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Fiddles in Luso-Afro-Brazilian Cultures presents fresh data and debates drawn from extensive research to broaden the study of African music by focusing on fiddle playing, exploring rhythm aesthetics and tonal systems within cultural contexts.. Focused on Cape Verde, Mozambique, and Brazil, the research maps cultural affiliations, addressing cultural displacement and historical ties. It engages with postcolonial power dynamics, highlighting fiddle playing as a form of resistance and revival. Primarily aimed at academic researchers in ethnomusicology and related fields, the book provides detailed analytical descriptions and narratives of artists, instruments, and playing styles. It contributes to discussions on music, decolonization, and diasporic communities' demands for authenticity and recognition.. By revealing lesser-known fiddle traditions, it enriches the world music genre, attracting both academic and general readers interested in transcultural music studies.
The qualitative outcomes of the research suggest that fiddle playing should be understood as allowing musicians to play a relatively autonomous role in a wide variety of contexts in contemporary multi-ethnic societies in a state of flux: as participants in the internationalised world of Cape Verdean music; as elements of the cultural environment in which quilombo inhabitants are campaigning for recognition of their land rights; and as contributors to Mozambique's national project to integrate its diverse ethnic groups. Ultimately, I argue that the fiddle is an active agent in the decolonial 'thinking and doing' of those of African descent in Luso-Afro-Brazilian cultures.
Fiddles in Luso-Afro-Brazilian Cultures presents fresh data and debates drawn from extensive research to broaden the study of African music by focusing on fiddle playing, exploring rhythm aesthetics and tonal systems within cultural contexts. Focused on Cape Verde, Mozambique and Brazil, the research maps cultural affiliations, addressing cultural displacement and historical ties. It engages with post-colonial power dynamics, highlighting fiddle playing as a form of resistance and revival. Primarily aimed at academic researchers in ethnomusicology and related fields, the book provides detailed analytical descriptions and narratives of artists, instruments and playing styles. It contributes to discussions on music, decolonisation and diasporic communities’ demands for authenticity and recognition. By revealing lesser-known fiddle traditions, it enriches the world music genre, attracting both academic and general readers interested in transcultural music studies.
‘Music Scenes and Migrations’ brings together new work from Brazilian and European scholars around the themes of musical place and transnationalism across the Atlantic triangle connecting Brazil, Africa and Europe. Moving beyond now-contested models for conceptualizing international musical relations and hierarchies of powers and influence, such as global/local or centre/periphery, the volume draws attention instead to the role of the city, in particular, in producing, signifying and mediating music-making in the colonial and post-colonial Portuguese-speaking world. In considering the roles played by cities as hubs of cultural intersection, socialization, exchange and transformation; as sites of political intervention and contestation; and as homes to large concentrations of consumers, technologies and media, Rio de Janeiro necessarily figures prominently, given its historical importance as an international port at the centre of the Lusophone Atlantic world. The volume also gives attention to other urban centres, within Brazil and abroad, towards which musicians and musical traditions have migrated and converged – such as São Paulo, Lisbon and Madrid – where they have reinvented themselves; where notions of Brazilian and Lusophone identity have been reconfigured; and where independent, peripheral and underground scenes have contested the hegemony of the musical ‘mainstream’.
Zusammenfassung: Spatial Futures invites readers to imagine power and freedom through the lens of the 'Black Outdoors', a transdisciplinary spatial concept that operates beyond the planetary, stratigraphic confines of the 'Anthropocene'. The chapters collectively point to the ontological-epistemological contradictions involved in forging liberatory spatial futures. Bringing new spatial imaginaries to bear in and outside geography, the book refuses the strictures of the 'cenic', entertaining difference as world-making
(Piano/Vocal/Guitar Artist Songbook). Over 100 timeless hits from the Fab Four in piano/vocal/guitar arrangements, including: Across the Universe * All My Loving * Back in the U.S.S.R. * Blackbird * Can't Buy Me Love * Come Together * Don't Let Me Down * Eight Days a Week * Eleanor Rigby * The Fool on the Hill * Good Day Sunshine * Here Comes the Sun * Hey Jude * I Want to Hold Your Hand * In My Life * Let It Be * Lucy in the Sky with Diamonds * Michelle * Norwegian Wood (This Bird Has Flown) * Ob-La-Di, Ob-La-Da * Penny Lane * Revolution * Sgt. Pepper's Lonely Hearts Club Band * She Loves You * Ticket to Ride * Twist and Shout * When I'm Sixty-Four * Yellow Submarine * Yesterday * and more.
A unique and forward-thinking book that sheds new light on the origins, dynamics, and cosmopolitan culture of the Kongo Kingdom from a cross-disciplinary perspective.
With Mande Music, Eric Charry offers the most comprehensive source available on one of Africa's richest and most sophisticated music cultures. Using resources as disparate as early Arabic travel accounts, oral histories, and archival research as well as his own extensive studies in Mali, Guinea, Senegal, and the Gambia, Charry traces this music culture from its origins in the thirteenth-century Mali empire to the recording studios of Paris and New York. He focuses on the four major spheres of Mande music—hunter's music, music of the jelis or griots, jembe and other drumming, and guitar-based modern music—exploring how each evolved, the types of instruments used, the major artists, and how each sphere relates to the others. With its maps, illustrations, and musical transcriptions as well as an exhaustive bibliography, discography, and videography, this book is essential reading for those seeking an in-depth look at one of the most exciting, innovative, and deep-rooted phenomena on the world music scene. A compact disc is available separately.
Position Pieces for Cello is designed to give students a logical and fun way to learn their way around the fingerboard. Each hand position is introduced with exercises called "Target Practice," "Geography Quiz," and "Names and Numbers." Following these exercises are tuneful cello duets which have been specifically composed to require students to play in that hand position. In this way, students gain a thorough knowledge of how to find the hand positions and, once there, which notes are possible to play. Using these pieces (with names like "I Was a Teenage Monster," "The Irish Tenor," and "I've Got the Blues, Baby"), position study on the cello has never been so much fun!