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Born To Kwaito considers the meaning of kwaito music now. ‘Now’ not only as in ‘after 1994’ or the Truth Commission but as a place in the psyche of black people in post-apartheid South Africa.
This collection of essays tackles the changing meaning of the genre after its decline and its ever-contested relevance. Through rigorous historical analysis as well as threads of narrative journalism Born To Kwaito interrogates issues of artistic autonomy, the politics of language in the music, and whether the music is part of a strand within the larger feminist movement in South Africa. Candid and insightful interviews from the genre’s foremost innovators and torchbearers, such as Mandla Spikiri, Arthur Mafokate, Robbie Malinga and Lance Stehr, provide unique historical context to kwaito music’s greatest highs, most captivating hits and most devastating lows. Born To Kwaito offers up a history of the genre from below by having conversations not only with musicians but with fans, engineers, photographers and filmmakers who bore witness to a revolution.
Living in a place between criticism and biography, Born To Kwaito merges academic theories and rigorous journalism to offer a new understanding into how the genre influenced other art forms such as fashion, TV and film. The book also reflects on how some of the music’s best hits have found new life through the mouths of local hip-hop’s current kingmakers and opened kwaito up to a new generation.
The book does not pretend to be an exhaustive history of the genre but rather a present-active analysis of that history as it settles and finds its meaning.
for SATBarBarB unaccompanied Chilcott's arrangement of the popular American folksong Shenandoah is atmospheric and expressive, with the traditional melody moving seamlessly between voice parts and resting on a cushion of rich harmonies. Shenandoah has been recorded by The King's Singers on the album GOLD (Signum, SIGCD500).
Alan Lomax's prolific sixty-four-year career as a folklorist and musicologist began with a trip across the South and into the heart of Louisiana's Cajun country during the height of the Great Depression. In 1934, his father John, then curator of the Library of Congress's Archive of American Folk Song, took an eighteen-year-old Alan and a 300-pound aluminum disk recorder into the rice fields of Jennings, along the waterways of New Iberia, and behind the gates of Angola State Penitentiary to collect vestiges of African American and Acadian musical tradition. These recordings now serve as the foundational document of indigenous Louisiana music.
Although widely recognized by scholars as a key artifact in the understanding of American vernacular music, most of the recordings by John and Alan Lomax during their expedition across the central-southern fringe of Louisiana were never transcribed or translated, much less studied in depth. This volume presents, for the first time, a comprehensive examination of the 1934 corpus and unveils a multifaceted story of traditional song in one of the country's most culturally dynamic regions.
Through his textual and comparative study of the songs contained in the Lomax collection, Joshua Clegg Caffery provides a musical history of Louisiana that extends beyond Cajun music and zydeco to the rural blues, Irish and English folk songs, play-party songs, slave spirituals, and traditional French folk songs that thrived at the time of these recordings.
Intimate in its presentation of Louisiana folklife and broad in its historical scope, Traditional Music in Coastal Louisiana honors the legacy of John and Alan Lomax by retrieving these musical relics from obscurity and ensuring their understanding and appreciation for generations to come.
? Complete transcriptions of the 1934 Lomax field recordings in southwestern Louisiana
? Side-by-side translations from French to English
? Photographs from the 1934 field trip and biographical details about the performers
for CCBar and piano This entertaining three-part arrangement of the popular sea shanty was written for Cambiata North West. The humorous lyrics are complemented by a jovial piano accompaniment and the piece includes several key changes, allowing different parts to take the lead with the melody.
First published as The Scottish Folksinger in 1973, edited by Norman Buchan and Peter Hall, this book is a perfect introduction to the world of Scottish folk songs. Supported by the Traditional Music & Song Association of Scotland (TMSA). Enjoy discovering - or re-discovering - gems of the Scottish Folk tradition. A pocket-size guide to the very best Scottish folk songs, with the melodic line and guitar chords printed for each song. Arranged in themes, and with songs for all occasions and moods, they paint a picture of Scottish life and culture over a wide geographic area and historical period. * each song is presented with its melodic line and guitar chords * includes favourites such as Skyscraper Wean, Skinny Malinky Lang Legs, Wha'll be King but Charlie?, Jock Tamson's Tripe, Barbara Allan and Lamkin * a celebration in song of Scottish cultural heritage
Many of Scotland's songs were collected by, and first set down by, Robert Burns. His mother used to sing songs to him as a child, and his poetry reflected this rich heritage. This book is a collection of 80 songs, and is organised alphabetically by song title, and contains a glossary to explain many of the Scots words in the songs. The book is now in its third edition and is an inexpensive and essential book for anyone interested in traditional Scottish songs arranged for voice and piano.
One chanter, three drones, three regulators, thirteen keys, too many near-extinctions to mention and 300 years of heroes: that, with a frisson of fairies on moonlit knolls, is the Irish uilleann ('ill-in') pipes. The Wheels Of The World presents an epic tale of triumph and survival, where the soulful heart of a nation has been kept alive across ages by a slender thread of guardians - blind men, eccentrics, self-aggrandisers, noble heroes, bloody-minded revivalists and at least three people compared to Jimi Hendrix. Uilleann piping is Ireland's equivalent to the story of the blues in America, save that here the trail of legends and lore is richer and deeper by far. It is the sound of 18th-century blues - a microtonal virtuoso machine wielded by misfits and geniuses, often one and the same. This is the story of a continuum, from John McSherry, a 21st-century icon, backwards in time through Paddy Keenan, Liam O'Flynn, Finbar Furey, Seamus Ennis, Willie Clancy, Johnny Doran, Leo Rowsome and Patsy Touhey - at the dawn of recorded sound - and thence to find a litany of unrecorded legends before them. It is also a snapshot of professional Irish traditional musicians, after the gold rush of the late 20th century, keeping calm and carrying on.
The Steelband Movement examines the dramatic transformation of pan from a Carnival street music into a national art and symbol in Trinidad and Tobago. By focusing on pan as a cultural process, Stephen Stuempfle demonstrates how the struggles and achievements of the steelband movement parallel the problems and successes of building a nation. Stuempfle explores the history of the steelband from its emergence around 1940 as an assemblage of diverse metal containers to today's immense orchestra of high-precision instruments with bell-like tones. Drawing on interviews with different generations of pan musicians (including the earliest), a wide array of archival material, and field observations, the author traces the growth of the movement in the context of the grass-roots uprisings of the 1930s and 1940s, the American presence in Trinidad in World War II, the nationalist movement of the postwar period, the aftermath of independence from Britain in 1962, the Black Power protests and the oil boom of the 1970s, and the recession of recent years. The Steelband Movement suggests that the history of pan has involved a series of negotiations between different ethnic groups, socioeconomic classes, and social organizations, all of which have attempted to define and use the music according to their own values and interests. This drama provides a window into the ways in which Trinidadians have constructed various visions of a national identity.
A memoir from one of Britain's legendary singers, folklorists, and music historians. A legendary singer, folklorist, and music historian, Shirley Collins has been an integral part of the folk-music revival for more than sixty years. In her new memoir, All in the Downs, Collins tells the story of that lifelong relationship with English folksong-a dedication to artistic integrity that has guided her through the triumphs and tragedies of her life. All in the Downs combines elements of memoir-from her working-class origins in wartime Hastings to the bright lights of the 1950s folk revival in London-alongside reflections on the role traditional music and the English landscape have played in shaping her vision. From formative field recordings made with Alan Lomax in the United States to the "crowning glories" recorded with her sister Dolly on the Sussex Downs, she writes of the obstacles that led to her withdrawal from the spotlight and the redemption of a new artistic flourishing that continues today with her unexpected return to recording in 2016. Through it all, Shirley Collins has been guided and supported by three vital and inseparable loves: traditional English song, the people and landscape of her native Sussex, and an unwavering sense of artistic integrity. All in the Downs pays tribute to these passions, and in doing so, illustrates a way of life as old as England, that has all but vanished from this land. Generously illustrated with rare archival material.
50 Christmas carols
*THE SUNDAY TIMES BESTSELLER* The brand new memoir from the Sunday Times bestselling author of The Road Beneath My Feet. Taking 36 songs from his back catalogue, folk-punk icon Frank Turner explores his songwriting process. Find out the stories behind the songs forged in the hedonistic years of the mid-2000s North London scene, the ones perfected in Nashville studios, and everything in between. Some of these songs arrive fully-formed, as if they've always been there, some take graft and endless reworking to find 'the one'. In exploring them all, Turner reflects with eloquence, insight and self-deprecating wit on exactly what it is to be a songwriter. From love songs and break-up songs to political calls-to-arms; songs composed alone in a hotel room or in soundcheck with the Sleeping Souls, this brilliantly written memoir - featuring exclusive photos of handwritten lyrics and more - is a must-have book for FT fans and anyone curious about how to write music.
This book presents 60 of the very best madrigals for SATB, chosen from the many hundreds of possible candidates. The major composers of the genre are each represented by several madrigals and the lesser figures by one or more.
Chronicling some from the point of view of one of the twentieth century's most influential musicians, Woody Guthrie's Bound for Glory includes an introduction by Joe Klein, author of Primary Colors, in Penguin Modern Classics. 'Now I been here an' I been there, Rambled aroun' most everywhere' Bound for Glory is the funny, cynical and earthy autobiography of Woody Guthrie, the father of modern American folk music. He tells of his childhood running wild in an Oklahoma oil-boom town, the tragedies that struck his family and of life on the open road during the Great Depression - hell-raising and brawling in boxcars, all while singing to raise a dime for his next meal. But above all, this is a song for the America that Woody saw from his lonesome highway, as he travelled from one end of the country to the other with guitar in hand and the songs that made him a legend drifting out over the Dust Bowl. Adapted into an Oscar-winning film starring David Carradine, Bound for Glory is the moving true story of America's greatest folksinger. Woody Guthrie (1912-67), the son of a cowboy, was born in rural Oklahoma. When the Depression arrived, Woody hit the road and travelled round America. He became a folksinger, guitarist, actor, artist and broadcaster, and is best remembered for songs including 'This Land is Your Land', 'Roll On, Columbia, Roll On' and 'Worried Man Blues'. If you enjoyed Bound for Glory, you might like Jack Kerouac's On the Road, also available in Penguin Modern Classics. 'Wild as a train whistle in the mountains, a scrumptious picture of fighting, carousing, singing, laughing migratory across America' The New York Times 'One of the patron saints of American rebelliousness' Joe Klein 'Even readers who never heard Woody or his songs will understand the current esteem in which he's held after reading just a few pages ...always shockingly immediate and real, as if Woody was telling it out loud ...A book to make novelists and sociologists jealous' The Nation
Spanning 30 years of studio, live, and unreleased recordings from the "Golden Voice of the Great Southwest," "Starlight on the Rails" is the most complete collection of Utah Phillips's songs ever released. This definitive set includes Utah's personal reflections about each song and also features renditions of his songs by Kate Wolf, Rosalie Sorrels, and many others. With four CDs and a full-color, 12-page booklet included, this is a must-have keepsake for any music collection.
The Choctaws are among the largest and best-known Indian tribes originally of the Southeastern United States, but over the centuries they have become one of the most acculturated to white ways, known more for what they absorbed of white culture than for their own distinctive traditions. Since the removal of the greatest part of the tribe to Oklahoma in the 1830s, Euro-American acculturation has become especially dominant. Nevertheless, among the isolated group of Choctaws that remained in Mississippi after Removal and a few individuals in Oklahoma, the old tribal dances and songs have been preserved.
This book discusses all aspects of the Choctaw dances and songs performed today by dance troupes in Mississippi and Oklahoma. It describes the social organization of the troupes, the construction and use of their musical instruments, and their costumes. Extensive historical information surveys the early literature on Choctaw music and dance, the divergent experiences of the Mississippi and Oklahoma Groups, and the recent movement toward cultural revival among traditionalists in both states.
The choreography for each dance that survives in the Choctaw repertory is described in detail and illustrated by photographs. The book also contains an overview of Choctaw dance music, with a classification of the song and in-depth analyses of musical elements, form, and design. The structure of dance events is reconstructed here for the first time. Musical transcriptions of thirty songs are included.
The authors, using a comparative approach, have focused on the relationship between contemporary performances in Oklahoma and Mississippi. Despite regional variations in performance practice, the Choctaws have sustained considerable continuity in their dance and music in this century, successfully resisting fierce pressure to assimilate and thereby lose all remaining vestiges of their culture.
This is the first book-length study of Choctaw music and dance since 1943, with much new information on the dances. It will be welcomed by ethnomusicologists, dance ethnologists, students of Native American culture, anthropologists, folklorists, and anyone interested in American Indian dance.
(Waltons Irish Music Books). Twenty famous Irish songs and ballads in easy arrangements for piano, voice and guitar are included in this collection. Songs include: A Bunch of Thyme * Carrickfergus * Cockles and Mussels * Connemara Cradle Song * Danny Boy (Londonderry Air) * I'll Take You Home Again, Kathleen * The Last Rose of Summer * Matt Hyland * The Sally Gardens * Slievenamon * Spancil Hill * The Spinning Wheel * The Black Velvet Band * The Jug of Punch * The Lark in the Clear Air * The Mountains of Mourne * The Old Woman from Wexford * The Rising of the Moon * and more.
The Faber Music Christmas Piano Anthology is an essential collection of the greatest Christmas songs and carols, specially arranged for solo piano, for the intermediate pianist. The perfect gift for Christmas, this beautiful anthology includes favourites such as O Holy Night, Sleigh Ride and It's Beginning To Look A Lot Like Christmas alongside arrangements of Winter (from the Four Seasons), Troika (from Lieutenant Kije), and more.
Winner of the NOBEL PRIZE in Literature 2016 For the first time, a comprehensive, definitive collection of lyrics of music legend and poet Bob Dylan. A major publishing event - a beautiful, comprehensive collection of the lyrics of Bob Dylan with artwork from thirty-three albums. As it was well put by Al Kooper (the man behind the organ on 'Like a Rolling Stone'), 'Bob is the equivalent of William Shakespeare. What Shakespeare did in his time, Bob does in his time.' Christopher Ricks, editor of T. S. Eliot, Samuel Beckett, Tennyson, and The Oxford Book of English Verse, has no argument with Mr. Kooper's assessment, and Dylan is attended to accordingly in this authoritative edition of his lyrics. In the words of Christopher Ricks: 'For fifty years, all the world has delighted in Bob Dylan's books of words and more than words: provocative, mysterious, touching, baffling, not-to-be-pinned-down, intriguing, and a reminder that genius is free to do as it chooses. And, again and again, these are not the words that he sings on the initially released albums.' This edition changes things, giving us the words from officially released studio and live recordings, as well as selected variant lyrics and revisions to these, recent revisions and retrospective ones; and, from the archives, words that, till now, have not been published. As set down, as sung, and as sung again.
Read an excerpt and listen to the songs featured in the book at http://folksonghistory.com/In 2015, Bob Dylan said, "I learned lyrics and how to write them from listening to folk songs. And I played them, and I met other people that played them, back when nobody was doing it. Sang nothing but these folk songs, and they gave me the code for everything that's fair game, that everything belongs to everyone." In Hear My Sad Story, Richard Polenberg describes the historical events that led to the writing of many famous American folk songs that served as touchstones for generations of American musicians, lyricists, and folklorists.Those events, which took place from the early nineteenth to the mid-twentieth centuries, often involved tragic occurrences: murders, sometimes resulting from love affairs gone wrong; desperate acts borne out of poverty and unbearable working conditions; and calamities such as railroad crashes, shipwrecks, and natural disasters. All of Polenberg's accounts of the songs in the book are grounded in historical fact and illuminate the social history of the times. Reading these tales of sorrow, misfortune, and regret puts us in touch with the dark but terribly familiar side of American history.On Christmas 1895 in St. Louis, an African American man named Lee Shelton, whose nickname was "Stack Lee," shot and killed William Lyons in a dispute over seventy-five cents and a hat. Shelton was sent to prison until 1911, committed another murder upon his release, and died in a prison hospital in 1912. Even during his lifetime, songs were being written about Shelton, and eventually 450 versions of his story would be recorded. As the song-you may know Shelton as Stagolee or Stagger Lee-was shared and adapted, the emotions of the time were preserved, but the fact that the songs described real people, real lives, often fell by the wayside. Polenberg returns us to the men and women who, in song, became legends. The lyrics serve as valuable historical sources, providing important information about what had happened, why, and what it all meant. More important, they reflect the character of American life and the pathos elicited by the musical memory of these common and troubled lives.
A third collection of 50 carols, mostly for SATB, some
unaccompanied, and some having accompaniments for piano or organ or
orchestra. The carols reflect a diversity of styles and periods,
while remaining within the capacity of an average group of amateur
performers. Includes compositions and arrangements by Britten,
Holst, Howells, Hurford, Vaughan Williams, and Walton.
Winner of the NOBEL PRIZE in Literature 2016 For the first time, a comprehensive, definitive collection of lyrics of music legend and poet Bob Dylan, complete with expert annotations. A major publishing event - a beautiful, comprehensive collection of the lyrics of Bob Dylan with artwork from thirty-three albums, edited and with an introduction by Christopher Ricks. As it was well put by Al Kooper (the man behind the organ on 'Like a Rolling Stone'), 'Bob is the equivalent of William Shakespeare. What Shakespeare did in his time, Bob does in his time.' Christopher Ricks, editor of T. S. Eliot, Samuel Beckett, Tennyson, and The Oxford Book of English Verse, has no argument with Mr. Kooper's assessment, and Dylan is attended to accordingly in this authoritative edition of his lyrics. In the words of Ricks: 'For fifty years, all the world has delighted in Bob Dylan's books of words and more than words: provocative, mysterious, touching, baffling, not-to-be-pinned-down, intriguing, and a reminder that genius is free to do as it chooses. And, again and again, these are not the words that he sings on the initially released albums.' This edition changes things, giving us the words from officially released studio and live recordings, as well as selected variant lyrics and revisions to these, recent revisions and retrospective ones; and, from the archives, words that, till now, have not been published. The Lyrics, edited with diligence by Christopher Ricks, Lisa Nemrow, and Julie Nemrow. As set down, as sung, and as sung again.
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