Kategoria BISAC: Music >> Ethnomusicology

This lively textual symposium offers a collection of formative research on the culture of global psytrance (psychedelic trance). As the first book to address the diverse transnationalism of this contemporary electronic dance music phenomenon, the collection hosts interdisciplinary research addressing psytrance as a product of intersecting local and global trajectories. Contributing to theories of globalization, postmodernism, counterculture, youth subcultures, neotribes, the carnivalesque, music scenes and technologies, dance ritual and spirituality, chapters introduce psytrance in Goa,...

Mention twentieth-century Russian music, and the names of three "giants"--Igor Stravinsky, Sergei Prokofiev, and Dmitrii Shostakovich--immediately come to mind. Yet during the turbulent decade following the Bolshevik Revolution, Stravinsky and Prokofiev lived abroad and Shostakovich was just finishing his conservatory training. While the fame of these great musicians is widely recognized, little is known about the creative challenges and political struggles that engrossed musicians in Soviet Russia during the crucial years after 1917. Music for the Revolution examines musicians'...

At the heart of "The Republic of Love" are the voices of three musicians queer nightclub star Zeki Muren, "arabesk" originator Orhan Gencebay, and pop diva Sezen Aksu who collectively have dominated mass media in Turkey since the early 1950s. Their fame and ubiquity have made them national icons but, Martin Stokes here contends, they do not represent the official version of Turkish identity propagated by anthems or flags; instead they evoke a much more intimate and ambivalent conception of Turkishness.
Using these three singers as a lens, Stokes examines Turkey s repressive politics...

At the heart of The Republic of Love are the voices of three musicians queer nightclub star Zeki Muren, arabesk originator Orhan Gencebay, and pop diva Sezen Aksu who collectively have dominated mass media in Turkey since the early 1950s. Their fame and ubiquity have made them national icons but, Martin Stokes here contends, they do not represent the official version of Turkish identity propagated by anthems or flags; instead they evoke a much more intimate and ambivalent conception of Turkishness.
Using these three singers as a lens, Stokes examines Turkey s repressive...