Demographic Resources in Music

2nd ed. This book is a definitive chronicle of the history of Hawaiian music, the people who made it, and the footprints they left in the sands of Hawai'i. Here John Beger finishes what George S. Kanahele started years ago and brings closure to his spectacular legacy as a Hawaiian historian, scholar and author.

In Austronesia--the region that stretches from Madagascar in the west to Easter Island in the east--music plays a vital role in both the construction and expression of social and cultural identities. Yet research into the music of Austronesia has hitherto been sparse. Drawing together contemporary cultural studies and musical analysis, Austronesian Soundscapes will fill this research gap, offering a comprehensive analysis of traditional and contemporary Austronesian music and, at the same time, investigating how music reflects the challenges that Austronesian cultures face in this age of globalization.

This volume of essays honors the life and work of Stephen A. Wild, one of Australia's leading ethnomusicologists. Focusing on the music of Aboriginal Australia and the Pacific Islands, and the concerns of archiving and academia, the essays within are authored by peers, colleagues, and former students of Wild. Most of the authors are members of the Study Group on Music and Dance of Oceania of the International Council for Traditional Music, an organization that has also played an important role in Wild's life and development as a scholar of international standing. Ranging in scope from the musicological to the anthropological--from technical musical analyses to observations of the sociocultural context of music--these essays reflect not only on the varied and cross-disciplinary nature of Wild's work, but on the many facets of ethnomusicology today.

Hawaiian Music in Motion explores the performance, reception, transmission, and adaptation of Hawaiian music on board ships and in the islands, revealing the ways both maritime commerce and imperial confrontation facilitated the circulation of popular music in the nineteenth century. James Revell Carr draws on journals and ships' logs to trace the circulation of Hawaiian song and dance worldwide as Hawaiians served aboard American and European ships. He also examines important issues like American minstrelsy in Hawaii and the ways Hawaiians achieved their own ends by capitalizing on Americans' conflicting expectations and fraught discourse around hula and other musical practices.

The islands of Melanesia, Micronesia, and Polynesia are steeped in diverse musical traditions that reach far beyond the expanse of the Pacific Ocean. Based on the authors' extensive fieldwork and experiences in Pacific Island cultures, the text draws on interviews with performers, eyewitness accounts of performances, vivid illustrations, and insights gained from ongoing participation in Pacific music. The authors use four themes - colonialism, belief systems, musical flows, and the re/presentation of Pacific cultures - to survey the region and draw parallels and contrasts between its various musical traditions.

An anthology of essays on the new syncretic, or 'fusion', styles of music of the indigenous peoples of the Pacific region, who have adopted forms of popular music as an expression of their cultural identity. Its strength lies in the layering up of a sense of community of inquiry, and the fostering of an intertextual head of steam, grounded in a set of empirical, rather than theoretical, concerns. It considers the interrelation between music, popular culture, politics and (national) identity, but also looks at the business aspect of producing and distributing music in the Pacific region.

This book examines the intersection between sound and modernity in dramatic and musical performance in Manila and the Asia-Pacific between 1869 and 1948. During this period, tolerant political regimes resulted in the globalization of capitalist relations and the improvement of transcontinental travel and worldwide communication. This allowed modern modes of theatre and music consumption to instigate the uniformization of cultural products and processes, while simultaneously fragmenting societies into distinct identities, institutions, and nascent nation-states. Taking the performing bodies of migrant musicians as the locus of sound, this book argues that the global movement of acoustic modernities was replicated and diversified through its multiple subjectivities within empire, nation, and individual agencies. It traces the arrival of European travelling music and theatre companies in Asia which re-casted listening into an act of modern cultural consumption, and follows the migration of Manila musicians as they engaged in the modernization project of the neighboring Asian cities.

An exploration of traditional dance and music in Polynesia. The first section studies the individual countries from Hawaii to Easter Island to New Zealand; the second sections is headed 'Comparisons', and includes material on the impact of European music. Illustrated with photographs, drawings of instruments, music examples in notation, and a CD of recordings.