Böcker i Eastman/Rochester Studies Ethnomusicology-serien

Drawing on extensive field research conducted over the course of two decades, Bode Omojola examines traditional and contemporary Yoruba genres of music.

Preeminant gamelan performer and scholar Sumarsam explores the concept of hybridity in performance traditions that have developed in the context of Javanese encounters with the West.

Gender in Chinese Music draws together contributions from ethnomusicologists, anthropologists, and literary scholars to explore how music is implicated in changing notions of masculinity, femininity, and genders "in between" in Chinese culture.

A "contemplative" ethnographic study of a Benedictine monastery in Vermont known for its folk-inspired music.

The music of clarinetists Naftule Brandwein and Dave Tarras is iconic of American klezmer music. Their legacy has had an enduring impact on the development of the popular world music genre.

Presenting a range of ethnographic case studies from around the globe, this edited collection offers new ways of thinking about the interconnectivity of gender, place, and emotion in musical performance.

The first full-length study of the musical pasts of Asafo warrior associations based on the author's "ways of walking" with local scholars along the Ghanaian littoral.

Investigates the significance of a range of digital technologies in contemporary Indigenous musical performance, exploring interdisciplinary issues of music production, representation, and transmission.The essays in this volume offer rich and diverse perspectives on the encounter between Indigenous music and digital technologies. They explore how digital media -- whether on CD, VCD, the Internet, mobile technology, or in the studio -- have transformed and become part of the fabric of Indigenous cultural expression across the globe. Communication technologies have long been tools for nation building and imperial expansion, but these studies reveal how over recent decades digital media have become a creative and political resource for Indigenous peoples, often nurturing cultural revival, assisting activism, and complicating earlier hegemonic power structures. Bringing together thework of scholars and musicians across five continents, the volume addresses timely issues of transnationalism and sovereignty, production and consumption, archives and transmission, subjectivity and ownership, and virtuality and the posthuman. Music, Indigeneity, Digital Media is essential reading for scholars working on topics in ethnomusicology, Indigeneity, and media studies while also offering useful resources for Indigenous musicians and activists. The volume provides new perspectives on Indigenous music, refreshes and extends debates about digital culture, and points to how digital media shape what it means to be Indigenous in the twenty-first century.Contributors: Linda Barwick, Beverley Diamond, Thomas R. Hilder, Fiorella Montero-Diaz, John-Carlos Perea, Henry Stobart, Shzr Ee Tan, Russell Wallace Thomas R. Hilder is postdoctoral fellow in musicology at the University of Bergen. Henry Stobart is reader in music at Royal Holloway, University of London. Shzr Ee Tan is senior lecturer at Royal Holloway, University of London.

Chronicles the work of Norberto Tavares, a Cabo Verdean musician and humanitarian who served as the conscience of his island nation during the transition from Portuguese colony to democratic republic.Based on twenty years of collaborative fieldwork, Songs for Cabo Verde: Norberto Tavares's Musical Visions for a New Republic focuses on the musician Norberto Tavares but also tells a larger story about postcolonial nation building, musical activism, and diaspora life within the Lusophone sphere. It follows the parallel trajectories of Cabo Verdean independence and Tavares's musical career over four decades (1975-2010). Tavares lived and worked in Cabo Verde, Portugal, and the United States, where he died in New Bedford, Massachusetts at age fifty-four. Tavares's music serves as a lens through which we can view Cabo Verde's transition from a Portuguese colony to an independent, democratic nation, one that was shaped in part through the musician's persistent humanitarian messages.

Examines how the Kawuugulu Clan-Royal Musical Ensemble uses musical performance and storytelling to manage, structure, model, and legitimize power relations among the Baganda people of south-central Uganda.Tuning the Kingdom draws on oral and written accounts, archival research, and musical analysis to examine how the Kawuugulu Clan-Royal Musical Ensemble of the Kingdom of Buganda (arguably the kingdom's oldest and longest-surviving performance ensemble) has historically managed, structured, modeled, and legitimized power relations among the Baganda people of south-central Uganda. Damascus Kafumbe argues that the ensemble sustains a complex sociopolitical hierarchy, interweaving and maintaining a delicate balance between kin and clan ties and royal prerogatives through musical performance and storytelling that integrates human and nonhuman stories. He describes this phenomenonas "e;tuning the kingdom,"e; and he compares it to the process of tensioning or stretching Kiganda drums, which are always moving in and out of tune. Even as Kawuugulu continues to adapt to the rapidly changing world around it, Tuning the Kingdom documents how Kawuugulu has historically articulated and embodied principles of the three inextricably related domains that serve as the backbone of Kiganda politics: kinship, clanship, and kingship.Damascus Kafumbe is Assistant Professor of Music at Middlebury College.

Offers expansive and intersecting understandings of erotic subjectivity, intimacy, and trauma in performance, in ethnography, and in institutional and disciplinary settings.