Originally published in 1867, this book is a collection of songs of African-American slaves. A few of the songs were written after the emancipation, but all were inspired by slavery. The wild, sad strains tell, as the sufferers themselves could, of crushed hopes, keen sorrow, and a dull, daily misery, which covered them as hopelessly as the fog from the rice swamps. On the other hand, the words breathe a trusting faith in the life after, to which their eyes seem constantly turned.
Originally created as a teaching tool, this bibliography has taken on a second life as a research tool for various facets of American art song, including, in this edition, both current and historical discography.
Popular music studies is a rapidly expanding field with changing emphases and agendas. The music industry has changed in recent years, as has governmental involvement in popular music schemes as part of the culture industry. The distinction between the major record labels and the outsider independents has become blurred over time. Popular music, as part of this umbrella of the culture industry, has been progressively globalized and globalizing. The tensions within popular music are now no longer between national cultural identity and popular music, but between the local and the global. This four volume collection examines the changing status of popular music against this background. Simon Frith examines the heritage of popular music, and how technology has changed not only the production but the reception of this brand of sound. The collection examines how the traditional genres of rock, pop and soul have broken down and what has replaced them, as well as showing how this proliferation of musical styles has also splintered the audience of popular music.
This book presents critical studies of modern reconfigurations of conceptions of the past, of the 'classical', and of national heritage. Its scope is global (China, India, Egypt, Iran, Judaism, the Greco-Roman world) and inter-disciplinary (textual philology, history of art and architecture, philosophy, gardening). Its emphasis is on the complexity of the modernization process and of reactions to it: ideas and technologies travelled from India to Iran and from Japan to China, while reactions show tensions between museumization and the recreation of 'presence'. It challenges readers to rethink the assumptions of the disciplines in which they were trained
“A magisterial book” of nearly five hundred poems from some of history’s greatest Chinese poets, translated and edited by a renowned poet and scholar (New Republic). The Chinese poetic tradition is the largest and longest continuous tradition in world literature. This rich and far-reaching anthology of nearly five hundred poems provides a comprehensive account of its first three millennia (1500 BCE to 1200 CE), the period during which virtually all its landmark developments took place. Unlike earlier anthologies of Chinese poetry, Hinton’s book focuses on a relatively small number of poets, providing selections that are large enough to re-create each as a fully realized and unique voice. New introductions to each poet’s work provide a readable history, told for the first time as a series of poetic innovations forged by a series of master poets. “David Hinton has . . . lured into English a new manner of hearing the great poets of that long glory of China’s classical age. His achievement is another echo of the original, and a gift to our language.” —W. S. Merwin
Contains English translations of Chinese writings drawn from throughout a period of four hundred years, including poems, drama, fiction, songs, biographies, and early works of philosophy and history; arranged chronologically and by genre, with introductory quotes and comments.
By blending multiple strands of thought into one ideology, Chinese Syncretists of the pre-imperial period created an essential guide to contemporary ideas about self, society, and government. Merging traditions such as Ruism, Mohism, Daoism, Legalism, and Yin-Yang naturalism into their work, Syncretists created an integrated intellectual approach that contrasts with other, more specific philosophies. Presenting the first full English translation of the earliest example of a Syncretist text, this volume introduces Western scholars to both the brilliance of the syncretic method and a critical work of Chinese leadership. Written by Shi Jiao, China's first syncretic thinker, during the Warring States Period of 481 to 221 BCE, Shizi is similar to Machiavelli's The Prince in that it dispenses wisdom to would-be rulers. It stresses the need for leaders to be detached and objective. It further encourages self-cultivation and effective government, recommending that rulers maintain self-discipline, hire reliable people, delegate power transparently, and promote others in an orderly fashion. The people, it is argued, will emulate their leader's wisdom and virtue, and a just and peaceful state will result. Paul Fischer provides an extensive introduction and a chapter-by-chapter summary and analysis of the text—outlining the importance of syncretism in Chinese culture—and explores the text's particular features, authorship, transmission, loss, and reconstruction over time. The Shizi set the stage for a long history of syncretic endeavor in China, and its study provides insight into the vital traditions of early Chinese philosophy. It is also a template for interpreting other well-known works, such as the Confucian Analects, the Daoist Laozi, the Mohist Mozi, and the Legalist Shang jun shu.
For almost half a century, Amiri Baraka has ranked among the most important commentators on African American music and culture. In this brilliant assemblage of his writings on music, the first such collection in nearly twenty years, Baraka blends autobiography, history, musical analysis, and political commentary to recall the sounds, people, times, and places he's encountered. As in his earlier classics, Blues People and Black Music, Baraka offers essays on the famous—Max Roach, Charlie Parker, Miles Davis, John Coltrane—and on those whose names are known mainly by jazz aficionados—Alan Shorter, Jon Jang, and Malachi Thompson. Baraka's literary style, with its deep roots in poetry, makes palpable his love and respect for his jazz musician friends. His energy and enthusiasm show us again how much Coltrane, Albert Ayler, and the others he lovingly considers mattered. He brings home to us how music itself matters, and how musicians carry and extend that knowledge from generation to generation, providing us, their listeners, with a sense of meaning and belonging.
