Ethnomusicology

The contributors consider fieldwork as an issue-laden practice rather than as a methodology requiring a prescriptive manual, challenging the very notion of fieldwork, its goals and its place in historical studies.

Composer, folklorist, and performer Bela Bartok (1881-1945) is internationally renowned as one of the most important and influential musicians of the twentieth century. Throughout his life he wrote lectures and essays that dealt with virtually every aspect of East European folk music. Many of those essays, previously scattered in specialty journals in four different languages, are collected here for the first time. All are concerned with that branch of musicology within which Bartok was most influential, and for which he is best known: research into folk music, or ethnomusicology. The volume includes a preface by editor Benjamin Suchoff, a leading expert on Bartok's music and writings. Suchoff examines Bartok's developing views on the folk-music traditions of Hungary, Romania, Slovakia, and the Arab world.

This compilation of essays spans a wide range of individual perspectives within the varied disciplines related to Bartók's life and work. The nineteen chapters together constitute a broad yet integrated picture of the Hungarian composer's contributions to twentieth-century music and scholarship. While self-contained, each chapter contributes to a larger scheme of interrelated subjects that provide a coherent view of the Bartók field. The book also contains integrative theoretic-analytical approaches to Bartók's musical language that demonstrate relations between the modalities and rhythms of folk music and his more abstract musical principles. Some chapters examine Bartók's folk-music materials in connection with his fieldwork, transcription techniques, classification methodology, and compositional influences. Other chapters explore Bartók's system of composition from its early stages to maturity by way of his abstract works and his folk-music transcriptions. The book also addresses the relevance of Bartók's work to broader historical, philosophical, and folkloristic, compositional, performance, and reception issues.

'World music' emerged as an invention of the West from encounters with other cultures. This book draws readers into a remarkable range of these historical encounters, in which music had the power to evoke the exotic and to give voice to the voiceless. In the course of the volume's eight chapters the reader witnesses music's involvement in the modern world, but also the individual moments and particular histories that are crucial to an understanding of music's diversity. World Music is wide-ranging in its geographical scope, yet individual chapters provide in-depth treatments of selected music cultures and regional music histories. The book frequently zooms in on repertoires and musicians - such as Bob Marley, Bartok, and Nusrat Fateh Ali Khan - and attempts to account for world music's growing presence and popularity at the beginning of the twenty-first century.

Illustrations Preface An Introduction to Women, Music, and Culture by Ellen Koskoff From Singing to Lamenting: Women's Musical Role in a Greek Village by Susan Auerbach Balkan Women as Preservers of Traditional Music and Culture by Patricia K. Shehan "Ya Salio de la Mar": Judeo-Spanish Wedding Songs among Moroccan Jews in Canada by Judith R. Cohne A Sociohistorical Perspective on Tunisian Women as Professional Musicians by L. JaFran Jones Hazara Women in Afghanistan: Innovators and Preservers of a Musical Tradition by Hiromi Lorraine Sakata Professional Women in Indian Music: The Death of the Courtesan Tradition by Jennifer Post Identity and Individuality in an Ensemble Tradition: The Female Vocalist in Java by R. Anderson Sutton Inversion and Conjuncture: Male and Female Performance among the Temiar of Peninsular Malaysia by Marina Roseman Female Tayu in the Gidayu Narrative Tradition of Japan by A. Kimi Coaldrake Musical Expression and Gender Indentity in the Myth and Ritual of the Kalapalo of Central Brazil by Ellen B. Basso The Joyful Sound: Women in the Nineteenth-Century United States Hymnody Tradition by Esther Rothenbusch Close Harmony: Early Jazz Styles in the Music of the New Orleans Boswell Sisters by Jane Hassinger An Investigation into Women-Identified Music in the United States by Karen E. Petersen The Sound of a Woman's Voice: Gender and Music in a New York Hasidic Community by Ellen Koskoff Power and Gender in the Musical Experiences of Women by Carol E. Robertson Index About the Contributors

Cultural tragedy often accompanies the death of biological species in the South American rain forests. As fragile as the ecosystem is, however, the culture of the Warao Native Americans (inhabitants of the lower Orinoco River delta in Venezuela) continues to thrive. In this lively blend of musicology, anthropology, and environmental awareness, Dale Olsen shows that music holds together much of their existence. For the Warao, who live in a rain forest habitat that remains relatively undisturbed by outside influences, nearly all aspects of life include music; it offers diversion, stability, protection, and power. Olsen divides their musical genres into three categories: music for pleasure, such as dancing; music for utility, including lullabies; and music for theurgy - the largest group, which includes all songs pertaining to cosmology or calling upon supernatural forces. These may include shamanistic songs for curing illnesses or for causing illness and death, as well as songs for love, dreaming, making rain, healing wounds, or for cutting down sacred trees to build large canoes. Olsen provides musical and textual transcriptions of many songs, which are translated, explained, analyzed, and included on an enclosed compact disk. He presents detailed information about Warao musical instruments, relating them to mythology, describing them (with numerous photographs), and placing them in their circum-Caribbean context.

The history of Haiti throughout the twentieth century has been marked by oppression at the hands of colonial and dictatorial overlords. But set against this "day for the hunter" has been a "day for the prey," a history of resistance, and sometimes of triumph. With keen cultural and historical awareness, Gage Averill shows that Haiti's vibrant and expressive music has been one of the most highly charged instruments in this struggle--one in which power, politics, and resistance are inextricably fused. Averill explores such diverse genres as Haitian jazz, troubadour traditions, Vodou-jazz, konpa, mini-djaz, new generation, and roots music. He examines the complex interaction of music with power in contexts such as honorific rituals, sponsored street celebrations, Carnival, and social movements that span the political spectrum. With firsthand accounts by musicians, photos, song texts, and ethnographic descriptions, this book explores the profound manifestations of power and song in the day-to-day efforts of ordinary Haitians to rise above political repression.

Fletcher and Francis La Flesche, her Omaha coworker and adopted son, divided the songs into three categories: religious ones, to be sung by a certain class either through initiation or inheritance; social ones, involving dances and games, always sung by a group; and ones to be sung singly, including dream songs, love songs, captive songs, prayer songs, death songs, sweat lodge songs, and songs of thanks. John Comfort Fillmore, a professional musician, added a "Report on the Structural Peculiarities of the Music". Those interested in a vital aspect of Indian culture will want to own this book, which contains the musical scores as well as the native-language words for the songs.

This book presents a social history of the music of the Jewish community in Palestine from the beginnings of Jewish immigration to Palestine in 1880 to the declaration of the State of Israel in 1948. The story is a fascinating case study of a small society of immigrants and refugees who established an internationally recognized professional musical establishment against the backdrop of two world wars, the absorption of successive waves of immigrants, local skirmishes, and a full-scale national war. Though under Ottoman and later British rule, Jewish society in Palestine was virtually autonomous in cultural matters; its musical culture struggled for a balance between a transplanted European heritage and a powerful, ideologically driven desire to find inspiration from the East. Hirshberg opens with a description of music in Palestine under Ottoman rule, and then proceeds to chart the momentous history of the next seventy years in a broadly chronological framework. His final chapters center on the broad array of ideological and social polemics which dominated the musical scene for the entire period.