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Books on the topic '"balkan music"'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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1

Nada, Petković-Djordjević, ed. Balkan epic: Song, history, modernity. Lanham, Md: Scarecrow Press, 2011.

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2

Balkan fascination: Creating an alternative music culture in America. Oxford: Oxford University Press, 2007.

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3

Laušević, Mirjana. Balkan fascination: Creating an alternative music culture in America / Mirjana Laušević. New York: Oxford University Press, 2005.

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4

Romani routes : cultural politics and Balkan music in diaspora / Carol Silverman. New York: Oxford University Press, 2011.

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5

1943-, Blau Dick, Keil Angeliki V. 1936-, and Feld Steven, eds. Bright Balkan morning: Romani lives & the power of music in Greek Macedonia. Middletown, Conn: Wesleyan University Press, 2002.

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6

Balkan refrain: Form and tradition in European folk song. Lanham, Md: Scarecrow Press, 2009.

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7

Benary, Peter. Leise- aber deutlich: 100 Splitter und Balken zu Geschichte, Praxis und Theorie der Musik. Aarau, Schweiz: Musikedition Nepomuk, 1994.

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8

Balzac and music: Its place and meaning in his life and work. New York: Garland Pub., 1990.

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9

The rose & the briar: Death, love and liberty in the American ballad. New York: W.W. Norton, 2005.

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10

John, Gay. Beggar's opera. Studio City, CA: Players Press, 1994.

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11

Bryan, Loughrey, and Treadwell T. O, eds. The beggar's opera. Harmondsworth, Middlesex, England: Penguin Books, 1986.

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12

Balkan Fascination: Creating an Alternative Music Culture in America. Oxford University Press, Incorporated, 2015.

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13

Romani Routes: Cultural Politics and Balkan Music in Diaspora. Oxford University Press, 2014.

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14

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

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15

Manele in Romania: Cultural Expression and Social Meaning in Balkan Popular Music. Rowman & Littlefield Publishers, 2016.

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16

Musicians' Migratory Patterns in Time and Space: The Adriatic Coasts. Taylor & Francis Group, 2018.

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17

Balkan popular culture and the Ottoman ecumene: Music, image, and regional political discourse. Lanham, Md: Scarecrow Press, 2008.

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18

Lausevic, Mirjana. Balkan Fascination: Creating an Alternative Music Culture in America Includes CD/DVD (American Musicspheres). Oxford University Press, USA, 2006.

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19

Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse (Europea: Ethnomusicologies and Modernities). The Scarecrow Press, Inc., 2007.

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20

Mantie, Roger. Leisure Grooves. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.32.

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Charles Keil enjoyed a long and illustrious self-styled career as an activist, musician, educator, and “applied sociomusicologist.” His many investigations included urban blues music, the Tiv people of Africa, polka musicians in Buffalo, and Balkan musicians in Greece. His work has focused on groove and participation, as a response to what he sees as a corrupt and overrationalized Western culture. In this unconventional “open letter” format, the author explores the richness of Keil’s life and work, encouraged by his call for vibrant, vernacular, participatory, nonmediated musics that nurture spontaneity, and by his call for music learning inspired by paideia and groove. The chapter finds excitement in the implications Keil’s practice might hold for music learning and teaching, participatory music making, and for conceptualizing all education as “leisure education.”
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21

Music in the Balkans. BRILL, 2013.

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22

Gypsy music: The Balkans and beyond. 2017.

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23

Lange, Barbara Rose. Ági Szalóki and Multiethnic Femininity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0003.

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Chapter 2 details how female performers with Romani (Gypsy) and Magyar ancestry face constraints of mixed ethnicity and gender, discussing the career of singer Ági Szalóki. The chapter outlines how Magyar female performers singing music of all regional ethnicities contributed to the folk revival in Hungary from the 1970s to the present; the international star Márta Sebestyén gave inspiration to young minority performers such as Szalóki, who then oriented their solo careers toward the liberalized society and the middle class. The chapter details how Szalóki left a Balkan Romani-style band to pursue solo projects that blended folk song and jazz, resisting expectations that Romani and other folk music should sound rustic. The chapter argues that Szalóki’s projects got the best response in feminine spheres such as children’s music, even as her solo work challenged ideas around male leadership. It describes ways in which Szalóki spoke out against far-right nationalism.
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24

Studies on a Global History of Music: A Balzan Musicology Project. Taylor & Francis Group, 2018.

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25

Strohm, Reinhard, ed. The Music Road. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.001.0001.

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The book, derived from the Balzan musicology project ‘Towards a global history of music’, describes cultural traditions and communication patterns of music, dance and theatre in the world region between India and the Mediterranean in the last 2000 years. The new metaphor of the ‘Music Road’—the western half of the ‘Silk Road’—refers to the travels of musical songs, instruments and ideas across both space and time. The book has an introduction and 16 chapters, each by a different author. Highlighted are the following cultural traditions: ancient Gandhāra (first centuries ce); traditions of the Alexander legend; the musical philosophy and practice of Muslim societies; colonial India and the West; Greek music and nationalism (19th–20th centuries); travelling music-theatre companies in the Eastern Mediterranean; the ‘Gypsy rhapsody’ in European art music. The keynote chapter by Martin Stokes reviews the work of Villoteau and Lachmann, advocating a fusion of historical thought and ethnomusicology. The book offers case studies not only on music per se, but also on fine art, dance, musical theatre, on the theology, philosophy, historiography and literature of music, and on East–West relations in the musical practice of colonial and modern times. It is argued in the introduction and implied elsewhere that the musical culture of this world region, and its interactions with the West, have always been on the move, that its diversities and disruptions are counterbalanced by numerous internal and external linkages, and that the reifying term of ‘orientalism’ might be replaced by ‘the East–West imagination’.
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26

Lewis, Tony. Becoming a Garamut Player in Baluan Papua New Guinea. Taylor & Francis Group, 2020.

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27

The Tamburitza Tradition From The Balkans To The American Midwest. University of Wisconsin Press, 2013.

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28

Smith, Jeremy L. Governmental Interference as a Shaping Force in Elizabethan Printed Music. Edited by Patricia Hall. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.9.

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The Elizabethan era is widely viewed as a time in England when the quality as well as the quantity of music reached unprecedented heights, a condition often attributed to the beneficial effects of an active press and a musically sympathetic and religiously moderate queen. This chapter examines how royal and courtly governmental interference shaped printed music in this notably fertile period. More specifically, it considers two exemplary events that profoundly influenced the ballad and the art music of the era: the admonition of ballad writer William Elderton and the granting of a royal patent of monopoly to Thomas Tallis, William Byrd, which involved many other composers of the art-music tradition. It explains how both events affected the politicization of Elizabethan music; how Tallis, Byrd, and others used the patent as a means to voice Catholic positions; and how Elderton discovered the potency of propagandized fiction.
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29

Becoming a Garamut Player in Baluan, Papua New Guinea: Musical Analysis As a Pathway to Learning. Taylor & Francis Group, 2018.

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30

Barricelli, Jean Pierre. Balzac and Music: Its Place and Meaning in His Life and Work. Taylor & Francis Group, 2016.

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31

Boutin, Aimée. Aural Flânerie. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039218.003.0002.

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This chapter establishes that scholarly approaches to flâneurs have downplayed the broader impact of the urban experience on the senses and underappreciated their aural acuity. From the type's early formulations by Honoré de Balzac, Auguste de Lacroix, and Victor Fournel, the flâneur is attuned to city sounds, and flâneur-writing arranges them to portray the city as concert. The art of flânerie consists of transforming the empirical confusion of city sounds into a unified musical composition. As the clamor of the streets promoted selective hearing, street musicians were targeted as major contributors to the city as concert. Close readings of verbal and visual sketches by Delphine de Girardin, Maria d'Anspach, Bertall, and Old Nick show that class-biased ideas about concert music influenced their often humorous reactions to street noise; nevertheless, the neurasthenic bourgeois ear was often less than receptive to the intrusive noise of foreign street performers. In contrast, Victor Fournel waxed enthusiastic about the people's love of music. A close reading of his Ce qu'on voit dans les rues de Paris makes sense of his distinctive appreciation for street music.
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32

Barricelli, Jean-Pierre. Balzac and Music: Its Place and Meaning in His Life and Work. Taylor & Francis Group, 2017.

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33

Pollack, Howard. The Ballad of Baby Doe. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0023.

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The libretto to the opera The Ballad of Baby Doe, with music by Douglas Moore, was Latouche’s crowning achievement. A dramatization of the true love triangle involving the nineteenth-century Colorado silver king Horace Tabor and his two wives, Augusta Tabor and Elizabeth “Baby Doe” Tabor, the work premiered in Colorado shortly before the lyricist’s death, and became one of the most successful works in the American operatic canon. This chapter considers the work’s historical accuracy, with regard to Latouche’s libretto, and its musical and poetic essence, as well as some consideration of its critical reception.
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34

Burke, Devin. “Good Bye, Old Arm”. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.21.

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Over 45,000 soldiers became amputees during the Civil War. The scale of wartime disability challenged American beliefs that masculinity and patriotism were virtually inseparable from able-bodiedness. By the war’s end, the amputated limb had become a recurring subject in music, photography, and literature. This essay discusses representative Civil War era songs about amputee veterans and analyzes how they musically and lyrically negotiated the cultural scripts of disability, masculinity, and patriotism. These scripts became especially complex when able-bodied women performed the songs in the voices of disabled veterans. Three songs are discussed in detail, including the song “Old Arm, Good Bye,” in which a soldier sings a love ballad to his freshly amputated arm, thanking the arm for its strength and loyalty to the Union. These songs reconstructed the disabled veteran, and indeed the amputated arm itself, as complex symbols of both patriotism and Victorian masculinity.
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35

Atkins, Madeline S. The Beggar s Children : How John Gay Changed The Course Of England s Musical Theatre. Cambridge Scholars Publishing, 2006.

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36

Pollack, Howard. The Ballad of John Latouche. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.001.0001.

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Born into a poor Virginian family, John Treville Latouche (1914–1956), in his short life, made a profound mark on America’s musical theater as a lyricist and librettist. The wit and skill of his lyrics elicited comparisons with the likes of Ira Gershwin and Lorenz Hart, but he had too, as Stephen Sondheim noted, “a large vision of what musical theater could be,” and he proved especially venturesome in helping to develop a lyric theater that innovatively combined music, word, dance, and costume and set design. Many of his pieces, even if not commonly known today, remain high points in the history of American musical theater, including Cabin in the Sky (1940), Beggar’s Holiday (1946), The Golden Apple (1954), The Ballad of Baby Doe (1956), and Candide (1956). Extremely versatile, he also wrote cabaret songs, participated in documentary and avant-garde film, translated poetry, and adapted plays. Meanwhile, as one of Manhattan’s most celebrated raconteurs and hosts, he established friendships with many notables, including Paul and Jane Bowles, Carson McCullers, Frank O’Hara, Dawn Powell, Ned Rorem, Virgil Thomson, and Gore Vidal—a dazzling constellation of diverse artists all attracted to Latouche’s brilliance and joie de vivre, not to mention his support for their work. This book draws widely on archival collections both at home and abroad, including Latouche’s diaries and the papers of such collaborators as Leonard Bernstein, Duke Ellington, Douglas Moore, and Jerome Moross to tell for the first time the story of this fascinating man and his work.
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37

Smith, Duane A., and John Moriarty. The Ballad of Baby Doe: I Shall Walk Beside My Love. University Press of Colorado, 2002.

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38

The Ballad of Baby Doe: I Shall Walk Beside My Love. University Press of Colorado, 2002.

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39

Laird, Ross. Brunswick Records: A Discography of Recordings, 1916-1931
Volume 2: New York Sessions, 1927-1931 (Discographies). Greenwood Press, 2001.

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40

Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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41

Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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42

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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43

Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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44

Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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45

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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46

Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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47

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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48

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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49

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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50

(Editor), Sean Wilentz, and Greil Marcus (Editor), eds. The Rose & the Briar: Death, Love and Liberty in the American Ballad. W. W. Norton & Company, 2004.

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