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Over the past three centuries, supporters of German music ranging from music scholars to politicians have nurtured the notion that the German-speaking world possesses a peculiar strength in the cultivation of music. \u003cp\u003e\u003c\/p\u003eThis book explores the questions of how music came to be associated with German identity, when and how Germans came to be regarded as the \"people of music,\" and how music came to be designated as \"the most German art.\" Drawing on the expertise of leading scholars in German history, musicology, and German literature, the essays assembled here examine philosophy, literature, politics, and social currents, as well as the creation and performance of folk music, art music, church music, jazz, and pop to explore the ways in which music has continued to play a central role in the German national imagination and in shaping German identity.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Celia Applegate, Pamela Potter\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 0226021319\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9780226021317\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e University of Chicago Press\u003cbr\u003e\u003cb\u003eLanguage:\u003c\/b\u003e English\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 08\/01\/2002\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 329\u003cbr\u003e\u003cb\u003eFormat:\u003c\/b\u003e Paperback\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.01lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 8.94h x 6.02w x 0.74d","brand":"Celia Applegate","offers":[{"title":"Paperback","offer_id":43913416474879,"sku":"9780226021317","price":37.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/2982\/9887\/products\/img_1faa6cad-ab5d-4ba0-adf5-cdec1554d5d7.jpg?v=1680620287"},{"product_id":"the-voice-of-egypt-1997-virginia-danielson-9780226136127","title":"The Voice of Egypt: Umm Kulthum, Arabic Song, and Egyptian Society in the Twentieth Century Volume 1997","description":"Umm Kulthum, the \"voice of Egypt,\" was the most celebrated musical performer of the century in the Arab world. More than twenty years after her death, her devoted audience, drawn from all strata of Arab society, still numbers in the millions. Thanks to her skillful and pioneering use of mass media, her songs still permeate the international airwaves. In the first English-language biography of Umm Kulthum, Virginia Danielson chronicles the life of a major musical figure and the confluence of artistry, society, and creativity that characterized her remarkable career. \u003cp\u003e\u003c\/p\u003eDanielson examines the careful construction of Umm Kulthum's phenomenal popularity and success in a society that discouraged women from public performance. From childhood, her mentors honed her exceptional abilities to accord with Arab and Muslim practice, and as her stature grew, she remained attentive to her audience and the public reception of her work. Ultimately, she created from local precendents and traditions her own unique idiom and developed original song styles from both populist and neo-classical inspirations. These were enthusiastically received, heralded as crowning examples of a new, yet authentically Arab-Egyptian, culture. Danielson shows how Umm Kulthum's music and public personality helped form popular culture and contributed to the broader artistic, societal, and political forces that surrounded her. \u003cp\u003e\u003c\/p\u003eThis richly descriptive account joins biography with social theory to explore the impact of the individual virtuoso on both music and society at large while telling the compelling story of one of the most famous musicians of all time. \u003cp\u003e\u003c\/p\u003e\"She is born again every morning in the heart of 120 million beings. 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In this book, Gavin Steingo examines kwaito as it has developed alongside the democratization of South Africa over the past two decades. Tracking the fall of South African hope into the disenchantment that often characterizes the outlook of its youth today--who face high unemployment, extreme inequality, and widespread crime--Steingo looks to kwaito as a powerful tool that paradoxically engages South Africa's crucial social and political problems by, in fact, seeming to ignore them. \u003cp\u003e\u003c\/p\u003e Politicians and cultural critics have long criticized kwaito for failing to provide any meaningful contribution to a society that desperately needs direction. As Steingo shows, however, these criticisms are built on problematic assumptions about the political function of music. Interacting with kwaito artists and fans, he shows that youth aren't escaping their social condition through kwaito but rather using it to expand their sensory realities and generate new possibilities. 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Yet during the turbulent decade following the Bolshevik Revolution, Stravinsky and Prokofiev lived abroad and Shostakovich was just finishing his conservatory training. While the fame of these great musicians is widely recognized, little is known about the creative challenges and political struggles that engrossed musicians in Soviet Russia during the crucial years after 1917. \u003ci\u003eMusic for the Revolution \u003c\/i\u003eexamines musicians' responses to Soviet power and reveals the conditions under which a distinctively Soviet musical culture emerged in the early thirties. \u003c\/p\u003e\u003cp\u003eGiven the dramatic repression of intellectual freedom and creativity in Stalinist Russia, the twenties often seem to be merely a prelude to Totalitarianism in artistic life. Yet this was the decade in which the creative intelligentsia defined its relationship with the Soviet regime and the aesthetic foundations for socialist realism were laid down. In their efforts to deal with the political challenges of the Revolution, musicians grappled with an array of issues affecting musical education, professional identity, and the administration of musical life, as well as the embrace of certain creative platforms and the rejection of others. Nelson shows how debates about these issues unfolded in the context of broader concerns about artistic modernism and elitism, as well as the more expansive goals and censorial authority of Soviet authorities. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eMusic for the Revolution\u003c\/i\u003e shows how the musical community helped shape the musical culture of Stalinism and extends the interpretive frameworks of Soviet culture presented in recent scholarship to an area of artistic creativity often overlooked by historians. 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In this book, Nicholas Hammond takes a sonic approach to this remarkable age, opening our ears to the myriad ways in which sound revealed the complex acoustic dimensions of class, politics, and sexuality in seventeenth-century Paris.\u003c\/p\u003e\u003cp\u003eThe discovery in the French archives of a four-line song from 1661 launched Hammond's research into the lives of the two men referenced therein--Jacques Chausson and Guillaume de Guitaut. In retracing the lives of these two men (one sentenced to death by burning and the other appointed to the Ordre du Saint-Esprit), Hammond makes astonishing discoveries about each man and the ways in which their lives intersected, all in the context of the sounds and songs heard in the court of Louis XIV and on the streets and bridges of Paris. Hammond's study shows how members of the elite and lower classes in Paris crossed paths in unexpected ways and, moreover, how noise in the \u003ci\u003eancien r馮ime\u003c\/i\u003e was central to questions of crime and punishment: street singing was considered a crime in itself, and yet street singers flourished, circulating information about crimes that others may have committed, while political and religious authorities wielded the powerful sounds of sermons and public executions to provide moral commentaries, to control crime, and to inflict punishment.\u003c\/p\u003e\u003cp\u003eThis innovative study explores the theoretical, social, cultural, and historical contexts of the early modern Parisian soundscape. 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In this highly original book, Penelope Gouk argues that developments in sixteenth-century musical practices changed English thought on science and magic in the next century. 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Halina Goldberg provides a historiographic perspective that allows a new and better understanding of Poland's cultural and musical circumstances. Chopin's Warsaw emerges as a vibrant European city that was home to an opera house, various smaller theaters, one of the earliest modern conservatories in Europe, several societies which organized concerts, musically active churches, spirited salon life, music publishers and bookstores, instrument builders, and (for a short time) a weekly paper devoted to music. \u003cp\u003e\u003c\/p\u003eWarsaw was aware of and in tune with the most recent European styles and fashions in music, but it was also the cradle of a vernacular musical language that was initiated by the generation of Polish composers before Chopin and which found its full realization in his work. Significantly, this period of cultural revival in the Polish capital coincided with the duration of Chopin's stay there--from his infancy in 1810 to his final departure from his homeland in 1830. An uncanny convergence of political, economic, social, and cultural circumstances generated the dynamic musical, artistic, and intellectual environment that nurtured the developing genius. Had Chopin been born a decade earlier or a decade later, Goldberg argues, the capital--devastated by warfare and stripped of all cultural institutions--could not have provided support for his talent. 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This love song, telling the story of a young woman waiting for her lover to return from the battlefield, began as a poem written by a German solider during World War I. The soldier-poet's words found their way to Berlin's decadent cabaret scene in the 1930s, where they were set to music by one of Hitler's favored composers. The song's singer, however, soon found herself torn between her desire for fame and a personal hatred of the Nazi regime. In a gripping and suspenseful narrative, the three artists' remarkable stories of arrests and close calls intertwine with the recollections of soldiers on all sides who fought their way through deserts and towns, seeking solace and finding hope in \"Lili Marlene.\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Liel Leibovitz, Matthew Miller\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 0393065847\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9780393065848\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e W. W. 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This book also poses the question then, \"What is African music?\" Agawu offers a new and provocative look at the history of African music scholarship that will resonate with students of ethnomusicology and post-colonial studies. He offers an alternative \"Afro-centric\" means of understanding African music, and in doing so, illuminates a different mode of creativity beyond the usual provenance of Western criticism. This book will undoubtedly inspire heated debate--and new thinking--among musicologists, cultural theorists, and post-colonial thinkers. Also includes 15 musical examples.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Kofi Agawu\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 0415943906\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9780415943901\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e Routledge\u003cbr\u003e\u003cb\u003eLanguage:\u003c\/b\u003e English\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 05\/16\/2003\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 266\u003cbr\u003e\u003cb\u003eFormat:\u003c\/b\u003e Paperback\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.03lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.00h x 6.54w x 0.69d","brand":"Kofi Agawu","offers":[{"title":"Paperback","offer_id":43919746040063,"sku":"9780415943901","price":59.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/2982\/9887\/products\/img_efe9819b-adae-4e9a-ae22-60fba0a4e2eb.jpg?v=1680811668"},{"product_id":"musics-of-many-cultures-elizabeth-may-9780520047785","title":"Musics of Many Cultures: An Introduction","description":"The foremost authorities in the field of music from around the world have contributed twenty original essays for this volume, edited by Elizabeth May. Only European musics have been omitted, except insofar as they affect other musics discussed here. North American music is represented by the musics of the Native Americans and the Alaskan Eskimos. \u003cp\u003e\u003c\/p\u003e The essays are profusely illustrated with maps, drawings, diagrams, photographs, and music examples. There are extensive glossaries, bibliographies, and annotated film lists. The book is directed to readers seriously interested in acquainting themselves with musics beyond the confines of Western musicology. \u003cp\u003e\u003c\/p\u003e Contributors include Bruno Nettl, Kuo-huang Han and Lindy Li Mark, Kang-sook Lee, William P. Malm, David Morton, Bonnie C. Wade, Margaret J. Kartomi, Adrienne L. Kaeppler, Trevor A. Jones, Atta Annan Mensah, John Blacking, Alfred Kwashie Ladzekpo and Kobla Ladzekpo, Cynthia Tse Kimberlin, Jozef M. Pacholczyk, Ella Zonis, Abraham A. Schwadron, David P. McAllester, Lorraine D. Koranda, and Dale A. 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In the forty years since, May '68 has come to occupy a singular place in the modern political imagination, not just in France but across the world. Eric Drott examines the social, political, and cultural effects of May '68 on a wide variety of music in France, from the initial shock of 1968 through the \"long\" 1970s and the election of Mitterrand and the socialists in 1981. Drott's detailed account of how diverse music communities developed in response to 1968 and his pathbreaking reflections on the nature and significance of musical genre come together to provide insights into the relationships that link music, identity, and politics.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Eric Drott\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 0520268970\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9780520268975\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e University of California Press\u003cbr\u003e\u003cb\u003eLanguage:\u003c\/b\u003e English\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 07\/02\/2011\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 368\u003cbr\u003e\u003cb\u003eFormat:\u003c\/b\u003e Paperback\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.00lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 8.90h x 5.90w x 0.90d\u003cbr\u003e\u003cbr\u003e\u003cb\u003eReview Citation(s): \u003c\/b\u003e\u003cbr\u003e\u003ci\u003eChoice\u003c\/i\u003e 01\/01\/2012","brand":"Eric Drott","offers":[{"title":"Paperback","offer_id":43919949594879,"sku":"9780520268975","price":34.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/2982\/9887\/products\/img_df3c3dd1-3609-4321-a989-8e13fd117ab5.jpg?v=1680812803"},{"product_id":"the-musical-legacy-of-wartime-leslie-a-sprout-9780520275300","title":"The Musical Legacy of Wartime France: Volume 16","description":"For the three forces competing for political authority in France during World War II, music became the site of a cultural battle that reflected the war itself. German occupying authorities promoted German music at the expense of French, while the Vichy administration pursued projects of national renewal through culture. Meanwhile, Resistance networks gradually formed to combat German propaganda while eyeing Vichy's efforts with suspicion. In \u003ci\u003eThe Musical Legacy of Wartime France\u003c\/i\u003e, Leslie A. Sprout explores how each of these forces influenced the composition, performance, and reception of five well-known works: the secret Resistance songs of Francis Poulenc and those of Arthur Honegger; Olivier Messiaen's \u003ci\u003eQuartet for the End of Time\u003c\/i\u003e, composed in a German prisoner of war camp; Maurice Duruflé's \u003ci\u003eRequiem, \u003c\/i\u003e one of sixty-five pieces commissioned by Vichy between 1940 and 1944; and Igor Stravinsky's \u003ci\u003eDanses concertantes\u003c\/i\u003e, which was met at its 1945 Paris premiere with protests that prefigured the aesthetic debates of the early Cold War. Sprout examines not only how these pieces were created and disseminated during and just after the war, but also how and why we still associate these pieces with the stories we tell--in textbooks, program notes, liner notes, historical monographs, and biographies--about music, France, and World War II.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Leslie A. 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Dr Nasser Al-Taee traces several threads in a vast repertoire of musical representations, concentrating primarily on the images of violence and sensuality. Al-Taee argues that these prevailing traits are not only the residual manifestation of the Ottoman threat to Western Europe, but also the continuation of a long and complex history of fear and fascination towards the Orient and its Islamic religion. In addition to analyses of musical works, Al-Taee draws on travel accounts, paintings, biographies, and political events to engage with important issues such as gender, race, and religious differences that may have contributed to the variously complex images of the Orient in Western music. The study extends the range of Orientalism to cover eighteenth-century Austria, nineteenth-century Russia, and twentieth-century America. 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