A new book titled ‘Flamenco y Poder, un estudio desde la sociología del arte’ (Flamenco and Power, a study from the sociology of art) by Aix Francisco Gracia will be presented on Tuesday, January 27, 2015 at Café Cantante Casa Patas in Madrid. The book is published by the SGAE Foundation.
The author explains some of the keys to his research which won the Prize for Best Doctoral Thesis from the SGAE Foundation in 2012.
Aix Francisco Gracia, PhD in Sociology from the University of Sevilla, discusses the study from three perspectives: firstly he explores the historical relations of flamenco with the economy and politics. He also conducts a study of the social and internal structure of flamenco culture and what has caused the artists to constantly dance between orthodoxy and creation, to make new contributions to flamenco.
The purpose of this study is to “clear the equation of art in relation to society, where either this is a reflection of society, or dialogue with society in a process of mutual influence, where art would reserve some degree of autonomy“, expressed the author.
Cafe Cantante Casa Patas, Calle de los Cañizares 10, Madrid.
The Musician’s Guide to Rhythm (North Shire Press, 2014) is a new book by Julian Gerstin & Ken Dalluge. It’s a practical guide to performing and creating with rhythm for instrumentalists, vocalists, composers, and teachers.
The book covers the many musical styles that contemporary working musicians in the United States encounter: jazz, classical, rock, blues, Cuban, Brazilian, etc., and refers also to Bulgarian, Egyptian, Indonesian, Ghanaian and other styles. Examples from such styles illustrate rhythmic concepts. Co-author Julian Gerstin indicates that this is not a “how to play Brazilian music” type of book, but a clear, progressive approach to skills and concepts from basic (accurate note placement) to complex (improvisation and composition). Each chapter is followed by an extensive set of exercises.
Julian Gerstin adds: “Rhythm is still the least theorized part of music teaching, and, while MGTR focuses on practical application rather than theory, ethnomusicologists will read between the lines and discover ideas that apply more broadly. For example, the concept ethnomusicologists call “timelines” (guide patterns) is introduced not only in reference to African and Caribbean music, but jazz, funk, and Balkan music as well. The guide pattern concept becomes a key to organizing asymmetric patterns in general, part of a larger picture of rhythm built up throughout the book.”
MGTR is written by two long-time performers and music teachers, Julian Gerstin and Ken Dalluge. Julian is a long-time Society for Ethnomusicology member and a contributor to Ethnomusicology, Black Music Research Journal and other scholarly publications. He has done fieldwork in the Caribbean and with Caribbean and African immigrants in the United States, and currently teaches at Keene State College and performs in jazz, Afrocuban, and Balkan ensembles. Ken, who is based in Santa Cruz, California, was originally from Minnesota, the son and grandson of jazz trumpeters. Ken got his union card at 15 and, after music education studies in college, gigged across the country in jazz, rock, R&B, and show bands and, for six years in the 1990s, in France. Ken has also been deeply involved in Brazilian music, traveling to Sao Paulo many times and becoming a consecrated lead drummer in the Umbanda religion.
The Musician’s Guide to Rhythm is available in two versions, paperbound and wirebound.
Author Jan Brokken explores the African component of Dutch Antillean music—examining the history of the rhythm and music known as tambù as well as American jazz pianist Chick Corea’s fascination with the tumba rhythm from Curaçao. The book ends with a discussion of how recent Dutch Caribbean adaptations of European dance forms have shifted from a classical approach to contemporary forms of Latin jazz.
On Curaçao, the history and legacy of slavery shaped culture and music, affecting all the New World. Brokken’s portrayals of prominent Dutch Antillean composers are interspersed with cultural and music history. He puts the Dutch Caribbean’s contributions into a broader context by also examining the 19th-century works by pianist Louis Moreau Gottschalk from New Orleans and Manuel Saumell from Cuba.
Jan Brokken was a journalist for several major Dutch papers. He is the author of the critically acclaimed and bestselling novels The Blind Passengers, The Sad Champion, Jungle Rudy, In The Poets House, and Baltic Souls. His works have been translated into several languages.
University of Illinois Press has published a new book titled Hawaiian Music in Motion – Mariners, Missionaries, and Minstrels that investigates the performance, reception, transmission, and adaptation of Hawaiian music on board ships and in the islands. Thuis new publication reveals the ways both maritime commerce and imperial confrontation facilitated the circulation of popular music in the 19th century. Author James Revell Carr reveals how Hawaiians originally used music and dance to ease tensions with, and spread information about, potentially dangerous foreigners, and then traces the circulation of Hawaiian song and dance worldwide as Hawaiians served aboard American and European ships.
Extracting details from journals and ships’ logs, Carr underscores the profound contrasts between Hawaiians’ treatment by fellow sailors who appreciated their seamanship and music, versus aggressive American missionaries determined to keep Hawaiians on local sugar plantations.
Hawaiian Music in Motion – Mariners, Missionaries, and Minstrels looks at how Hawaiians attained their own ends by capitalizing on Americans’ conflicting expectations and tense discourse around hula and other musical practices.
James Revell Carr also explores American minstrelsy in Hawaii, including professional touring minstrel troupes from the mainland, amateur groups consisting of crew members of visiting ships, and local indigenous troupes of Hawaiian minstrels. In the process he explains how a merging of indigenous and foreign elements became the new sound of native Hawaiian culture at the turn of the twentieth century–and made loping rhythms, falsetto yodels, and driving ukuleles deep-rooted parts of American popular music.
“The scope of this [book] is without precedent in existing scholarship on nineteenth-century musical cultures. . . . His research has uncovered a rich array of new documentary evidence from primary sources, and the narrative engages in a close examination of the interpretive opportunities and limits of this evidence.”–Amy Ku’uleialoha Stillman, University of Michigan
The 240-page publication is supported by a grant from the L. J. and Mary C. Skaggs Folklore Fund. It is also supported by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
James Revell Carr is an associate professor of ethnomusicology at University of North Carolina Greensboro.
Cantares da Serra, a book by Lois Foxo, is the third volume of the Músicas do Caurel series. It includes 500 folk melodies that were preserved in the Serra do Caurel (Lugo, Spain). The transcribed melodies include genres such as coplas de ciego (blindmen songs) as well as songs about love, wedding, the harvest, the Maggi, Christmas , religious poems and instrumental pieces. The set includes a sociological and ethnographic study, illustrated with vintage photographs.
The 420-page book comes with 4 music CDs and 1 DVD.
Published by the Xunta de Galicia, I.S.B.N. 9790-69200-495-0
Celebrated folk music fiddler Violet Hensley and actor, writer and musician Randall Franks have co-authored Hensley’s new autobiography. “Whittlin’ and Fiddlin’ My Own Way: The Violet Hensley Story” reveals nearly a century of experiences through the eyes of Silver Dollar City (a theme park in the state of Missouri) personality Violet Hensley.
“I never thought I would be writing about my life, my music and my fiddle makin’,” said Hensley. “I could have never dreamed coming from a farm in the backwoods of Arkansas that the things I learned on that farm would make me a TV personality and gain me fame around the world.”
The Arkansas Living Treasure Award winner from Yellville, Arkansas learned to play fiddle in 1928 and make fiddles watching her father George W. Brumley in the community of Alamo, Arkansas in 1932.
She is now entertaining Silver Dollar City visitors for her 47th year and will appear through October 26, 2014. Hensley will mark her 98th birthday during the final week of the National Cowboy and Harvest Festival at Silver Dollar City.
Hensley joined in a three-year effort with award-winning journalist and author Randall Franks, “Officer Randy Goode,” from TV’s “In the Heat of the Night,” to complete her memoir. Franks is a champion fiddler who performed with numerous legends including Bill Monroe and Jim and Jesse and guest starred for the Grand Ole Opry for many years.
“It was an amazing experience to work with Violet weekly to refine the experiences from her life and compile a book which not only reflects what many rural families endured in America in the 20th century but what was most unique about Violet as she grew artistically, to find folk music stardom at nearly 50,” indicated Franks. He said that Hensley raised a family of nine with her late husband Adren while he moved the family from town to town and state to state.
“With the advent of the folk music revival, Violet’s blossoming musical and fiddle-making talents, caught the attention of Grammy winner Jimmy Driftwood and the owners of Silver Dollar City in Branson, Missouri,” he said. “She joined the crafter’s cast at Silver Dollar City in 1967, becoming part of the City’s celebrities who used radio, television, and newspapers to invite visitors to the amusement park.”
Peter Herschend, Herschend Family Entertainment co-founder and owner, said Violet is one of the City’s most unique citizens. “In the early years of Silver Dollar City, Violet, Don Richardson and I, along with an interesting assortment of the City’s colorful characters, would spend weeks on the road together…all devoted to promoting SDC,” he said. “I came to know Violet for the amazing wonderful woman that she is. She would amaze us with stories of field plowing with her mules. Then a new Violet would seem to appear when she would sit for an interview with some grizzled reporter (reporters who probably didn’t believe she was real), and she would proceed to win them over with her charm, her skills as an artist, and her talent as a musician.”
Sharing her talents in front of millions, Hensley became one of the first female fiddlers to reach a large international audience appearing at the Smithsonian’s Festival of American Folklife, festivals, colleges, and on numerous local, regional and national television and radio shows such as “The Beverly Hillbillies,” “Captain Kangaroo,” and “Live! with Regis and Kathie Lee.” according to Franks.
“I hope folks will enjoy getting a glimpse at what my near century on this world has been,” said Hensley. “It’s been a hoot so far and what’s even better is while the book is written – the story continues. I hope folks will join me for what is yet to come, they can start by reading the book.”
The 258-page soft cover book from Peach Picked Publishing includes 145 photos.
These historic recordings were originally released between 1957 and 1960 and exhibit the rise of Johnny Cash to superstar status on the country music scene. The collection features numerous hits from the legendary Sun Studios, such as “Folsom Prison Blues”, “Hey Porter” and “I Walk the Line”.
All original albums also contain a bonus track with 14 extra tracks in total across the set.
Shpil: The Art of Playing Klezmer, edited by Yale Strom was recently published. It is both a history of this popular form of traditional Jewish music and an instructional book for professional and amateur musicians.
Shpil offers an extensive history of klezmer, from its medieval origins to the present era. Individual chapters concentrate on the most common instruments found in a typical klezmer ensemble: violin, clarinet, accordion, bass, percussion, and even voice.
Contributors include a cast of musicians who have recorded, performed, and studied klezmer for years and have performed throughout the world. They are Norbert Stachel (clarinet), Peter Stan (accordion), Jeff Pekarek (bass), David Licht (drums), Elizabeth Schwartz (vocals) and Yale Strom (violin). All are members of the klezmer ensemble Hot Pstromi.
Each chapter concludes with a selection of three songs that illustrate and exemplify the history and techniques already described. Shpil includes a “klezmer glossary” of mostly musical terms and a discography of both classic and new klezmer and Yiddish recordings, all designed to guide readers in the appreciation of this musical genre and the art of playing and singing klezmer tunes.
Yale Strom is one of the world’s leading ethnographers of klezmer culture. He has been doing field research among the Jews and Roma in Central and Eastern Europe on the topic since 1981. He is a graduate of San Diego State University and New York University and currently is artist-in-residence in the Jewish Studies Program at SDSU.
Live from Dar es Salaam, Popular Music and Tanzania’s Music Economy is a new book by Alex Perullo that examines the music industry, intellectual property rights, and neoliberalization in Tanzania, East Africa. In addition to discussing radio stations, recording studios, live performances, and copyright law, Live from Dar es Salaam provides a means to understand how, in a period of sixteen years, Tanzanian musicians, deejays, producers, promoters, and others created one of the strongest music economies in Africa.
When socialism collapsed in Tanzania, the government-controlled music industry gave way to a vibrant independent music scene. Alex Perullo explores the world of the bands, music distributors, managers, and clubs that attest to the lively and creative music industry in Dar es Salaam.
Perullo examines the formation of the city’s music economy, considering the means of musical production, distribution, protection, broadcasting, and performance. He exposes both legal and illegal strategies for creating business opportunities employed by entrepreneurs who battle government restrictions and give flight to their musical aspirations. This is a singular look at the complex music landscape in one of Africa’s most dynamic cities.
Renowned American country and folk music singer Suzy Bogguss had a revelation on stage with Garrison Keillor (host of the popular A Prairie Home Companion radio show) in 2008. Everyone loves to sing along on “Red River Valley” – except the children who somehow don’t know the song. Folk songs are the scrapbook of the American experience, but as music education fades from American public schools, she worried; these beautiful melodies are in danger of being overlooked. She resolved to record these timeless songs in an updated but reverent way – so that everyone can sing along on “Red River Valley.”
Suzy Bogguss already has a full bookshelf of Grammy and CMA (Country Music Awards) awards and now with the release of American Folk Songbook she can put her own book up there too. The CD and companion Songbook will be released on July 18, 2011 at all Cracker Barrel Country Stores followed by a wide release to other retail and digital outlets on August 2, 2011.
As Suzy writes in the introduction to the book: “Music has always been my purest joy even as a child. One of my favorite memories is my grade-school music teacher pounding on the piano and leading the class in rousing renditions of folk songs from all around the world.
In the summer of 2008 I toured with the brilliant and engaging Garrison Keillor. The energy that passed between the audience and Garrison was overwhelming at times. Several thousand people standing and singing together—old songs, hymns, the Beatles and the Everly Brothers. People of all ages, sharing music. Ahhh, pure joy.”
But Bogguss was not content to present the songs as dusty museum pieces, instead she chose to breath new life into them with contemporary arrangements and some of Nashville’s finest acoustic musicians. Jerry Douglas, Stuart Duncan, Pat Bergeson, Charlie Chadwick and Jeff Taylor all join the band for Suzy’s self-produced project. Ultimately though it’s the voice that lovingly weaves through the guitars and mandolins to find the new in these old songs. As John Lomax III writes in the forward to the book, ‘Prepare yourself for enchantment! …This work is, in a word, delightful!”
Suzy says she modeled the songbook after her “good old 5th grade songbook.” The hardcover, 96-page book is filled with illustrations, fascinating historical stories about the songs, easy to read sheet music arrangements for piano, voice and guitar as well as personal insights and anecdotes from Bogguss.
Her intent from the beginning was to make the book attractive to music lovers and musicians at every level. Again from her introduction: “that way, younger generations could share these slowly fading gems with their families and tell their stories of how they learned a few chords on the guitar or a couple of favorites to play at family gatherings.”
The Cracker Barrel southern food restaurant chain, with its dedication to families and appreciation for authentic Americana was the obvious choice for the initial release.
American Folk Songbook is the natural progression of an artist who has demonstrated skill and passion for all types of music in her career. Songs like “Aces,” “Drive South,” “Someday Soon,” “Outbound Plane” and “Letting Go” took her to the top of the country music charts. Along the way she won raves from critics and peers including winning a GRAMMY in 2005 for Traditional Folk Album, the Country Music Association’s Horizon Award in 1992 and album of the Year Award in 1994.
2007’s Billboard Jazz Chart topping Sweet Danger, the universally praised album, Swing recorded in 2003 with Ray Benson of Asleep At The Wheel and Simpatico, her beloved collaboration with Chet Atkins showed the world Bogguss was willing to both embrace tradition while continuing to grow and challenge herself as an artist.
However, it is an appreciation for tradition that really shines through on American Folk Songbook. The album is filled with songs that are the very fabric of American musical history and Bogguss reclaims this history and revives it with a fresh and beautiful take on classics like “Shenandoah,” “Wayfaring Stranger,” “Ol’ Dan Tucker,” “Beautiful Dreamer” and of course, “Red River Valley.”
Suzy Bogguss is currently on tour in the UK with Gretchen Peters and Matraca Berg as part of Wine, Women & Song 2011. When you put these three critically acclaimed, award winning singer-songwriters with years of friendship on stage together you can expect an evening of laughter and exceptional music. The ladies will be appearing on BBC 1 Breakfast on June 7 and they will make a special appearance on BBC Radio 2 on June 22.
US Tour Dates:
07/06/2011 – Boothbay Harbor, ME – Opera House at Boothbay Harbor
07/07/2011 – Ogunquit, ME – Jonathan’s
07/08/2011 – White River Junction, VT – Tupelo Music Hall
07/09/2011 – Londonderry, NH – Tupelo Music Hall
07/10/2011 – South Hiram, ME – Ossipee Valley Fair
07/19/2011 – Lake City, CO – Sportsman’s BBQ Station & Backyark
07/22/2011 – Moses Lake, WA – Moses Lake Summer Series
07/29/2011 – Toronto, ON – Hugh’s Room
07/30/2011 – New York, NY – City Winery
07/31/2011 – Norfolk, CT – Infinity Hall
08/13/2011 – Logan, UT – Cache County Fair
08/20/2011 – Dubois, WY – Dubois High Country Cowboy Gathering
08/25/2011 – Kent, OH – The Kent Stage
08/26/2011 – Ann Arbor, MI – The Ark
09/02/2011 – Highlands, NC – Highlands Performing Arts Center
09/03/2011 – Clinton, AR – World Champion Chuck Wagon Races
09/22/2011 – New Hope, PA – New Hope Winery
09/23/2011 – Annapolis, MD – Ram’s Head Tavern
09/24/2011 – Staunton, VA – Fortune Williams Festival
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