. Cutting-edge and original, Social Voices reveals how singers and their songs equip us to process social change and divergent opinions. Contributors: Christina D. Abreu, Michael K. Bourdaghs, Kwame Dawes, Nancy Guy, Ruth Hellier, John Lie, Treva B. Lindsey, Eric Lott, Katherine Meizel, Carol A. Muller, Natalie Sarrazin, Anthony Seeger, Carol Silverman, Andrew Simon, Jeff Todd Titon, and Elijah Wald
Various modes of women's contemporary cultural, social and political leadership can be found in music. Informed by different histories and culturally bound social mores but also by a comparative perspective, the contributors of this volume ask what can be considered leadership in culture from women's point of view. They deconstruct the notion of leadership as corporative and career-related modes of success by showing how women's agency, power and negotiation in and through music can and should be considered as empowering, transformative and role-modeling. By interweaving several disciplinary perspectives - from ethnomusicology, musicology and cultural management to sociology and anthropology - this volume aims to substantially contribute to the study of women's leadership.
The volume addresses reflections on the social conditions in which anthropological research in Eastern European countries under and after socialism was conducted. Methodological commonalities and differences for anthropologists coming from specific academic traditions and political contexts are revealed through fresh reflections on the everyday fieldwork. Institutional settings of the 70s and 80s, challenges in entering the field or engagement with the needs and desires of the studied subjects come out of this web of reflections. While some authors recall fieldwork based in single countries, others recall journeys though multi-sited ethnographies.
The album examined in this book transformed the singer John Farnham from a faded teen pop star into the most popular solo rock performer in Australia, in a career that has lasted for more than 30 years. Whispering Jack remains the top-selling album by an Australian artist in Australia, and constitutes the turning point in Farnham's bid to achieve credibility as an adult contemporary musician. The first single from the album, 'You're the Voice,' has achieved such iconic status that it is routinely referred to as Australia's unofficial national anthem. The book examines the album, its context and that history in order to recover a crucial conjuncture in the development of Australian rock and popular music, one that has previously been ignored in Australian popular music studies.
For decades, the state-run music industry in Hungary has artificially isolated musical worlds. The 2010 album I'll Be Your Plaything is a concept album comprising at times drastically re-imagined cover versions of Hungary's most popular hits from the socialist era. As such it is a testament to music as a medium's aptness to reflect on public and personal pasts. The album moreover exemplifies how rich and appealing synthesis of sounds and traditions can be concocted when folk, classically trained, rock, and jazz musical artists collaborate. Along with this freedom to blend and synthesize, the album opens up some long overdue space for women; playing with personas, voices, and singing styles, Palya reflects on issues of femininity, maternity, sexuality, and coupledom across generations.
Kylie Minogue's self-titled debut album produced hits, controversy and a perfect mainstream storm. The then soap and children's television star 'crossed over' to music with hit writer/producers SAW - and the shamelessly commercial approach of all involved saw the 'real' music industry get its back up. This book interrogates the way that commercial pop albums are remembered in both the popular music press and in academic research. Is there a way of dealing with 'mainstream' pop without denigrating the music and (just as importantly) without validating it according to the terms of a 'high art' canon? This text sheds light on the way that notions of 'mainstream' and 'other' play out in a local context-specifically, Australia and New Zealand music on a global stage.
Sin Documentos is a landmark album in Spanish popular culture and continues to maintain considerable popularity more than two decades after its release. The characteristic guitar riff of the title song, a kind of rumba-rock, still occupies a place at every party in Spain. Los Rodríguez's success came after a decade characterized by the rise and fall of local-language punk and new wave bands. By the time Sin Documentos appeared, however, rock journalism was fascinated by the thriving indie scene, where the bands were singing in English and had turned to grunge and noise rock. This book evaluates the influence of Latin American pop-rock in the modernization of Spanish popular music from the 1950s, despite the Anglophilia of Spanish rock scenes, especially in the 1990s. Through interviews with members of the band and members of the record label DRO, analysis of the media coverage of the album and a cultural analysis of its meanings, it delves into the cultural trends of Spain throughout the 1990s and beyond.