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Burst of Breath

Indigenous Ritual Wind Instruments in Lowland South America

Jonathan David Hill

The first in-depth, comparative, and interdisciplinary study of indigenous Amazonian musical cultures, Burst of Breath showcases new research on the dynamic range of ritual power and social significance of various wind instruments—including flutes, trumpets, clarinets, and whistles—played in sacred rituals and ceremonies in Lowland South America.

The editors provide a detailed overview of the historical significance, scientific classification, shamanic and cosmological associations, and changing social meanings of ritual wind instruments within Amazonian cultures. These essays present a wide perspective that goes beyond better-documented areas such as the Upper Xingu and northwest Amazon. Some of the authors explore the ways ritual wind instruments are used to introduce natural sounds into social contexts and to cross boundaries between verbal and nonverbal communication. Others look at how ritual wind instruments and their music enter into local definitions and negotiations of relations between men, women, kin, insiders, and outsiders.

Closely considering these instruments in their many roles and contexts—in curing and purification, negotiating relations, connecting mythic ancestors and humans today—this volume reveals the power and complexity of the music at the heart of collective rituals across lowland South America.

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Bytes and Backbeats

Repurposing Music in the Digital Age

Steve Savage

From Attali’s “cold social silence” to Baudrillard’s hallucinatory reality, reproduced music has long been the target of critical attack. Steve Savage, however, deploys an innovative combination of designed recording projects, ethnographic studies of contemporary music practice, and critical analysis to challenge many of these traditional attitudes about the creation and reception of music. Savage adopts the notion of “repurposing” as central to understanding how every aspect of musical activity, from creation to reception, has been transformed, arguing that the tension within production between a naturalizing “art” and a self-conscious “artifice” reflects and feeds into our evolving notions of creativity, authenticity, and community. Three original audio projects form an integral part of the work, drawing from rock & roll, jazz, and traditional African music. Through these projects, Savage is able to target areas of contemporary practice that are particularly significant in the cultural evolution of the musical experience from the perspective of composers, musicians, and listeners. This work stems from Savage’s experience as a professional recording engineer and record producer. “Instead of focusing solely on legal aspects, as many authors have done, Savage takes the time to study not only how technologies have altered the way we make and consume music, but also how technology relates to culture. This balance between ‘empirical’ and ‘critical’ approaches is powerful.” — Serge Lacasse, Université Laval

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Cafe Society

The wrong place for the Right people

Barney Josephson with Terry Trilling-Josephson. Foreword by Dan Morgenstern.

Set against the drama of the Great Depression, the conflict of American race relations, and the inquisitions of the House Un-American Activities Committee, Cafe Society tells the personal history of Barney Josephson, proprietor of the legendary interracial New York City night clubs Cafe Society Downtown and Cafe Society Uptown and their successor, The Cookery. Famously known as "the wrong place for the Right people," Cafe Society featured the cream of jazz and blues performers--among whom were Billie Holiday, Big Joe Turner, Lester Young, Buck Clayton, Big Sid Catlett, and Mary Lou Williams--as well as comedy stars Imogene Coca, Zero Mostel, and Jack Gilford, the boogie-woogie pianists, and legendary gospel and folk artists. A trailblazer in many ways, Josephson welcomed black and white artists alike to perform for mixed audiences in a venue whose walls were festooned with artistic and satiric murals lampooning what was then called "high society." Featuring scores of photographs that illustrate the vibrant cast of characters in Josephson's life, this exceptional book speaks richly about Cafe Society's revolutionary innovations and creativity, inspired by the vision of one remarkable man.

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Cairo Pop

Youth Music in Contemporary Egypt

Daniel J. Gilman

Cairo Pop is the first book to examine the dominant popular music of Egypt, shababiyya. Scorned or ignored by scholars and older Egyptians alike, shababiyya plays incessantly in Cairo, even while Egyptian youth joined in mass protests against their government, which eventually helped oust longtime Egyptian president Hosni Mubarak in early 2011. Living in Cairo at the time of the revolution, Daniel Gilman saw, and more importantly heard, the impact that popular music can have on culture and politics. Here he contributes a richly ethnographic analysis of the relationship between mass-mediated popular music, modernity, and nationalism in the Arab world.

Before Cairo Pop, most scholarship on the popular music of Egypt focused on musiqa al-ṭarab. Immensely popular in the 1950s and ’60s and even into the ’70s, musiqa al-ṭarab adheres to Arabic musical theory, with non-Western scales based on tunings of the strings of the ‘ud—the lute that features prominently, nearly ubiquitously, in Arabic music. However, today one in five Egyptians is between the ages of 15 and 24; half the population is under the age of 25. And shababiyya is their music of choice. By speaking informally with dozens of everyday young people in Cairo, Gilman comes to understand shababiyya as more than just a musical genre: sometimes it is for dancing or seduction, other times it propels social activism, at others it is simply sonic junk food.

In addition to providing a clear Egyptian musical history as well as a succinct modern political history of the nation, Cairo Pop elevates the aural and visual aesthetic of shababiyya—and its role in the lives of a nation’s youth.

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Cajun and Zydeco Dance Music in Northern California

Modern Pleasures in a Postmodern World

Queen Ida. Danny Poullard. Documentary filmmaker Les Blank. Chris Strachwitz and Arhoolie Records. These are names that are familiar to many fans of Cajun music and zydeco, and they have one other thing in common--longtime residence in the San Francisco Bay Area. They are all part of a vibrant scene of dancing and live Louisiana-French music that has evolved over several decades. Cajun and Zydeco Dance Music in Northern California traces how this region of California has been able to develop and sustain dances several times a week with more than a dozen bands. Description of this active regional scene opens into a discussion of several historical trends that have affected life and music in Louisiana and the nation. The book portrays the diversity of people who have come together to adopt Cajun and Creole dance music as a way to cope with a globalized, media-saturated world. Ethnomusicologist Mark F. DeWitt innovatively weaves together interviews with musicians and dancers (some from Louisiana, some not), analysis of popular media, participant observation as a musician and dancer, and historical perspectives from wartime black migration patterns, the civil rights movement, American folk and blues revivals, California counterculture, and the rise of cultural tourism in "Cajun Country." In so doing, he reveals the multifaceted appeal of celebrating life on the dance floor, Louisiana-French style.

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California Polyphony

Ethnic Voices, Musical Crossroads

Mina Yang

What does it mean to be "Californian"? Mina Yang suggests an answer that lies at the intersection of musicology, cultural history, and politics. Consisting of a series of musical case studies of major ethnic groups in California, this book approaches the notion of Californian identity from diverse perspectives, each nuanced by class, gender, and sexuality. This most populous and most affluent state in the Union has been setting musical and cultural trends for decades, and Yang's study thoughtfully illuminates the multiculutral nature of its musics.

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Cancionero

Songs of Laughter and Faith in New Mexico

John Donald Robb

Composer John Donald Robb (1892–1989) built an invaluable legacy in the preservation of New Mexico’s rich musical traditions. His extensive field recordings, compositions, papers, and photographs now comprise the John Donald Robb Archives in the University of New Mexico Libraries’ Center for Southwest Research. Cancionero presents thirteen Hispanic folk songs from Robb’s renowned archive. Created for musicians and vocalists, Cancionero features arrangements for voice with piano or guitar accompaniments as well as selected concert versions for voice, oboe, harp, and piano. Introductions include information about song forms, history, and subjects, providing further insight into each song.

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Cantonese Love Songs

An English translation of Jiu Ji-yung's Cantonese songs of the early 19th century

Peter Morris

This collection of 97 Cantonese love songs aims to give a wider audience the opportunity of reading these songs in English. The author investigates the language and social background of the songs and provides cross-references to Chinese and Western literature.

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Cape Town Harmonies

Memory, Humour and Resilience

Armelle Gaulier

"Cape Town’s public cultures can only be fully appreciated through recognition of its deep and diverse soundscape. We have to listen to what has made and makes a city. The ear is an integral part of the ‘research tools’ one needs to get a sense of any city. We have to listen to the sounds that made and make the expansive ‘mother city’. Various of its constituent parts sound different from each other … [T]here is the sound of the singing men and their choirs (“teams” they are called) in preparation for the longstanding annual Malay choral competitions. The lyrics from the various repertoires they perform are hardly ever written down. […] There are texts of the hallowed ‘Dutch songs’ but these do not circulate easily and widely. Researchers dream of finding lyrics from decades ago, not to mention a few generations ago – back to the early 19th century. This work by Denis Constant Martin and Armelle Gaulier provides us with a very useful selection of these songs. More than that, it is a critical sociological reflection of the place of these songs and their performers in the context that have given rise to them and sustains their relevance. It is a necessary work and is a very important scholarly intervention about a rather neglected aspect of the history and present production of music in the city." — Shamil Jeppie, Associate Professor, Department of Historical Studies, University of Cape Town

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Cape Verde, Let's Go

Creole Rappers and Citizenship in Portugal

Derek Pardue

Musicians rapping in kriolu --a hybrid of Portuguese and West African languages spoken in Cape Verde--have recently emerged from Lisbon's periphery. They popularize the struggles with identity and belonging among young people in a Cape Verdean immigrant community that shares not only the kriolu language but its culture and history. Drawing on fieldwork and archival research in Portugal and Cape Verde, Derek Pardue introduces Lisbon's kriolu rap scene and its role in challenging metropolitan Portuguese identities. Pardue demonstrates that Cape Verde, while relatively small within the Portuguese diaspora, offers valuable lessons about the politics of experience and social agency within a postcolonial context that remains poorly understood. As he argues, knowing more about both Cape Verdeans and the Portuguese invites clearer assessments of the relationship between the experience and policies of migration. That in turn allows us to better gauge citizenship as a balance of individual achievement and cultural ascription.

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