‘The Concise Oxford DICTIONARY OF MUSIC Third edition by Michael Kennedy based on the original publication by Percy Scholes oe ‘é Sail Lp Loneion OXFORD UNIVERSITY PRESS New York Toranto 1980CREOLE Music Sete Manic gay of Ly, Ane Fiz deel, Ae posers ieee chinger Te Moat ae See oe ey Gon ieee ml rin ore tener a Palen Fei a ee re ea eau ame Reece Feros tee eae [knack epbsredin dock mse 4, unit nd hs cleggue the ast ‘out the cnid tan cece femme herbert lake mus singe cocoate, )Theeyponie bk =e Gescndo Ped. nog seve michal, ‘nga al a {eset Yaris ine. comprisin sl kb ‘gig in Kowa Sh Ae 8 ew cai ari ee ipl pe anion a red nea ase eee ul ede ie Genet tien Mrs ke Speed Nama cyt Sse est ghee ae fom ied wake aacone Cpa Sek edt et a ed Semen Songs pp ‘ombo chime! fog, aetna Sto, Pat ej a aor fe arene cae sulfa in ats Sagat Kitna nd tmp ns pn ASRS mE 84-4 Wat Whim 052, 1A Te hw a LPR Noe Towa 3 peta 9S [ohm 17, Re tote acandiag Rost a dace urate Ger ie shot works, chamter ms songs, pa jee meso ERENT, (Crib, Raters db cress: Soprano mew Siedler af condor ae tancorieeminngne That ‘uhint Eg uc on 120) Ganon anus of Wala om iors Wioeaniheanfecongech nah | Ceerghoninn Sev sulbdomintn con (ties London. Oriel ho writen noch called Cra Vuh Wiliams riser, Bartolomeo i Frepee tees Hore 12h 4 comedy parece al ch ‘eines i subatutd h Wona of reo ha thehrdplackingol tse Be tin roa the i tog dap se ‘Only 2 Groton pc surtie Sota imi an lope (ite The oF An Opera Rehess: Soeur by Sint OP jes bed on Sh ian come 5 fe Ett Me: pian mpeamnelncen pi, but im the sec infest te rete Bu tere are seve ea srpeg soa ales 1650 The fie ein he ieee ar acu anne Tre, sly heres of we ss In Ga cto Ia ih RE LATS Speman a otal erie wap Pe eQisvison of The Times (1 848- Be deere Be a iohes hes iee cas Siren me SCs feria Bee atten an kn or Fe etreme partisanship in the divengcnce of est neser in Die Mesievanger (Wagner ait Reames ae Bee Cr hes ne ll Nic tmfence Climan, HE Krebii, ee are ik Sar ae be om meant at ceca 55 Goran’ hha ssid Yeni ler kapenrond pct ppl zane Guage rs Ven fan ete repo mean ech Fe Hoo, The th egos re fee . Miu, Pym ander which Deis ate Sone a il ma oem mi only Ss aie el tC tae pb 192) 6, WatinenNeher Laan, Warwic fa En eran Sr ei ame Sa Bone a {bein tg One mS Cpe hos and eee eas a8 ceo Gage in ana eer Ay BS, !708, Comp funy fine athens and 3 Srl emce el werk enna is nd onge_ Abo wae byrne Prd ting Cabaritep i Ns ema achat or ge Peiuenc.comihaante Creme “en ook, ¢ im and feel we ped Salley = debut se Ske nee us me ie ine oe on shies eur indore “ConcETHNOMUSICOLOGY A Contemporary Reader Edited by Jennifer C. Post VAKGROEP KUNST-, MUZIEK- & THEATERWETENSCHAPPEN boo6. 12 162. LEPart! Part I Contents Acknowledgments Contributors Introduction JENNIFER C. POST ‘Commodification and Consumption Sultans of Spin: Syrian Sacred Masic on the World Stage JONATHAN H. SHANNON ‘Sounds Like the Mall of America: Programmed Music and the Architectones of Commercial Space JONATHAN STERNE Cultural Tourism and Travel Culture, Tourism, and Cultural Tourism: Boundaries and Frontiers in Performances of Balinese Music and Dance PETER DUNBAR-HALL Folk Festival as Modern Ritual in the Polish Tatra Mountins TIMOTHY |. COOLEY Gender and Sexuality ‘Taiko and the Asian/American Body: Drums, Rising Sun, and the Question of Gender DEBORAH WONG Empowering Sef: Making Choices, Creating Spaces Black Female deatity via Rap Music Performance (CHERYL, KEYES 15 7 3 33 o 85, 87vi» CONTENTS: Part lV 0 ‘The Frame Drum in the Middle East ‘Women, Musical Instruments, and Power VERONICA DOUBLEDAY Globatization and Glocalization (On Redefining the “Local” through World Music JOCELYNE GUILBAULT ‘he Canned Sardine Sprit Takes the Mic MARINA ROSEMAN ‘A Musical Instrument Travels Around the World: Jenbe Playing in Bamako, West Africa, and Beyond RAINER POLAK Part V_ Media, Technology, and Technoculture n 13 Part VI 4 Part VIL 8 ‘Mozart in Mirrorshades: $uhnomusicology, Technology, and the Politics of Representation RENET. A, LYSLOFE ‘Technology and the Production of Islamic Space: ‘The Call to Prayer in Singapore TONG SOON LEE ‘Acting Up, Talking Techs "New York Rock Musicians and Their Metaphors of Technology LESLIEC. GAY, IR. Nationalism and Transnationalism ‘The Sonic Dimensions of Nationalism in Modern China: ‘Musical Representation and Transformation SUETUOHY: Russia New Anthem and the Negotiation of National Identity ]-MARTIN DAUGHTRY “Mezannmi, Kouman Now Ye? My Friends, How Are You?": ‘Musical Constructions ofthe Haitian Transnation GAGE AVERILL “Indian” Music inthe Diaspora: (Case Studies of Chutney in Trinidad and in London TINA K RAMNARINE Place and Embodiment ‘The Embodiment of Salsa: ‘Musicians, Instruments, and the Performance of a Latin Style and Identity PATRIA ROMAN-VELAZQUEZ 109 135 137 “Ww 161 187 189 199 209 23 261 293 29519 Part VIL 20 a Dueling Landscapes: Singing Places and Identities in Highland Bolivia THOMAS SOLOMON ‘Racial and Ethnic Identities Native American Rap and Reggae: Dancing "To the Beat of a Different Drummer” rom "Tim a Lapp" to "Lam Saami" Popular Music and Changing Images of Indigenous Ethnicity in Scandinav [RICHARD JONES-BAMMAN Part IX Social and Political Action 2 2 4 (Cajun Music, Cultural Revival: ‘Theorizing Political Action in Popular Music MARK MATTERN Nitmiluk: Place, Politics, and Empowerment in Australian Aboriginal Popular Music (CHRIS GIBSON AND PETER DUNBAR HALL Culture, Conservation, and Community Reconstruction: Explorations in Advocacy Ethnomusicology and Participatory Action Research in Northern KwaZulu Netal ANGELA IMPEY Glossary Research Resources Books and Articles Audio Recordings Video Recordings Web sites Index CONTENTS « wi ait 329 331 351 383 401 413 a9 a9 423 7 431 437