1060 Slices
Medium 9780253010223

Portuguese

Maurice Hinson Indiana University Press ePub

Chinese Contemporary Piano Pieces (Karlsen Publishers, Hong Kong 1979). Vol.I, 88pp. Ah Ping: The Moon Mirrored in the Pool. Wang Chien Chung: Plum Blossom Melody; Sakura. Yip Wai Hong: Memories of Childhood (6 miniatures). Kwo Chi Hung: 2 Yi Li Folk Songs. Chu Wang Hua: Sinkiang Capriccio. Lui Shi Kuen and Kuo Chi Hung: Battling the Typhoon. Post-Romantic pianistic figurations, much pentatonic usage, some charming and interesting moments. This collection is a good example of the type of piano writing going on in this area of the world today. Int. to M-D.

Chinese Piano Music for Children (N. Liao—Schott 7652 1990) 55pp. Written between 1973 and 1986 when Chinese music “increasingly absorbed the influences and ideas current in the new music of the West, without sacrificing its own tradition and national style” (from the score). Luting He (1903–1999): The Young Shepherd with his little Flute 1934; tender, artistic simplicity, national style. Shande Ding (1911–1995): Suite for Children (five pieces) 1953: folk-like but no folk songs are quoted. Tong Shang (1923– ): Seven Little Pieces after Folk Songs from Inner Mongolia 1953: a charming suite of folk song arrangements. Lisan Wang (1953– ): Sonatine 1957: three titled movements, cheerful, displays spirited humor. Int. to M-D.

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Medium 9780253015501

Epilogue

Tamar Barzel Indiana University Press ePub

IN 2009, I RETURNED TO NEW YORK CITY FOR A YEAR. AS EVER, the city was in flux. Big changes had been building on the Lower East Side for decades, but New York’s densely settled neighborhoods reshape themselves on their own peculiar time, with old institutions and new arrivals rubbing shoulders, sometimes for years on end. I did the initial research for this book from a home base in Brooklyn that had yet to see its first artisanal cheese shop, crossing the East River to spend many of my evenings in some of the less well-traveled pockets of downtown Manhattan, which were then on the cusp of a major transformation. Since leaving in 2004 I had been traveling back and forth from Boston to see concerts and exhibits, meet with artists, and continue collecting materials for this study. During my visits I had seen the gleaming towers of the W Hotel rising on Allen Street, one of the Lower East Side’s central arteries, but at the same time the punk-activist collective ABC No Rio, which had hosted GodCo and many other No Wave stalwarts, had marshaled its forces and managed to stay planted a few blocks away in the building where it had originally squatted in 1979. But although the Lower East Side’s creative scene had been undergoing a slow shift for decades—over the years I had been away, many musicians who lived there had decamped to Brooklyn—just as I was settling back in to the city, a recent economic crash was giving the final push to many of the people and venues I had been writing about. During the year, my comings and goings confirmed that the Lower East Side, like my old Brooklyn neighborhood (which now had newly paved sidewalks and more than one farm-to-table eatery), was well on its way to becoming a hive of upscale shops and condos.

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16 - Transformations in Tuareg Tende Singing: Women's Voices and Local Feminisms

Thomas A Hale Indiana University Press ePub

WOMEN'S VOICES AND LOCAL FEMINISMS

Susan J. Rasmussen

Recently, feminist anthropologists have grappled with representing “other modernities” and “other feminisms” (Mohanty 1991; Collins 1993; Brenner 1998; Rofel 1999; Abu-Lughod 2002). One approach has been to analyze the role of affective and expressive culture—for example, women's songs—in resistance and accommodation to these processes (Abu-Lughod 1986; Trawick 1988). The present essay contributes to these studies by exploring changing meanings of women's song performance in relation to gendered experience of social upheavals among the semi-nomadic, Muslim, and traditionally stratified Tuareg of Niger and Mali.1 The focus is upon a genre called tende, a body of songs performed by women in a variety of performance contexts, accompanied by a drum called by that name. Most tende performances traditionally occur at weddings, namedays, spirit possession rituals, and festivals. They are also organized, along with men's camel races, to greet important visitors. Sometimes, they are spontaneously performed, organized at the spur of the moment in late afternoon or evening for young people's gatherings featuring dancing and courtship, or in less structured situations, just for fun. Nowadays, some performances take place at political rallies and on national holidays.

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Medium 9780253007247

Friends and Colleagues

Harvey Phillips Indiana University Press ePub

 

FRIENDS AND COLLEAGUES

“While learning an instrument, a musician benefits from hearing an ideal sound in his imagination, which he tries to achieve in reality. My ideal sound is Harvey’s, from all the lovely things I’ve heard him play.”

BILL CROW, freelance bass musician

“Leon Barzin used to call him the king of tuba players and say there was nobody like him. From the very beginning Harvey was respected as the greatest tuba player in the world. He played with such style and freedom. It was not just that he played the instrument well but he was such a good musician. He would knock off Fritz Kreisler, much to everybody’s astonishment.”

HUGO FIORATO, conductor of the New York City Ballet Orchestra, former member of the WQXR String Quartet

“He brought class to the low brass.”

CLARK TERRY, New York freelance jazz trumpet

“Harvey was very kind and friendly to me when I joined the New York City Ballet Orchestra. I was only twenty-one. He was generous in his conversation and made me feel like I belonged (something I have tried to emulate in my professional behavior). I always think of Harvey Phillips as a wonderful shining example of what an inspiring musician should be.”

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1 Azerbaijani Musical Nationalism during the Pre-Soviet and Soviet Eras

Aida Huseynova Indiana University Press ePub

At the intersection of new and old in the early twentieth century Azerbaijanian composed music was born.

INNA NARODITSKAYA, Song from the Land of Fire

A great geopolitical transformation occurred in Transcaucasia between 1813 and 1828. As a result of the Russo-Persian wars, Russia annexed Persia’s (Iran’s) northern territories populated by ethnic Azerbaijanis. Subjugation to Russia profoundly altered the history of the Azerbaijani people. For centuries, all Azerbaijanis had been a part of the Eastern hemisphere, had predominantly practiced Shia Islam, and had spoken vernacular Azerbaijani Turkic. Now the southern part of the Azerbaijani ethnos remained in the Persian Empire, while the northern part belonged to the Russian Empire, in which Orthodox Christianity was the prevailing religion and Russian, a Slavic tongue, the official language. Just as tectonic plates move and realign during an earthquake, so too did the geopolitical ties that shaped the development of Azerbaijani music and culture find a new balance in the face of vast historical change.

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