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Greek Rebetiko from a Psychocultural Perspective: Same Songs Changing Minds examines the ways in which audiences in present-day Greece and Turkey perceive and use the Greek popular song genre rebetiko to cultivate specific cultural habits and identities. In the past, rebetiko has been associated chiefly with the lower strata of Greek society. But Daniel Koglin approaches the subject from a different perspective, exploring the mythological and ritual aspects of rebetiko, which intellectual elites on both sides of the Aegean Sea have adapted to their own world views in our age of globalized consumption. Combining qualitative and quantitative methods from ethnomusicology, ritual studies, conceptual history and music psychology, Koglin casts light on the role played by national perceptions in the processes of music production and consumption. His analysis reveals that rebetiko persistently oscillates between conceptual categories: it is a music both ours and theirs, marginal and mainstream, joyful and grievous, sacred and profane. The study culminates in the thesis that this semantic multistability is not only a key concept to understanding the ongoing popularity of rebetiko in Greece, and its recent renaissance in Turkey, but also a fundamental aspect of the human experience on the south-eastern borders of Europe.

Performing a political identity usually involves more than just casting a vote. For Left-wingers in Turkey, Greece and Cyprus – countries that emerged as the only non-socialist constituents of South-eastern Europe after WWII – political preference meant immersion to distinct ways of life, to ‘cultures’: in times of dictatorship or persecution, the desire to find alternative ways to express themselves gave content to these cultures. In times of political normality, it was the echoes of such memories of precarity and loss that took the lead. This book explores the intersection between the politics and cultures of the Left since the sixties in Turkey, Greece and Cyprus. With the use of 12 case studies, the contributors expose the moments in which the Left has been claimed and performed, not only through political manifestos and traditional political boundaries, but also through corporeal acts, discursive practices and affective encounters. These are all transformed into distinct modalities of everyday life and conduct, which are commemorated, narrated or sung, versed, painted, or captured in photographic images and on reels of tape. By focusing on culture and performance, this book highlights the complex link between nationalism and internationalism in left-wing cultures, and illuminates the entanglements between the ways in which left-wingers experienced transitions from dictatorship to democracy and vice versa. As the first book to analyse cultures and performances of the Left in the three countries, The Politics of Culture in Turkey, Greece and Cyprus causes a rethinking of the boundaries of political practice and fosters new understandings of the formation of diverse expressions of the Left. As such, it will be a valuable resource for students and scholars of cultural and social anthropology, modern European history and political science.

More than 200 years after the first speaking machine, we are accustomed to voices that speak from any- and everywhere. We interact daily with voices that emit from house alarm systems, cars, telephones, and digital assistants, such as Alexa and Google Home. However, vocal events still have the capacity to raise age-old questions about the human, the animal, the machine, and the spiritual-or in non-metaphysical terms-questions about identity and authenticity. In The Oxford Handbook of Voice Studies, contributors look to the metaphorical voice as well as the clinical understanding of the vocal apparatus to answer the seemingly innocuous question: What is voice? From a range of disciplines including the humanities, biology, culture, and technology studies, contributors draw on the unique methodologies and values each has at hand to address the uses, meanings, practices, theories, methods, and sounds of the voice. Together, they assess the ways that discipline-specific, ontological, and epistemological assumptions of voice need to shift in order to take the findings of other fields into account. This Handbook thus enables a lively discussion as multifaceted and complex as the voice itself has proven to be.

Performing arts in most parts of Maritime Southeast Asia are seen as an entity, where music and dance, sound and movement, acoustic and tactile elements intermingle and complement each other. Although this fact is widely known and referenced, most scholarly works in the performing arts so far have either focused on "music" or "dance" rather than treating the two in combination. The authors in this book look at both aspects in performance, moreover, they focus explicitly on the interrelation between the two, on both descriptive-analytical and metaphorical levels. The book includes diverse examples of regional performing art genres from Indonesia, Malaysia and the Philippines. All case studies are composed from the perspective of the relatively new approach and field of ethno-choreomusicology. This particular compilation gives an exemplary overview of various phenomena in movement-sound relations, and offers for the first time a thorough study of the phenomenon that is considered essential for the performing arts in Maritime Southeast Asia - the inseparability of movement and sound.

In the 1970s John Baily conducted extensive ethnomusicological research in Afghanistan, principally in the city of Herat but also in Kabul. Then, with Taraki’s coup in 1978, came conflict, war, and the dispersal of many musicians to locations far and wide. This new publication is the culmination of Baily’s further research on Afghan music over the 35 years that followed. This took him to Afghanistan, Pakistan, Iran, the USA, Australia and parts of Europe - London, Hamburg and Dublin. Arranged chronologically, the narrative traces the sequence of political events - from 1978, through the Soviet invasion, to the coming of the Taliban and, finally, the aftermath of the US-led invasion in 2001. He examines the effects of the ever-changing situation on the lives and works of Afghan musicians, following individual musicians in fascinating detail. At the heart of his analysis are privileged vignettes of ten musical personalities - some of friends, and some newly discovered. The result is a remarkable personal memoir by an eminent ethnomusicologist known for his deep commitment to Afghanistan, Afghan musicians and Afghan musical culture. John Baily is also an ethnographic filmmaker. Four of his films relating to his research are included on the downloadable resources that accompanies the text.

Flamenco, Regionalism and Musical Heritage in Southern Spain explores the relationship between regional identity politics and flamenco in Andalusia, the southernmost autonomous community of Spain. In recent years, the Andalusian Government has embarked on an ambitious project aimed at developing flamenco as a symbol of regional identity. In 2010, flamenco was recognised as an Intangible Cultural Heritage of Humanity by UNESCO, a declaration that has reinvigorated institutional support for the tradition. The book draws upon ethnomusicology, political geography and heritage studies to analyse the regionalisation of flamenco within the frame of Spanish politics, while considering responses among Andalusians to these institutional measures. Drawing upon ethnographic research conducted online and in Andalusia, the book examines critically the institutional development of flamenco, challenging a fixed reading of the relationship between flamenco and regionalism. The book offers alternative readings of regionalism, exploring the ways in which competing localisms and disputed identities contribute to a fresh understanding of the flamenco tradition. Matthew Machin-Autenrieth makes a significant contribution to flamenco scholarship in particular and to the study of music, regionalism and heritage in general.

Why has the female voice—as the resonant incarnation of the female body—inspired both fascination and ambivalence? Why were women restricted from performing on the Chinese public stage? How have female roles and voices been appropriated by men throughout much of the history of Chinese theatre? Why were the women of quyi—a community of Chinese female singers in Republican Tianjin—able to become successful, respected artists when other female singers and actors in competing performance traditions struggled for acceptance? Drawing substantially on original ethnographic fieldwork conducted in the 1980s and 1990s, Francesca R. Sborgi Lawson offers answers to these questions and demonstrates how the women of quyi successfully negotiated their sexuality and vocality in performance. Owing to their role as third-person narrators, the women of quyi bridged the gender gap, creating an androgynous persona that de-emphasized their feminine appearance and, at the same time, allowed them to showcase their female voices on public stages—places that had been previously unwelcoming to female artists. This is a story about female storytellers who sang their way to respectability and social change in the early decades of the twentieth century by minimizing their bodies in order to allow their voices to be heard.

The Music of Malaysia, first published in Malay in 1997 and followed by an English edition in 2004 is still the only history, appreciation and analysis of Malaysian music in its many and varied forms available in English. The book categorizes the types of music genres found in Malaysian society and provides an overview of the development of music in that country. Analyses of the music are illustrated with many examples transcribed from original field recordings. Genres discussed include theatrical and dance forms, percussion ensembles, vocal and instrumental music and classical music. It is an excellent introduction to and exploration of the country's vibrant musical culture. This new, fully revised and updated edition includes time lines, listening guides and downloadable resources of field recordings that are analysed and discussed in the text.

The Historical Dictionary of Popular Music contains a chronology, an introduction, an appendix, and an extensive bibliography. The dictionary section has over 1000 cross-referenced entries on major figures across genres, definitions of genres, technical innovations and surveys of countries and regions.

Introducing the idea of 'granular ethnography', this interdisciplinary text shows readers how to take ethnography’s theoretical foundations into account and clearly lays out the importance of doing so.