Bøger i SOAS Studies in Music serien

Tradition and Creativity in Korean Taeg¿m Flute Performance describes the taeg¿m as a representation of Korean culture in the contemporary world. Through the development and performance of creative works, this horizontal bamboo flute reflects both tradition and contemporary creativity. The first part of the book outlines the historical background of the taeg¿m. The author illuminates the potential future of the Korean flute in a globalised world through the analyses of three musical works for taeg¿m. The second part of the book draws on approaches of Practice Research within ethnomusicology and sociology to examine the ways in which the taeg¿m tradition interacts with, and responds to, different genres in performance. Documenting collaborative encounters with musicians from three musical cultures: jazz, Western art and electroacoustic music, the result is an innovative exploration of the musical and social relationships between composers, performers and audiences in intercultural performances, contrasting traditional uses of the taeg¿m with perspectives on its use today.

Music can and does change our perception of our "selves" and our world. This text concerns particular musics of particular people at particular times or events. It interfaces music and religious traditions, using multi- and interdisciplinary approaches.

"First edition published by Ashgate 2004."

This anthology addresses the modern musical culture of interwar Osaka and its surrounding Hanshin region. It is the first to draw together research on the interwar musical culture of the Osaka region and addresses comprehensively both Western and non-Western musical practices and genres.

Dedicated to the late Gerard Behague, this anthology offers perspectives on the evolving legacy of performance ethnography in socio-musical analysis and reflects the heritage but also contemporary trajectories of Behague's scholarly concerns. Prefaced by an essay outlining key developments in the ethnography of performance paradigm.

Through an analysis both broad and deep of primary and secondary sources, ethnography, iconography and current performance practice, this enquiry undertakes a critical approach to the history of kathak dance and presents new data about hereditary performing artists, gendered contexts and practices, and postcolonial cultural reclamation.

The 'Special Period' in Cuba was an extended period of economic depression starting in the early 1990s, characterised by the collapse of revolutionary values and social norms, and a way of life conducted by improvised solutions for survival, including hustling and sex-work. During this period there developed a thriving.

There is a longstanding historical and cultural relationship between Congo and Cuba via the slave trade and the ‿return‿ of Cuban music to Africa, a relationship that has apparently been very scantily documented. It is acknowledged that Congolese roots are present in Cuban music but there is little musical analysis of the actual elements concerned. Charting the formation and experience of the fusion band Grupo Lokito, Sara McGuinness explores the contemporary relationships between Cuban and Congolese music, approaching the topic from the perspective of the practitioner. Gropo Lokito brings together musicians from the two musical worlds, and with them McGuinness works through the experience of developing, recording and performing material with them. Her understanding of both traditions is thus deeply rooted in the experience of this cultural exchange. McGuinness investigates whether the historic connections enable contemporary musicians from both worlds to recognize similarities in each other‿s music. Also included is a historical overview of the Congolese arrival in Cuba, how Congolese musical practices were preserved and assimilated into Cuban music as well as an overview of the evolution of twentieth-century Congolese music.

Tradition and Creativity in Korean Taeg¿m Flute Performance describes the taeg¿m as a representation of Korean culture in the contemporary world.

As Korea has developed and modernized, music has come to play a central role as a symbol of national identity. This work documents court music and dance, Confucian and shaman ritual music, folksongs, the professional folk-art genres of p'ansori and sanjo, and more, as well as instrument making, food preparation and liquor distilling.

"Mrdang aur Tabla Vadanpaddhati", a revelatory text published in 1903, is a manual for playing the pakhavaj (mrdang) and the tabla. This book is a translation of this text, and examines its implications for rhythmic and metric theory. It illuminates the process by which 'tabla theory' was created in the early 20th century.

Demetrius Cantemir has several reputations, for Romanians he is a national cultural figure; on the intellectual map of 18th-century Europe he is seen as an important historian; and in Turkey, he is recognized for his music. This text examines Cantemir's life and studies his work in these fields.

Because of the paucity of European-language studies of Thai classical singing the author has made this study particularly wide and covers a range of topics and aspects of the genre in the hope that it will encourage deeper research into the subject.

Asks what Koreans consider makes music Korean, and how meaning is ascribed to musical creation. This book documents how identity has been negotiated by musicians, composers and audiences. It charts the development of the Korean music scene over the past several years.

Presents an ethnography of a group of female musicians from the Dzigbordi community dance-drumming club from the rural town of Dzodze, located in South-Eastern Ghana. This book addresses important methodological shifts in ethnomusicology that outline a humanistic perspective of music cultures. It includes a DVD documentary.

Gives an impression of music-making in daily life in the poor mountainous region of Shaanbei, northwest China. This book and DVD, gives the background to the area and music-making in society. It also discusses the lives of bards and shawm bands respectively, describing modifications in their ceremonial activities through the 20th century.

Music is a frequently neglected aspect of Japanese culture. This work covers various genres including court music, Buddhist chant, theatre music, as well as contemporary music and connections between music and society in different periods. It presents a balanced and provocative approach that comprehensively treats Japanese musical culture.

Presents a study of Chinese shawm bands in their ceremonial and social context. Based in a county in Shanxi province in northwestern China, this work describes the painful maintenance of ceremonial and its music there under Maoism, its revival with the market reforms of the 1980s and its modification under the assault of pop music since the 1990s.

The bata is one of the most important and representative percussion traditions of the people in southwest Nigeria, and is now learnt and performed around the world. The author explains how the bata drummers' speech encoding method links into universal linguistic properties, unknown to the musicians themselves.

Explores the relationships between language and music in the performance of four narrative genres in the city of Tianjin, China, based upon original field research conducted in the People's Republic of China in the mid 1980s and in 1991. This title is suitable for scholars in Chinese literature and music.

Icelandic men engage in everyday vocal practices where singing, literally for one's Self, is an everyday life skill set against a backdrop of unique natural, historical, economic and social phenomena. Their sagas of song and singing are the subject of this book.

Brings a significant, but less widely-known, Jewish repertoire and tradition to the attention of both the Jewish community (Ashkenazi, Sephardi, Oriental) and the wider global community. This book showcases thirty-one songs and includes English translations, complete Hebrew texts, transliterations and the music notation for each song.

Taiwan aboriginal song has received extensive media coverage since the launch and settlement of a copyright lawsuit following pop group Enigma's allegedly unauthorized use of Amis voices in the 1996 Olympics hit, "Return To Innocence". The author explores the relationship of this song culture to contemporary Amis society.

Examines how traditional and modern elements interact in the practice, reception and functions of wind music, or shengguan, at monasteries in Wutaishan, one of China's four holy mountains of Buddhism. This book provides an insight into the political and economic history of Wutaishan and its music.

Since the early 1990s, Okinawan music has experienced an extraordinary boom in popularity throughout Japan. In particular, the Yaeyama region in the south of Okinawa has long been known as a region rich in performing arts. This title explores some of the reasons for the high profile of Yaeyaman music, both inside and outside Yaeyama.

In this work, the author examines timba, a contemporary Afrocuban dance music style that has become popular since Cuba's post-Soviet economic crisis, and shows how this music has come to represent the sound of a crisis that is not only economic but also social and political in nature.

Analyses a single recording of classical Persian music made by Touraj Kiaras, a distinguished singer, accompanied by four noted instrumentalists. This book presents an analysis that identifies salient structural features, whether of the individual components or of the whole, in a way accessible to the western reader.

Traces the formation the Twelve Muqam, a set of musical suites linked to the Uyghurs, who are one of China's minority nationalities, and culturally Central Asian Muslims.

An examination of the music of the Balinese gender wayang, the quartet of metallophones - gender - that accompanies the Balinese shadow puppet play - wayang kulit. It tackles a number of core ethnomusicological concerns, including the relationship between composition and improvisation, and also highlights issues specific to Balinese music.