The Garifuna Music Reader is the first text to provide scholarly research of all the principal genres of music and music-related rituals of the Garifuna people of Belize and, by similarities in practice and tradition, those of Central America and the United States. This five unit, fourteen chapter anthology explores how the Garifuna interpret their identity, experiences, and existence through traditional songs and dances, contemporary popular music, world music, ancestor rituals, a Christmas processional, and a creolized version of the Catholic mass. The reader is a compilation of new and previously published research by ethnomusicologists, historians, and anthropologists representing both Garifuna and non-Garifuna scholars. It includes website data, musical transcriptions, peer-reviewed journal articles, and chapters from books and dissertations. To aid in retention and comprehension and to meet the needs of scholars, professors, and students, questions follow each article. These questions address key content points, objectives and issues for contemplation, and encourage critical thinking and theoretical analysis. The Garifuna Music Reader is designed to be used with the Garifuna page of the author's website, Music and Ritual in the African Diaspora, which includes audio-visual examples referenced in each chapter as well as answers to the chapter questions. Although the reader is designed for scholars and students of world music it is of value to research and courses in cultural anthropology, Caribbean studies, and African diaspora studies. Oliver N. Greene holds a Ph.D. in musicology with an emphasis in ethnomusicology from Florida State University. He is an associate professor of music at Georgia State University where he teaches courses on world music, carnival traditions, and the history of American popular music. He has produced world music concerts, cultural festivals, and websites, and published articles in world music encyclopedias and journals. He has published chapters in Sun, Sea, and Sound: Music and Tourism in the Circum-Caribbean (2014) and The Garifuna, A Nation Across Borders: Essays in Social Anthropology (2006). As a recipient of a Rockefeller Fellowship at the Center for Black Music Research, he conducted fieldwork on the relationships between art, dance, and music among the Garifuna. He also produced the documentary film Play, JankunU Play: The Wanaragua Ritual of the Garifuna of Belize (2007).
The contributors to Sounds of Vacation examine the commodification of music and sound at popular vacation destinations throughout the Caribbean in order to tease out the relationships between political economy, hospitality, and the legacies of slavery and colonialism. Drawing on case studies from Barbados, the Bahamas, Guadeloupe, Saint Martin, and Saint Lucia, the contributors point to the myriad ways live performances, programmed music, and the sonic environment heighten tourists' pleasurable vacation experience. They explore, among other topics, issues of authenticity in Bahamian music; efforts to give tourists in Barbados peace and quiet at a former site of colonial violence; and how resort soundscapes extend beyond music to encompass the speech accents of local residents. Through interviews with resort managers, musicians, and hospitality workers, the contributors also outline the social, political, and economic pressures and interests that affect musical labor and the social encounters of musical production. In so doing, they prompt a rethinking of how to account for music and sound's resonances in postcolonial spaces. Contributors. Jerome Camal, Steven Feld, Francio Guadeloupe, Jocelyne Guilbault, Jordi Halfman, Susan Harewood, Percy C. Hintzen, Timothy Rommen
For many, December 26 is more than the day after Christmas. Boxing Day is one of the world’s most celebrated cultural holidays. As a legacy of British colonialism, Boxing Day is observed throughout Africa and parts of the African diaspora, but, unlike Trinidadian Carnival and Mardi Gras, fewer know of Bermuda’s Gombey dancers, Bahamian Junkanoo, Dangriga’s Jankunú and Charikanari, St. Croix’s Crucian Christmas Festival, and St. Kitts’s Sugar Mas. One Grand Noise: Boxing Day in the Anglicized Caribbean World delivers a highly detailed, thought-provoking examination of the use of spectacular vernacular to metaphorically dramatize such tropes as “one grand noise,” “foreday morning,” and from “back o’ town.” In cultural solidarity and an obvious critique of Western values and norms, revelers engage in celebratory sounds, often donning masks, cross-dressing, and dancing with abandon along thoroughfares usually deemed anathema to them. Folklorist Jerrilyn McGregory demonstrates how the cultural producers in various island locations ritualize Boxing Day as a part of their struggles over identity, class, and gender relations in accordance with time and space. Based on ethnographic study undertaken by McGregory, One Grand Noise explores Boxing Day as part of a creolization process from slavery into the twenty-first century. McGregory traces the holiday from its Egyptian origins to today and includes chapters on the Gombey dancers of Bermuda, the evolution of Junkanoo/Jankunú in The Bahamas and Belize, and J'ouvert traditions in St. Croix and St. Kitts. Through her exploration of the holiday, McGregory negotiates the ways in which Boxing Day has expanded from small communal traditions into a common history of colonialism that keeps alive a collective spirit of resistance.
Music of Latin America and the Caribbean, Second Edition is a comprehensive textbook for undergraduate students, which covers all major facets of Latin American music, finding a balance between important themes and illustrative examples. This book is about enjoying the music itself and provides a lively, challenging discussion complemented by stimulating musical examples couched in an appropriate cultural and historical context—the music is a specific response to the era from which it emerges, evolving from common roots to a wide variety of musical traditions. Music of Latin America and the Caribbean aims to develop an understanding of Latin American civilization and its relation to other cultures. NEW to this edition A new chapter overviewing all seven Central American countries An expansion of the chapter on the English- and French-speaking Caribbean An added chapter on transnational genres An end-of-book glossary featuring bolded terms within the text A companion website with over 50 streamed or linked audio tracks keyed to Listening Examples found in the text, in addition to other student and instructors’ resources Bibliographic suggestions at the end of each chapter, highlighting resources for further reading, listening, and viewing Organized along thematic, historical, and geographical lines, Music of Latin America and the Caribbean implores students to appreciate the unique and varied contributions of other cultures while realizing the ways non-Western cultures have influenced Western musical heritage. With focused discussions on genres and styles, musical instruments, important rituals, and the composers and performers responsible for its evolution, the author employs a broad view of Latin American music: every country in Latin America and the Caribbean shares a common history, and thus, a similar musical tradition.
Expanding the Space for Improvisation Pedagogy in Music is a critical, research-based anthology exploring improvisation in music pedagogy. The book broadens the understanding of the potentials and possibilities for improvisation in a variety of music education contexts and stimulates the development of knowledge and reflection on improvisation. The book critically examines the challenges, cultural values, aims and methods involved in improvisation pedagogy. Written by international contributors representing a variety of musical genres and research methodologies, it takes a transdisciplinary approach and outlines a way ahead for improvisation pedagogy and research, by providing a space for the exchange of knowledge and critique. This book will be of great interest to scholars, researchers, and postgraduate students in the fields of arts education, music education, improvisation, music psychology, musicology, ethnomusicology, artistic research and community music. It will also appeal to music educators on all levels in the field of music education and music psychology.
This vast three-volume Encyclopedia offers more than 4000 entries on all aspects of the dynamic and exciting contemporary cultures of Latin America and the Caribbean. Its coverage is unparalleled with more than 40 regions discussed and a time-span of 1920 to the present day. "Culture" is broadly defined to include food, sport, religion, television, transport, alongside architecture, dance, film, literature, music and sculpture. The international team of contributors include many who are based in Latin America and the Caribbean making this the most essential, authoritative and authentic Encyclopedia for anyone studying Latin American and Caribbean studies. Key features include: * over 4000 entries ranging from extensive overview entries which provide context for general issues to shorter, factual or biographical pieces * articles followed by bibliographic references which offer a starting point for further research * extensive cross-referencing and thematic and regional contents lists direct users to relevant articles and help map a route through the entries * a comprehensive index provides further guidance.
This comprehensive survey examines Latin American music, focusing on popular—as opposed to folk or art—music and containing more than 200 entries on the concepts and terminology, ensembles, and instruments that the genre comprises. • Roughly 200 entries on concepts and terminology, ensembles, genres, and instruments • 37 biographical sidebars of significant musicians and performers • A chronology for Latin American popular music