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The Other Classical Musics will help both students and general readers to appreciate musical traditions mostly unfamiliar to them.
Latina poets occupy an important place in today’s literary landscape. Coming from diverse backgrounds, they share an understanding of what it means to exist within the margins of society. As artists, they possess a dedication to their craft and a commitment to experimentation. Their voices—sometimes lyrical, sometimes autobiographical, sometimes politically charged—are distinctly female. Whereas previous anthologies have merged the works of Latino and Latina poets, this collection is the first to showcase Latina poetry on its own terms. For years readers have admired the poetry of prominent Latina authors Cherríe Moraga, Ana Castillo, and Sandra Cisneros. Building on their inspirational legacy, Other Musics heralds a new generation of Latina poets whose work blends traditional forms and styles with postmodern innovations. These poets do not fit neatly into one category. They come from all walks of life, from remarkably varied class, ethnic, occupational, and educational backgrounds. Their topics and concerns are wide-ranging. All of the poets, according to volume editor Cynthia Cruz, are creating “a new kind of music,” one that embraces the “in-between” and bicultural world that Latina women must constantly straddle. The fifteen poets featured in this anthology are Desirée Alvarez, Karen Bradway, Xochiquetzal Candelaria, Diana Maria Delgado, Natalie Diaz, Carolina Ebeid, Sandy Florian, Carrie Fountain, Leticia Hernández-Linares, Ada Limón, Sheryl Luna, Kristin Naca, Deborah Paredez, Emmy Pérez, and Carmen Giménez Smith. Along with an ample selection of each of their poetry, Other Musics features an artist statement by each poet, in which she discusses her work, her writing practice, how she became a writer, and her views on the purpose and mission of poetry in the contemporary world.
A guide to the best, worst, and everything in between in cover songs.
The drama of "Nashville" meets reality TV in this debut contemporary romance featuring two exes who reunite on a cross-country battle-of-the-bands tour.
A compendium of other musics, channelled from the spirit world, the fairy kingdom, outer space, secret societies and occult lodges. This unique collection of esoteric earworms gathers, and reproduces, music from other worlds. Here you'll find tunes hummed, strummed, and sung by spirits, sprites, and fairies, extraterrestrial elevator music, dreamed ditties, marches for occult ceremonies, secret musical codes and languages, music made by animals, and more. Each entry contains an explanatory text on its origins and purpose, and also reproduces the musical notation, in facsimile where possible, so that you can play along at home. An in-depth introductory essay by musician, historian and collector Doug Skinner rounds out this wondrous musical cabinet of curiosities.
The great flood of world musics into our immediate cultural environment is not a simple matter of expanding global musical exchange, but rather many complex processes such as the growth of intercontinental tourism and the development of technologies in communication. Elegantly tracing the dimensions of these new musical encounters, Laurent Aubert considers the impact of world musics on our values, our habits and our cultural practices. His discussions of key questions about our contemporary music culture widen conventional ethnomusicological perspectives to consider the nature of Western society as a 'global village' and the impact of current Western demands on the future of world musics and their practitioners.
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, Ruth A. Solie 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. Solie's 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.
"Roth Family Foundation music in America imprint"--Prelim. p.