Livros: "The Traditional and National Music of Scotland"

1

Francis, David. Traditional music in Scotland: Education, information, advocacy. Edinburgh: Scottish Arts Council, 1999.

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2

Gnielinski, Anneliese Von. Traditional music instruments of Tanzania in the National Museum. [Dar es Salaam]: The Museum, 1985.

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3

Tanchʻe, Hanʾguk Ŭmak Yŏnju, ed. The National Center for Korean Traditional Performing Arts. Seoul, Republic of Korea: National Center for Korean Traditional Performing Arts, Ministry of Culture & Tourism, 1999.

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4

Broad, Stephen. What's going on?: A national audit of youth music in Scotland. Edinburgh: Scottish Arts Council, 2003.

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5

Jones, Edward Huws. The Ceilidh collection: Traditional fiddle tunes from England, Ireland and Scotland. London: Boosey & Hawkes, 2017.

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6

Purser, John. Scotland's music: A history of the traditional and classical music of Scotland from earliest times to the present day. Edinburgh: Mainstream Pub. in conjunction with BBC Scotland, 1992.

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7

(Korea), Kungnip Kugagwŏn, ed. Kŏnwŏn 1400-yŏn, kaewŏn 50-yŏn Kungnip Kugagwŏnsa: The National Center for Korean Traditional Performing Arts. Sŏul-si: Kungnip Kugagwŏn, 2001.

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8

Studwell, William E. The national and religious song reader: Patriotic, traditional, and sacred songs from around the world. New York: Haworth Press, 1996.

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9

British Broadcasting Corporation. Sound Archives. The national music of England, Ireland, Scotland and Wales: Historic music instruments including musical automata; with sections of general and historical musical interest. London: BBC, 1989.

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10

Cicchini, Emily Jane Ball. Edward, the owl, and the Calico Cat: A play / by Emily Cicchini, with traditional folk music of America, Scotland, England, and Wales. Woodstock, Ill: Dramatic Pub., 2005.

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11

Collinson, Francis. Traditional and National Music of Scotland. Taylor & Francis Group, 2021.

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12

Collinson, Francis. Traditional and National Music of Scotland. Taylor & Francis Group, 2021.

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13

Collinson, Francis. Traditional and National Music of Scotland. Taylor & Francis Group, 2021.

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14

Traditional and National Music of Scotland. Taylor & Francis Group, 2021.

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15

Traditional and National Music of Scotland. Routledge, Chapman & Hall, Incorporated, 2023.

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16

Miller, Josephine L. Community-Based Traditional Music in Scotland: A Pedagogy of Participation. Taylor & Francis Group, 2022.

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17

Miller, Josephine L. Community-Based Traditional Music in Scotland: A Pedagogy of Participation. Taylor & Francis Group, 2022.

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18

Traditional FOLK HARP Music of Scotland. Independently Published, 2021.

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19

Kinney, Phyllis. Welsh Traditional Music. Gwasg Prifysgol Cymru / University of Wales Press, 2016.

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20

Welsh Traditional Music. University of Wales Press, 2011.

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21

Alba: New and traditional music from Scotland. Lismor, 1987.

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22

Miller, Josephine L. Community-Based Traditional Music in Scotland: A Pedagogy of Participation. Taylor & Francis Group, 2022.

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23

Miller, Josephine L. Community-Based Traditional Music in Scotland: A Pedagogy of Participation. Taylor & Francis Group, 2022.

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24

Washabaugh, William. Flamenco Music and National Identity in Spain. Taylor & Francis Group, 2016.

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25

Washabaugh, William. Flamenco Music and National Identity in Spain. Taylor & Francis Group, 2016.

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26

Purser, John. Scotland's Music: A History of the Traditional and Classic Music of Scotland from Early Times to the Present Day. Mainstream Publishing, 2007.

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27

Purser, John. Scotland's Music: A History of the Traditional and Classical Music of Scotland from Earliest Times to the Present Day. Trafalgar Square, 1993.

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28

Scotland's music: A history of the traditional and classical music of Scotland from early times to the present day. Edinburgh: Mainstream, 2007.

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29

McAulay, Karen. Our Ancient National Airs: Scottish Song Collecting from the Enlightenment to the Romantic Era. Taylor & Francis Group, 2016.

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30

Our ancient national airs: Scottish song collecting from the enlightenment to the romantic era. Burlington, VT: Ashgate, 2013.

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31

Baker, Ben "Gitty". Traditional Celtic Music Compendium Cigar Box Guitar Songbook: Over 170 Beloved Songs from Ireland Scotland and Beyond, Arranged in Tablature for 3-string Open G GDG. Independently published, 2019.

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32

Clark, Teddy. Ukrainian Folk Music Easy Piano Book: Sheet Music for Late Beginners and Intermediate Pianists I Carol of the Bells I National Anthem of Ukraine and More I Songbook Popular Traditional Patriotic Military Army Songs I Gift for Piano Teachers. Independently Published, 2022.

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33

Dăstu̇rlī zhăne zamanui muzyka damuynyn︠g︡ ȯzektī măselelerī, tăzhīribesī zhăne keleshegī: Kūrmanghazy atyndaghy Qazaq ūlttyq konservatorii︠a︡synyn︠g︡ 70 zhyldyq mereĭtoĭyna arnalghan khalyqaralyq ghylymi-tăzhīribelīk konferent︠s︡ii︠a︡ materialdary (Almaty, 19 qarasha 2014 zh.) = Aktualʹnye problemy, opyt i perspektivy razvitii︠a︡ tradit︠s︡ionnoĭ i sovremennoĭ muzyki materialy mezhdunarodnoĭ nauchno-prakticheskoĭ konferent︠s︡ii, posvi︠a︡shchennoĭ 70-letnemu i︠u︡bilei︠u︡ Kazakhskoĭ nat︠s︡ionalʹnoĭ konservatorii imeni Kurmangazy (Almaty, 19 noi︠a︡bri︠a︡ 2014 g.) = Current issues, experience and perspectives of the development of traditional and modern music materials of international scientific-practical conference dedicated to the 70th anniversary of the Kazakh national Conservatory named after Kurmangazy (Almaty, November 19, 2014). Almaty: Kazakhskai︠a︡ nat︠s︡ionalʹnai︠a︡ konservatorii︠a︡ im. Kurmangazy, 2014.

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34

Lange, Barbara Rose. Recuperating the Alpine Image in Austrian Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0008.

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Chapter 7 discusses the identity politics of alpine music in Austria; alongside art music, it defined the nation until the turn of the millennium. The chapter describes how past and present adherents of the far right claimed the alpine as German-speaking rather than multiethnic, and as traditional in its gender roles. The chapter then explores how intellectuals and artists proposed new concepts of the nation. Neue Volksmusik (new folk music) was one expression, while other musicians such as Hubert von Goisern were explicit in their criticisms especially by the early 2000s, when far-right political parties joined Austria’s national governing coalition. The chapter discusses musicians of the 2000s who added female and multiethnic dimensions to the alpine while they fostered audience participation. Hotel Palindrone blended Celtic and alpine sounds, Netnakisum reversed assumptions about gender, and singer Agnes Palmisano recalled earlier times when female yodelers performed in Vienna salons.

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35

Rehding, Alexander, e Naomi Waltham-Smith, eds. A Cultural History of Western Music in the Industrial Age. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350075603.

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A Cultural History of Western Music in the Industrial Age covers the period from 1790 to 1920, when Western music became entangled with political, technological, and economic change on a global scale. Known as the Romantic era and renowned for its genius composers and virtuoso performers, this period charged full steam ahead, with Western audiences marveling at musics from the far reaches of the world, folksong collectors searching for the musical soul of the people, nation-states demanding national anthems, philosophers contending with the issue of slavery, and the phonograph rewriting musical memory. Besides its traditional aesthetic, ethical, and pedagogical functions, Western music became a force in an evolving landscape of work, leisure, and global economy, beating the drums of industrialization. The 6 volume set of the Cultural History of Western Music presents the first comprehensive history from classical antiquity to today, covering all forms and aspects of music and its ever-changing social context. The themes covered in each volume are society; philosophies; politics; exchange; education; popular culture; performance; and technologies.

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36

Murphy, Clifford R., ed. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038679.003.0002.

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This introductory chapter studies what local working-class New Englanders often refer to as “traditional country music,” particularly the so-called “New England country and western music.” The practitioners of and participants in this regional form of country music use live, local music to drive community events, and they are active stewards of the music's regional history and traditions. New England country and western music, history, and sociability are interwoven with national and international forms of commercial country music. The chapter also examines how the national and international commercial country music industry's diminishing interest in showcasing country music as a regional, working-class music has negatively impacted the vibrancy of New England, and has both threatened and fortified the region's sense of inheritance to the mantle of country music authenticity.

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Carwile, Christey. From Salsa to Salzonto. Editado por Anthony Shay e Barbara Sellers-Young. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.026.

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Since its emergence among Spanish-speaking immigrants in New York City in the 1960s, salsa dance (and music) has become a quintessential symbol of Latin identity in and outside of the United States. The worldwide adoption of the dance has opened up new possibilities for identity construction. Using field research from Accra, Ghana, this chapter explores the ways in which salsa dance has come to inform a pan-African identity, creating moments where local ethnicities become deemphasized. “Traditional” dances in Ghana have historically been viewed as reflecting local “tribal” and/or ethnic identities and later appropriated by national dance companies as a way to construct and display a Ghanaian “national culture.” However, the adoption of salsa dance in Ghana is what I call an “inventive dance tradition,” one not espoused by colonial administrators or postcolonial leaders, but pioneered by a new generation of urban youth with more global agendas.

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38

Doran, Susan. From Tudor to Stuart. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198754640.001.0001.

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Abstract Based on letters, state papers, drama, poetry, and material objects, this book tells the story of the troubled accession and exciting first decade of James I’s reign. After a chapter on Elizabeth I’s death, funeral, and afterlife, the book turns to the new king, first his reign in Scotland and afterwards his first year in England. These chapters detail the problems that he initially faced: the legacy of his predecessor’s reign, questions about his legitimacy, plots in England, and unrest in Ireland. Overall, this section of the book challenges the traditional assumption that James’s accession was smooth, seeing it instead as a very bumpy ride. The succeeding chapters assess the extent of change that occurred in national political life and royal policies by examining how far the establishment of a new Stuart dynasty resulted in fresh personnel in power, alterations in monarchical institutions, shifts in political culture, and a different direction in governmental policies. The book offers a fresh look at James and his wife Anna, providing some new interpretations of their characters and qualities. Other personalities are not neglected, whether Sir Walter Ralegh, Sir Robert Cecil, Henry Howard, earl of Northampton, or the Scots who filled James’s inner court. The book also brings to life national events and politics of the early seventeenth century, including the 1605 Gunpowder Plot, the establishment of Jamestown in Virginia, the plantations in Ulster, James’s troubles with parliament, and his doomed attempt to bring about union with Scotland.

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Comentale, Edward P. From a Basement on Long Island to a Mansion on the Hill. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037399.003.0001.

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This introductory chapter tackles the central themes of this book, at the same time expounding on the author's own musical experiences—here termed “taste biography”—and his aims to expand the scope of this work from the personal to the national. It also discusses a “vernacular modernism” relating to the genres of music to be discussed in succeeding chapters—what according to author Miriam Hansen considers “the vast and varied aesthetic experience of modern life that, in its everydayness, sustained a vital forum of exchange and transformation for those otherwise excluded from traditional forms of power and prestige.” Finally, the chapter argues that these genres sustain not just a set of alternative cultures, but also an alternative economy and an alternative public sphere—a countermodernity within modernity.

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40

Abrahams, Frank. Critical Pedagogy as Choral Pedagogy. Editado por Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.1.

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In this chapter, the author suggests that choral directors use the tenets of critical pedagogy as the framework for the choral experience, a shift in traditional choral pedagogies. The chapter explores the roots of critical pedagogy. In particular it discusses the ways an approach grounded in critical pedagogy might remedy issues of the inappropriate uses of power, the marginalization of singers, and hegemonic practices in school politics. The text suggests rehearsal strategies and explains techniques of reciprocal teaching to better connect the ways singers engage with music and in the process develop musical agency and hone the 21st-century learning and innovation skills of collaboration, communication, creativity, and critical thinking. Finally the chapter addresses the artistic processes of creating, performing, and responding, which are the cornerstones of the 2014 National Core Arts Standards in the United States.

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Head, Paul D. The Choral Experience. Editado por Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.3.

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Much has changed in the choral rehearsal room over the past two generations, particularly in regard to the role the choral conductor assumes—or commands—in the rehearsal process. This chapter discusses the ever-evolving stereotypical roles of the conductor, while examining alternatives to traditional leadership models with particular emphasis on the encouragement of student engagement and peer-based learning. In addition to the facilitation of collaborative learning exercises, the chapter outlines a specific process of written interaction with the choral ensemble. This section is inspired by the renowned “Dear People” letters of Robert Shaw. Finally, in response to the recently revised National Standards for Music Education in the United States, the author discusses possible implementation of the Standards in a performance-based classroom. In the shadow of the relatively recent phenomena of collegiate a cappella groups, these student ensembles have created a new paradigm for peer-led instruction.

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42

Comentale, Edward P. Four Elvises. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037399.003.0005.

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This chapter shows how the very deadliness of the commodity form—its radical detachment from any traditional context—ultimately extends the affective range and reach of popular music. It argues that the rock counterculture was founded not against, but through technological manipulation, commercial standardization, and consumer desire, and thus provided fans with new, more thrilling ways of inhabiting a national scene defined by market identities and taste cultures. Somewhere between Marcel Duchamp's arty toss-off and Elvis Presley's tossed-off art, a certain indifference comes to infect popular culture at large. In the end, this chapter focuses on the experiences and emergent sites of fandom, arguing that, with each cut, the King presented his body as an affectively charged and fully mediated public body and that, with records, radio, television, and film, his revolt extended—from one savvy fan to the next—across the body politic at large.

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Birenbaum Quintero, Michael. Rites, Rights and Rhythms. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199913923.001.0001.

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Colombia has the largest black population in the Spanish-speaking world, but Afro-Colombians have long remained at the nation’s margins. Their recent irruption into the political, social, and cultural spheres is tied to appeals to cultural difference, dramatized by the traditional music of Colombia’s majority-black Southern Pacific region, often called currulao. Yet that music remains largely unknown and unstudied despite its complexity, aesthetic appeal, and social importance. Rites, Rights & Rhythms: A Genealogy of Musical Meaning in Colombia’s Black Pacific is the first book-length academic study of currulao, inquiring into the numerous ways that it has been used: to praise the saints, to grapple with modernization, to dramatize black politics, to demonstrate national heritage, to generate economic development, and to provide social amelioration in a context of war. The author draws on both archival and ethnographic research to trace these and other opinions about how currulao has been understood, illuminating a history of struggles over its meanings that are also struggles over the meanings of blackness in Colombia. Moving from the eighteenth century to the present, this book asks how musical meaning is made, maintained, and sometimes abandoned across historical contexts as varied as colonial slavery, twentieth-century national populism, and neoliberal multiculturalism. What emerges is both a rich portrait of one of the hemisphere’s most important and understudied black cultures and a theory of history traced through the performative practice of currulao.

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Smuts, Malcolm, ed. The Oxford Handbook of the Age of Shakespeare. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199660841.001.0001.

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This handbook presents a broad sampling of current historical scholarship on Shakespeare’s period that it is hoped will prove useful to scholars of his poems and plays. Rather than attempting to summarize the historical ‘background’ to Shakespeare, individual chapters explore numerous topics and methodologies at the forefront of current historical research. An initial cluster shows how political history has expanded beyond a traditional focus on relations between Crown and Parliament to encompass attention to attempts by the government to manage opinion; military challenges; problems in subduing Ireland and mediating relations between the British kingdoms; and the interplay between national affairs and local factions and concerns. Additional chapters deal with relationships between intellectual culture and political imagination, with detailed attention to varieties of early modern historical thought and the emergence of a ‘public sphere’. Other contributors examine facets of religious and social history, including scriptural translation, concepts of the devil, cultural attitudes concerning honour, shame and emotion, and life in London. A final section deals with vernacular architecture, Renaissance gardens, visual culture and theatrical music.

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Gold, Janet N. Culture and Customs of Honduras. Greenwood Publishing Group, Inc., 2009. http://dx.doi.org/10.5040/9798400635403.

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This comprehensive look at contemporary life in the small Latin American nation allows high school students and general readers to explore the many facets of Honduran life and culture. More and more Hondurans and scholars today are becoming aware of the diversity in the nation, and are realizing that rather than a single, homogeneous culture, Honduras is made up of many different cultures. Gold incorporates this contemporary cultural consciousness in her treatment of Honduras's regional and linguistic diversity as well as in her descriptions of Honduras's indigenous communities. Key elements of the work include a look at national identity and cultural diversity, as well as an in-depth study of indigenous Honduras. Other chapters examine religion, as well as daily routines, cuisine, dress, media, sports, festivals, literature and oral storytelling, traditional crafts, visual arts, and music and dance. Ideal for high school students studying world culture, Latin American studies, and anthropology, as well as for general readers interested in the subject, Culture and Customs of Honduras is an essential addition for library shelves.

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Falola, Toyin, e Steven J. Salm. Culture and Customs of Ghana. Greenwood, 2002. http://dx.doi.org/10.5040/9798400635366.

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The decades of independence in Ghana have strengthened the idea of a national Ghanaian culture. The culture and customs of Ghana today are a product of diversity in traditional forms, influenced by a long history of Islamic and European contact.Culture and Customs of Ghanais the first book to concisely provide an up-to-date narrative on the most significant elements of the established cultural life and institutions as well as the most recent changes in the cultural landscape. Written expressly for students and the general reader, it belongs in every library supporting multicultural and African studies curricula. Ghana seeks to cultivate the philosophy of the African personality, to revive, maintain, and promote Ghanaian ways of life and integrate them into political and social institutions. Ghanaians also recognize their relationship to the rest of the world and continue to develop with the forces of globalization.Culture and Customs of Ghanaauthoritatively discusses the vibrant and adaptable people, from their religions to music and dance. A chronology, glossary, and numerous photos complement the text.

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Rios, Fernando. Panpipes & Ponchos. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190692278.001.0001.

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Melodious panpipes and kena flutes. The shimmering strums of a charango. Poncho-clad musicians playing “El Cóndor Pasa” at subway stops or street corners while selling their recordings. These sounds and images no doubt come to mind for many “world music” fans when they recall their early encounters with Andean music groups. Termed “Andean conjuntos” in this book and “pan-Andean bands” in other scholarship, four-to-six member ensembles of this type have long formed part of the “world music” circuit of the Global North, and also been present in the music scenes of Latin America’s major cities. It is only in Bolivia, however, that the Andean conjunto format has represented the preeminent ensemble line-up for interpreting “national music” since the late 1960s. The La Paz band Los Jairas is widely credited, by scholars and local musicians alike, with canonizing the Andean conjunto tradition in the Bolivian context. When the group debuted in 1966, though, their interpretive approach and instrumentation did not represent a radically new direction for the Bolivian folklore movement. As this book reveals, Los Jairas made popular in Bolivia a style of “national music” interpretation with roots in the folklorization practices developed by previous generations of urban criollo-mestizo musicians. A major goal of this book is to illuminate how urban La Paz folkloric musical trends, practices, and initiatives of the early-to-mid 20th century paved the way for Los Jairas’ dramatic ascent to national stardom in the mid-to-late 1960s and facilitated Bolivia’s ensuing canonization of the Andean conjunto. The second principal aim is to shed light on the Bolivian state’s role in the folkloric music movement, from the period when indigenismo first became a major influence on La Paz artists (the 1920s), to the boom decade of the local folklore movement (the 1960s). The third major goal is to elucidate how La Paz folkloric musical practices articulated with non-Bolivian artistic currents. Perhaps surprisingly to many people, given Bolivia’s image internationally as one of the most “Indian” and therefore culturally traditional countries of Latin America, the Bolivian folkloric music movement developed in close dialogue with a wide array of transnational or cosmopolitan musical trends in the pivotal era spanning the 1920s to 1960s.

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Guesnet, François, Benjamin Matis e Antony Polonsky, eds. Polin: Studies in Polish Jewry Volume 32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.001.0001.

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With its five thematic sections covering genres from cantorial to classical to klezmer, this pioneering multi-disciplinary volume presents rich coverage of the work of musicians of Jewish origin in the Polish lands. It opens with the musical consequences of developments in Jewish religious practice: the spread of hasidism in the eighteenth century meant that popular melodies replaced traditional cantorial music, while the greater acculturation of Jews in the nineteenth century brought with it synagogue choirs. Jewish involvement in popular culture included performances for the wider public, Yiddish songs and the Yiddish theatre, and contributions of many different sorts in the interwar years. Chapters on the classical music scene cover Jewish musical institutions, organizations, and education; individual composers and musicians; and a consideration of music and Jewish national identity. One section is devoted to the Holocaust as reflected in Jewish music, and the final section deals with the afterlife of Jewish musical creativity in Poland, particularly the resurgence of interest in klezmer music. The chapters do not attempt to define what may well be undefinable—what “Jewish music” is. Rather, they provide an original and much-needed exploration of the activities and creativity of “musicians of the Jewish faith.“

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Elkins, Evan. Locked Out. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479830572.001.0001.

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“This content is not available in your country.” Media consumers around the world regularly run into this reminder of geography’s imprint on digital culture. Despite utopian hopes of a borderless digital society in an era of globalization, DVDs, video games, and streaming platforms include digital rights management mechanisms like region codes and IP address detection systems that block media access within certain territories. Although propped up by national and transnational intellectual property regulation, these technologies of “regional lockout” are designed primarily to keep the entertainment industries’ global markets distinct. Beyond this, they frustrate consumers around the world and place certain territories on a hierarchy of global media access. Drawing on extensive research of media-industry strategies, consumer and retailer practices, and media regulation, Locked Out explores regional lockout in DVDs, console video games, and streaming video and music platforms. The book argues that regional lockout has shaped global media culture over the past few decades in three interrelated ways: as technological regulation, media distribution, and geocultural discrimination. As a form of digital rights management, regional lockout builds in limitations on the affordances of digital software and hardware. As distribution, it seeks to ensure that digital technologies accommodate media industries’ traditional segmentation of markets. Finally, as a cultural system, regional lockout shapes and reflects long-standing global hierarchies of power and discrimination.

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Guerrieri, Kevin G., e Raymond L. Williams. Culture and Customs of Colombia. Greenwood, 1999. http://dx.doi.org/10.5040/9798400635250.

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This insider's account of Colombia's culture and customs helps the reader develop a balanced view of Colombian life today. Colombia has the longest-standing democratic political system in Latin America, but it is also one of the most violent nations in the world. The full gamut of its culture—both positive and negative—is revealed in this insightful book that is ideal for student research. The authors highlight the most notable aspects of contemporary Colombian culture including coffee production, Nobel Laureate Gabriel García Márquez, painter Fernando Botero, vallenato music, and the notorious drug cartels. Colombia is one of the most diverse, regionalistic, and tradition-bound nations in Latin America.Culture and Customs of Colombiaoffers a thorough examination of those features of national life that make Colombia unique. The book begins by introducing the reader to Colombia's history, geography, and economy. Subsequent chapters discuss the profound importance of the formalities of Catholicism in daily and civic life, as well as the significance of traditional foods and clothing. Colombia's increasingly dynamic cultural scene is detailed in chapters on the performing arts and the plastic arts. The discussion of Colombian literature culminates in a special chapter devoted to the luminary Gabriel GarcÍa Márquez, known the world over for his magical novels, and whose influence and cultural participation in Colombian society are wide-ranging.

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