1997-2006 (Volumes 41-50)

Total Page:16

File Type:pdf, Size:1020Kb

1997-2006 (Volumes 41-50) ETHNOMUSKOLOOy TEN YEAR INDEX VOLUMES 41-50 1997-2006 Journal of the Society for Ethnomusicology University of Illinois Press , Society for Ethnomusicology are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology www.jstor.org Society for Ethnomusicology, Inc. The object of the Society for Ethnomusicology shall be the advancement of research and study in the field of ethnomusicology, for which purpose all interested persons, regardless of race, creed, color, or national origin, are encouraged to become members. Its aims include serving the membership and society at large through the dissemination of knowledge con cerning the music of the world's peoples.The Society, incorporated in the United States, has an international membership. Board of Directors: President: Deborah A. Wong, Dept. of Music, University of California, Riverside, CA 92521-0325; Past President: Philip V. Bohlman, 643 S. Clarence Ave., Oak Park, IL 60304-1303; First Vice President: Salwa El-Shawan Castelo-Branco, Universidade Nova de Lisboa, Faculdade de Ci?ncas Sociais e Humanas, Avenida de Berna 26C, 1069-061 Lisbon, Portugal; Second Vice President: Regula Qureshi, 11652 71st Avenue, Edmonton, AB, T6G 0A8, Canada; Secretary: Janet Sturman, School of Music, University of Arizona, 1017 N. Olive St.,Tucson, AZ 85721-0001;Treasurer: Suzanne Flandreau, Center for Black Music Research, Columbia College, 600 S. Michigan Ave., Chicago, IL 60605; Members-at-Large: Tong Soon Lee, Department of Music, Emory University, 1804 N. Decatur Rd., Atlanta GA 30322-1123; Eliza beth ToLBERT,The Peabody Institute of the Johns Hopkins University, 1 E. Mount Vernon PL, Baltimore, MD 21202. Council: Term ending 2009: Ama Oforiwaa Aduonum, Paul Austerlitz, Vicki Bren nan, Cathy Brigham, Salawa El-Shawan Castelo-Branco, Martin Clayton, Jim Cowdery, Sandra Graham, Jean Kidula, Donna Lee Kwon, Alejandro L. Madrid, Britta Sweers, Patricia Tang, Jesse Samba Wheeler. Term ending 2010: Eliot Bates, Caroline Bithell, Charlotte D'Evelyn, Shannon Dudley, Kenneth S. Habib, C?ndida F. J?quez, Claire Jones, Scott L. Marcus, Rebecca Miller, David Sanjek, Margaret Sarkissian, Yoshi TAKA TERADA, HAE-KYUNG UM, SIU-WAH YU. Ethnomusicology Ethnomusicology (ISSN 0014-1836), the official organ of the Society for Ethnomusicology, is a refereed journal published three times a year by the University of Illinois Press, 1325 S. Oak St., Champaign, IL 61820, on behalf of the Society.The journal publishes original articles in the field of ethnomusicology, broadly defined. Translations of previously published articles are generally not considered. Contributors need not be members of the Society. The views expressed are the authors' and not necessarily those of the Society or its officers. Articles and communications pertaining to the journal should be sent to the incoming editor. Books and recordings for review and citations for current publications should be sent to the appropriate editor or bibliographer. The Society for Ethnomusicology also publishes the SEM Newsletter, which functions as a vehicle for the exchange of ideas, news, and information. Readers' contri butions are welcomed and should be sent to the editor of the newsletter. Inquiries pertaining to advertising in the newsletter should be directed to the editors of the newsletter; for advertising in the journal, write to the Journals Advertising Manager, University of Illinois Press. Editorial Board: Editor, Ethnomusicology: Timothy J. Cooley, Dept. of Music, Univer sity of California, Santa Barbara, CA 93106-6070 ([email protected]); Book Review Editor: Frederick Moehn, Music Dept., 3304 Staller Center, SUNY at Stonybrook, Stonybrook, NY 11794-5475 ([email protected]); Recording Review Editor: Paul Greene, Music Dept., Pennsylvania State U., 25 Yearsley Mill Rd., Media, PA 19063 (pdg4@ psu.edu); Film, Video, and Multimedia Review Editor: Rebecca S. Miller, Music Program, Mail Code ASH, Hampshire College, Amherst, MA 01002 ([email protected]); Current Bibliography: Randal Baier, 319 Ann Arbor St., Manchester, MI 48159 ([email protected]); Current Discography: Karen Peters, 5601 Laurel Court, Madison, WI 53705 (kapeterl? earthlink.net); Current Films and Videos: David Henderson, Music Dept., St. Lawrence U., Canton, NY 13617 ([email protected]);Theses and Dissertations: Jennifer C. Post, 22 Chipman Park,Middlebury,VT 05753 ([email protected]); SEM Newsletter Editor: Henry J. Spiller, University of California Music Dept., 1 Shields Ave., Davis, CA 95616 (hjspiller? ucdavis.edu);Web Site Editor:Alan R. Burdette, Morrison Hall 005, Indiana University, 1165 E. 3rd St., Bloomington, IN 47405-3700 ([email protected]). Business Office: Executive Director, Alan R. Burdette ([email protected]) and Office Coordinator, Lyn Pittman ([email protected]), Morrison Hall 005, Indiana University, 1165 E. 3rd St., Bloomington, IN 47405-3700, telephone (812) 855-6672. ? 2008 by the Society for Ethnomusicology ETHNOMUSKOLOQy Journal of the Society for Ethnomusicology Ten-Year Index_1997-2006 Editor: Timothy J. Cooley Book Review Editor: Frederick Moehn Recording Review Editor: Paul Greene Film, Video, and Multimedia Reviews: Rebecca S. Miller Assistant Editor: Barbara L. Taylor Editorial Assistant: Sonja Lynn Downing CONTENTS From the Editor Editorial Board Members, 1997-2006 Articles 1 Index to Authors, Titles, and Subject Areas of Articles and Miscellaneous Contributions Book Reviews 13 Index to Authors and Titles of Books Reviewed, and Reviewers of Books Recording Reviews 39 Index to Titles of Recordings Reviewed, and Reviewers of Recordings Film Reviews 52 Index to Reviewers, Titles, and Producers/Directors of Film, Video, and Multimedia Projects Editorial Staff Editors James R. Cowdery 1997?Vol. 41, Nos. 1, 2, 3 1998?Vol. 42, Nos. 1, 2, 3 Bruno Nettl 1999?Vol. 43, Nos. 1, 2, 3 2000?Vol. 44, Nos, 1, 2, 3 2001?Vol. 45, Nos, 1, 2, 3 2002?Vol. 46, Nos, 1, 2, 3 Peter Manuel 2003?Vol. 47, Nos, 1, 2, 3 2004?Vol. 48, Nos, 1, 2, 3 2005?Vol. 49, Nos, 1, 2, 3 2006?Vol. 50, Nos, 1, 2, 3 50th Anniversary Commemorative Issue, Guest Co-editors Ellen Koskoff and R. Anderson Sutton 2006?Vol. 50, No. 2 Assistant Editors Edward Herbst 1997?Vol. 41, Nos. 1, 2, 3 1998?Vol. 42, Nos. 1, 2, 3 Christopher Scales 1999?Vol. 43, Nos. 1, 2 Gregory Diethrich 1999?Vol. 43, No. 2 2000?Vol. 44, Nos, 1, 2, 3 2001?Vol. 45, No. 1 LaDona Martin-Frost 2001?Vol. 45, Nos, 2, 3 2002?Vol. 46, Nos, 1, 2, 3 Evan Rapport 2003?Vol. 47, Nos, 1, 2, 3 2004?Vol. 48, Nos, 1, 2, 3 2005?Vol. 49, Nos, 1, 2, 3 Editorial Assistants Giancarlo Vulcano 1997?Vol. 41, No. 1 Jaime Jones 1997?Vol. 41, Nos. 2, 3 Book Review Editors Judith A. Gray 1997-1999, Vols. 41-43(1) Victoria Lindsay Levine 1999-2002, Vols. 43-46 Melinda Russell 2003-2005, Vols. 47-49(2) Frederick Moehn 2005-2006, Vols. 49(3)-50 Recording Review Editors Ted Levin 1997-1998, Vols. 41-42 Jane C. Sugarman 1999-2002, Vols. 43-46 Paul Greene 2003-2006, Vols. 47-50 Multimedia Review Editor Rebecca S. Miller 1997-2006, Vols. 41-50 Compilers of the Current Bibliography, Discography, and Filmography Bibliography, Dissertations, and Theses Jennifer C. Post 1997-2000, Vols. 41-44 Bibliography Kevin Meadows 2001-2003, Vols. 45-47(2) Randal Baier 2003-2006, Vols. 47(3)-50 Dissertations and Theses Jennifer C. Post 2001-2006, Vols. 45-50 Discography Lauren Sercombe 1997-2001, Vols. 41-45 Mercedes Dujunco 2002-2005, Vols. 46-49 Karen Peters 2006, Vol. 50 Filmography Leslie Gay 1997-1999, Vols. 41-43(2) Barbara Rose Lange 1999-2003 Vols. 43(3)-47 David Henderson 2004-2006, Vols. 48-50 SEM Administrative Staff SEM Newletter Editors Ren? T. A. Lysloff and Deborah Wong 1997-1999 Tong Soon Lee 2000-2006 Web Site Editor John P. Murphy 1999-2002 Alan R. Burdette 2003-2006 Web Site Associate Editor Stephen Duncan 1999-2000 Cullen Strawn 2003-2006 Acting Web Site Editor Jennifer C. Post 2000-2001, 2003 Business Managers Sue Touhy 1997-1998 Ruth Stone 1998-2000 Business Office: Executive Director Alan R. Burdette 2001-2006 Administrative Secretary/Office Coordinator Lyn Pittman 1997-2006 From the Editor This ten-year index of the contents of Ethnomusicology, 1997-2006, volumes 41-50, was created by our Assistant Editor, Barbara Taylor, with some additional help by Editorial Assistant Sonja Lynn Downing, and minimal oversight on my part. The index follows the format of the previous ten-year-indexes with a few subtle changes to style. Substantive changes include, in the Book Reviews section, index heading entries for each author of multi-authored books and each editor of edited collections, not just the first author or editor. In the Recording Reviews index, we did not index editors, collectors or producers (with a few exceptions). Our discovery was that this information was not consistently listed in the reviews, nor had it been effectively indexed in previous ten-year in dexes. As has been the practice, subjects are indexed only in the index to Articles and Miscellaneous Contributions. The dominant subject heading under which articles are indexed is geographic area, perhaps artificially prolonging the beleaguered tradition of "area studies." However, we added additional key subject headings when they were suggested by a critical mass of articles. The motivation for every change in substance or style is our hope that users will find this index a valuable tool for years to come. Timothy J. Cooley University of Illinois Press , Society for Ethnomusicology are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology www.jstor.org Index to Authors, Titles, and Subject Areas of Articles and Miscellaneous Contributions ish Folk Music Vogue in Historical Perspec A tive," 44(2): 183-213 "Abigbo Music and Musicians of Mbaise, Australia: 44(l):39-64; 50(2):345-52 Igbo: An Introduction," by Christian Onyeji, AVORGBEDOR, DANIEL, "Competition and 48(l):52-72 Conflict as a Framework for Understand "Acting Up,TalkingTech: New York Rock Mu ing Performance Culture among the Urban sicians andTheir Metaphors ofTechnology," Anlo-Ewe," 45(2):260-82 by Leslie C.
Recommended publications
  • 1 Syllabus for MA (Previous) Hindustani Music Vocal/Instrumental
    Syllabus for M.A. (Previous) Hindustani Music Vocal/Instrumental (Sitar, Sarod, Guitar, Violin, Santoor) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical and Theoretical Study of Ragas 70 Marks A. Historical Study of the following Ragas from the period of Sangeet Ratnakar onwards to modern times i) Gaul/Gaud iv) Kanhada ii) Bhairav v) Malhar iii) Bilawal vi) Todi B. Development of Raga Classification system in Ancient, Medieval and Modern times. C. Study of the following Ragangas in the modern context:- Sarang, Malhar, Kanhada, Bhairav, Bilawal, Kalyan, Todi. D. Detailed and comparative study of the Ragas prescribed in Appendix – I Internal Assessment 30 marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Music of the Asian Continent 70 Marks A. Study of the Music of the following - China, Arabia, Persia, South East Asia, with special reference to: i) Origin, development and historical background of Music ii) Musical scales iii) Important Musical Instruments B. A comparative study of the music systems mentioned above with Indian Music. Internal Assessment 30 marks Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of half an hour’s duration before an audience in Ragas selected from the list of Ragas prescribed in Appendix – I Candidate may plan his/her performance in the following manner:- Classical Vocal Music i) Khyal - Bada & chota Khyal with elaborations for Vocal Music. Tarana is optional. Classical Instrumental Music ii) Alap, Jor, Jhala, Masitkhani and Razakhani Gat with eleaborations Semi Classical Music iii) A short piece of classical music /Thumri / Bhajan/ Dhun /a gat in a tala other than teentaal may also be presented.
    [Show full text]
  • Syllabus for Post Graduate Programme in Music
    1 Appendix to U.O.No.Acad/C1/13058/2020, dated 10.12.2020 KANNUR UNIVERSITY SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: MA MUSIC DEPARTMENT OF MUSIC KANNUR UNIVERSITY SWAMI ANANDA THEERTHA CAMPUS EDAT PO, PAYYANUR PIN: 670327 2 SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: M A (MUSIC) ABOUT THE DEPARTMENT. The Department of Music, Kannur University was established in 2002. Department offers MA Music programme and PhD. So far 17 batches of students have passed out from this Department. This Department is the only institution offering PG programme in Music in Malabar area of Kerala. The Department is functioning at Swami Ananda Theertha Campus, Kannur University, Edat, Payyanur. The Department has a well-equipped library with more than 1800 books and subscription to over 10 Journals on Music. We have gooddigital collection of recordings of well-known musicians. The Department also possesses variety of musical instruments such as Tambura, Veena, Violin, Mridangam, Key board, Harmonium etc. The Department is active in the research of various facets of music. So far 7 scholars have been awarded Ph D and two Ph D thesis are under evaluation. Department of Music conducts Seminars, Lecture programmes and Music concerts. Department of Music has conducted seminars and workshops in collaboration with Indira Gandhi National Centre for the Arts-New Delhi, All India Radio, Zonal Cultural Centre under the Ministry of Culture, Government of India, and Folklore Academy, Kannur.
    [Show full text]
  • Performance in Bali
    Performance in Bali Performance in Bali brings to the attention of students and practitioners in the twenty-first century a dynamic performance tradition that has fasci- nated observers for generations. Leon Rubin and I Nyoman Sedana, both international theatre professionals as well as scholars, collaborate to give an understanding of performance culture in Bali from inside and out. The book describes four specific forms of contemporary performance that are unique to Bali: • Wayang shadow-puppet theatre • Sanghyang ritual trance performance • Gambuh classical dance-drama • the virtuoso art of Topeng masked theatre. The book is a guide to current practice, with detailed analyses of recent theatrical performances looking at all aspects of performance, production and reception. There is a focus on the examination and description of the actual techniques used in the training of performers, and how some of these techniques can be applied to Western training in drama and dance. The book also explores the relationship between improvisation and rigid dramatic structure, and the changing relationships between contemporary approaches to performance and traditional heritage. These culturally unique and beautiful theatrical events are contextualised within religious, intel- lectual and social backgrounds to give unparalleled insight into the mind and world of the Balinese performer. Leon Rubin is Director of East 15 Acting School, University of Essex. I Nyoman Sedana is Professor at the Indonesian Arts Institute (ISI) in Bali, Indonesia. Contents List
    [Show full text]
  • The Book Collection of Artist and Educator Philip Rawson (1924-1995) Courtesy of the National Arts Education Archive, Yorkshire Sculpture Park
    YMeDaCa: READING LIST The book collection of artist and educator Philip Rawson (1924-1995) courtesy of the National Arts Education Archive, Yorkshire Sculpture Park. With special thanks to NAEA volunteers, Jane Carlton, Judith Padden, Sylvia Greenwood and Christine Parkinson. To visit: www.ysp.co.uk/naea BOOK TITLE AUTHOR Treasures of ancient America: the arts of pre-Columbian civilizations from Mexico to Peru S K Lothrop Neo-classical England Judy Marle Bronzes from the Deccan: Lalit Kala Nos. 3-4 Douglas Barrett Ancient Peruvian art [exhibition catalogue] Laing Art Gallery. Newcastle upon Tyne The art of the Canadian Eskimo W T Lamour & Jacques Brunet [trans] The American Indians : their archaeology and pre history Dean Snow Folk art of Asia, Australia, the Americas Helmuth Th. Bossert North America Wolfgang Haberland Sacred circles: two thousand years of north American Indian art [exhibition catalogue] Ralph T Coe People of the totem: the Indians of the Pacific North-West Norman Bencroft-Hunt Mexican art Justino Fernandez Mexican art Justino Fernandez Between continents/between seas: precolumbian art of Costa Rica Suzanne Abel-Vidor et al The art of ancient Mexico Franz Feuchtwanger Angkor: art and civilization Bernard Crosier The Maori: heirs of Tane David Lewis Cluniac art of the Romanesque period Joan Evans English romanesque art 1066-1200 [exhibition catalogue] Arts Council Oceanic art Alberto Cesace Ambesi 100 Master pieces: Mohammedan & oriental The Harvard outline and reading lists for Oriental Art. Rev.ed Benjamin Rowland Jr. Shock of recognition: landscape of English Romanticism, Dutch seventeenth-century school. American primitive Sandy Lesberg (ed) American Art: four exhibitions.
    [Show full text]
  • Groovology & the Magic of Other People's Music
    Groovology and the Magic of Other People’s Music Charles Keil While the word “groove” seems to be gaining ever greater currency, the explorations and wording of groove phenomena in "musicking" (Small 1998) does not seem to be a rapidly growing field of groovology per se. 1 This paper tries to explain the general lack of academic interest in groovology as a discipline and then argues that some important issues can’t be grasped without it. Every groove is both a mystery or Batesonian 'sacrament' as well as a practical, pragmatic or testable practice within a 'joyous science' of measuring "— ultimately, any 'difference which makes a difference,' traveling in a circuit." (Bateson 1991:xiii) The practical question is something like: what do we have to do with our bodies playing these instruments and singing in order to get their bodies moving, bobbing their heads, snapping their fingers, up from their tables and dancing? The mystery: how do people and musicking become consubstantial, a communion, communitas , a sacrament, the music inside the people and the people inside the music? In Music Grooves (Keil and Feld 1994) and in the “Special Issue: Participatory Discrepancies” of Ethnomusicology (Vol. 39, No. 1, Winter 1995, articles by Keil, Progler, Alen, and 11 respondents) we have tried to persuade ethnomusicologists and other potentially interested scholars (in fields as diverse as political rhetoric, sermonizing, comedy-timing, sex-therapy, sports psychology, play, etc.) that in asking these two questions and in this wording of grooves,
    [Show full text]
  • Song, State, Sawa Music and Political Radio Between the US and Syria
    Song, State, Sawa Music and Political Radio between the US and Syria Beau Bothwell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Beau Bothwell All rights reserved ABSTRACT Song, State, Sawa: Music and Political Radio between the US and Syria Beau Bothwell This dissertation is a study of popular music and state-controlled radio broadcasting in the Arabic-speaking world, focusing on Syria and the Syrian radioscape, and a set of American stations named Radio Sawa. I examine American and Syrian politically directed broadcasts as multi-faceted objects around which broadcasters and listeners often differ not only in goals, operating assumptions, and political beliefs, but also in how they fundamentally conceptualize the practice of listening to the radio. Beginning with the history of international broadcasting in the Middle East, I analyze the institutional theories under which music is employed as a tool of American and Syrian policy, the imagined youths to whom the musical messages are addressed, and the actual sonic content tasked with political persuasion. At the reception side of the broadcaster-listener interaction, this dissertation addresses the auditory practices, histories of radio, and theories of music through which listeners in the sonic environment of Damascus, Syria create locally relevant meaning out of music and radio. Drawing on theories of listening and communication developed in historical musicology and ethnomusicology, science and technology studies, and recent transnational ethnographic and media studies, as well as on theories of listening developed in the Arabic public discourse about popular music, my dissertation outlines the intersection of the hypothetical listeners defined by the US and Syrian governments in their efforts to use music for political ends, and the actual people who turn on the radio to hear the music.
    [Show full text]
  • Dams and Development in China
    BRYAN TILT DAMS AND The Moral Economy DEVELOPMENT of Water and Power IN CHINA DAMS AND DEVELOPMENT CHINA IN CONTEMPORARY ASIA IN THE WORLD CONTEMPORARY ASIA IN THE WORLD DAVID C. KANG AND VICTOR D. CHA, EDITORS This series aims to address a gap in the public-policy and scholarly discussion of Asia. It seeks to promote books and studies that are on the cutting edge of their respective disciplines or in the promotion of multidisciplinary or interdisciplinary research but that are also accessible to a wider readership. The editors seek to showcase the best scholarly and public-policy arguments on Asia from any field, including politics, his- tory, economics, and cultural studies. Beyond the Final Score: The Politics of Sport in Asia, Victor D. Cha, 2008 The Power of the Internet in China: Citizen Activism Online, Guobin Yang, 2009 China and India: Prospects for Peace, Jonathan Holslag, 2010 India, Pakistan, and the Bomb: Debating Nuclear Stability in South Asia, Šumit Ganguly and S. Paul Kapur, 2010 Living with the Dragon: How the American Public Views the Rise of China, Benjamin I. Page and Tao Xie, 2010 East Asia Before the West: Five Centuries of Trade and Tribute, David C. Kang, 2010 Harmony and War: Confucian Culture and Chinese Power Politics, Yuan-Kang Wang, 2011 Strong Society, Smart State: The Rise of Public Opinion in China’s Japan Policy, James Reilly, 2012 Asia’s Space Race: National Motivations, Regional Rivalries, and International Risks, James Clay Moltz, 2012 Never Forget National Humiliation: Historical Memory in Chinese Politics and Foreign Relations, Zheng Wang, 2012 Green Innovation in China: China’s Wind Power Industry and the Global Transition to a Low-Carbon Economy, Joanna I.
    [Show full text]
  • Ptou À Sua Pró- Pria Índole, Como Forma De Extravasar Os Seus Mais Ardentes Anseios De Liberdade
    Criação O Nordeste e sua música O COMEÇO DA DÉCADA DE 70, Marcus Pereira e eu decidimos fazer um mapeamento musical do Brasil. A idéia, consumada até 1975 em quatro N coleções discográficas, era documentar as manifestações mais represen- tativas das várias regiões brasileiras. Todo o projeto, com sofisticados recursos técnicos, dava seqüência ao que Mário de Andrade, munido apenas de lápis e papel, iniciara 40 anos antes. Quando já estava gravada a coleção Música Popular do Nordeste pedi a cinco intelectuais da região, atentos observadores da vida comunitária, que es- crevessem a respeito dos principais gêneros documentados. Ariano Suassuana produziu um texto explicativo sobre cantorias de viola e literatura de cordel; Paulo Cavalcanti encarregou-se do frevo; Renato Carneiro Campos discorreu sobre côcos e bandas de pífanos; Euricledes Formiga comentou as emboladas; Jaime Diniz analisou as danças populares, especialmente as cirandas; e Hermilo Borba Filho dissertou, de cátedra, sobre o bumba-meu-boi. Também coube ao Hermilo planejar toda a pesquisa de campo empreen- dida pelo Quinteto Violado. O material escrito continua rigorosamente atual e, em seu conjunto, forma um vigoroso ensaio sobre a cultura popular nordestina – razão que determinou o seu oportuno aproveitamento em ESTUDOS AVANÇADOS. Assim, o que parecia condenado ao degredo nas estantes dos colecionadores vem novamente à luz. Resgata-se do esquecimento uma reflexão que pode suscitar novas pesquisas, sempre necessárias. Instala-se, no meio acadêmico, uma hipótese de trabalho sobre o nosso mais criativo compositor de todos os tempos – o povo brasileiro. (Aluízio Falcão, jornalista, é assessor de imprensa da Pró-Reitoria de Cultura e Extensão da USP).
    [Show full text]
  • UNIVERSAL MUSIC • Rammstein – Videos 1995 – 2012 (DVD) • The
    Rammstein – Videos 1995 – 2012 (DVD) The Rolling Stones – Grrr (Album Vinyl Box) Insane Clown Posse – Insane Clown Posse & Twiztid's American Psycho Tour Documentary (DVD) New Releases From Classics And Jazz Inside!! And more… UNI13-03 “Our assets on-line” UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 Artwork shown may not be final UNIVERSAL MUSIC CANADA NEW RELEASE Artist/Title: Hollywood Undead – Notes From The Underground Bar Code: Cat. #: B001797702 Price Code: SP Order Due: December 20, 2012 Release Date: January 8, 2013 File: Hip Hop /Rock Genre Code: 34/37 Box Lot: 25 SHORT SELL CYCLE Key Tracks: We Are KEY POINTS: 14 BRAND NEW TRACKS Hollywood Undead have sold over 83,000 albums in Canada HEAVY outdoor, radio and online campaign First single “We Are” video is expected mid December 2013 Tour in the works 2.8 million Facebook friends and 166,000 Twitter followers Also Available American Tragedy (2011) ‐ B001527502 Swan Song (2008) ‐ B001133102 INTERNAL USE Label Name: Territory: Choose Release Type: Choose For additional artist information please contact JP Boucher at 416‐718‐4113 or [email protected]. UNIVERSAL MUSIC 2450 Victoria Park Avenue, Suite 1, Toronto, ON M2J 5H3 Phone: (416) 718‐4000 Fax: (416) 718‐4218 UNIVERSAL MUSIC CANADA NEW RELEASE Artist/Title: Black Veil Brides / Wretched And Divine: The Story Of Bar Code: The Wild Ones (Regular CD) Cat. #: B001781702 Price Code: SP 02537 22095 Order Due: Dec. 20, 2012 Release Date: Jan. 8, 2013 6 3 File: Rock Genre Code: 37 Box Lot: 25 Short Sell Cycle Key Tracks: Artist/Title: Black Veil Brides / Wretched And Divine: The Story Of Bar Code: The Wild Ones (Deluxe CD/DVD) Cat.
    [Show full text]
  • BULLETIN of the INTERNATIONAL FOLK MUSIC COUNCIL
    BULLETIN of the INTERNATIONAL FOLK MUSIC COUNCIL No. XXVIII July, 1966 Including the Report of the EXECUTIVE BOARD for the period July 1, 1964 to June 30, 1965 INTERNATIONAL FOLK MUSIC COUNCIL 21 BEDFORD SQUARE, LONDON, W.C.l ANNOUNCEMENTS CONTENTS APOLOGIES PAGE The Executive Secretary apologizes for the great delay in publi­ cation of this Bulletin. A nnouncements : The Journal of the IFMC for 1966 has also been delayed in A p o l o g i e s ..............................................................................1 publication, for reasons beyond our control. We are sorry for the Address C h a n g e ....................................................................1 inconvenience this may have caused to our members and subscribers. Executive Board M e e t i n g .................................................1 NEW ADDRESS OF THE IFMC HEADQUARTERS Eighteenth C onference .......................................................... 1 On May 1, 1966, the IFMC moved its headquarters to the building Financial C r i s i s ....................................................................1 of the Royal Anthropological Institute, at 21 Bedford Square, London, W.C.l, England. The telephone number is MUSeum 2980. This is expected to be the permanent address of the Council. R e p o r t o f th e E xecutiv e Board July 1, 1964-Ju n e 30, 1965- 2 EXECUTIVE BOARD MEETING S ta tem ent of A c c o u n t s .....................................................................6 The Executive Board of the IFMC held its thirty-third meeting in Berlin on July 14 to 17, 1965, by invitation of the International Institute for Comparative Music Studies and Documentation, N a tio n a l C ontributions .....................................................................7 directed by M.
    [Show full text]
  • Disneyization in Shangri-La
    Disneyization in Shangri-La Maaike Baks, 1447742 MA Politics, Economy and Society of Asia, supervisor: Prof. dr. S.R. Landsberger Faculty of Humanities, Leiden University 2015 – 2017 Table of Contents Abstract 3 Introduction 4 Paradise found 5 Shangri-La, paradise turned theme park? 8 Research Question and Framework 10 The Shangri-La narrative and tourist’s perceptions 11 The postmodernity of Shangri-La and theme parks 11 Authenticity in Shangri-La 12 Western and Chinese tourists’ expectations 14 Chinese theme parks 16 Chinese state and Ethnic minorities 17 Features of a Chinese theme park: Yunnan Ethnic Folk Village 18 Theming 20 Shangri-La themes: the exotic, the sacred and the ethnic 20 Western tourists’ perceptions 22 Hybrid Consumption 25 Merchandising 27 Performative labor 39 Ethnic dancing in Shangri-La and YEFV 30 Conclusion 32 References 34 2 Abstract In 2001, the Chinese government officially recognized Zhongdian County in Yunnan Province as Shangri-La, which is a fictional concept that signifies paradise introduced by the British author James Hilton (1933). Ever since the region has been renamed, some visitors have started to express that Shangri-La County has transformed into a theme park and has lost its authenticity. The current essay explored, by using Bryman’s (2004) theory of Disneyization as a framework, whether it can be said that the name change into Shangri-La has changed the region into a theme park. The resources of this research were scholarly literature, travel blogs and TripAdvisor reviews about Shangri-La. Of the four principles mentioned in Disneyization, that all describe a trend common to a theme park, the principles of theming, hybrid consumption and merchandising were all found to be take place in the Shangri-La region.
    [Show full text]
  • 1 Chapter 1 Introduction As a Chinese Buddhist in Malaysia, I Have Been
    Chapter 1 Introduction As a Chinese Buddhist in Malaysia, I have been unconsciously entangled in a historical process of the making of modern Buddhism. There was a Chinese temple beside my house in Penang, Malaysia. The main deity was likely a deified imperial court officer, though no historical record documented his origin. A mosque serenely resided along the main street approximately 50 meters from my house. At the end of the street was a Hindu temple decorated with colorful statues. Less than five minutes’ walk from my house was a Buddhist association in a two-storey terrace. During my childhood, the Chinese temple was a playground. My friends and I respected the deities worshipped there but sometimes innocently stole sweets and fruits donated by worshippers as offerings. Each year, three major religious events were organized by the temple committee: the end of the first lunar month marked the spring celebration of a deity in the temple; the seventh lunar month was the Hungry Ghost Festival; and the eighth month honored, She Fu Da Ren, the temple deity’s birthday. The temple was busy throughout the year. Neighbors gathered there to chat about national politics and local gossip. The traditional Chinese temple was thus deeply rooted in the community. In terms of religious intimacy with different nearby temples, the Chinese temple ranked first, followed by the Hindu temple and finally, the mosque, which had a psychological distant demarcated by racial boundaries. I accompanied my mother several times to the Hindu temple. Once, I asked her why she prayed to a Hindu deity.
    [Show full text]