Fado Resounding

Fado, Portugal's most celebrated genre of popular music, can be heard in Lisbon clubs, concert halls, tourist sites, and neighborhood bars. Fado sounds traverse the globe, on internationally marketed recordings, as the "soul" of Lisbon. A fadista might sing until her throat hurts, the voice hovering on the break of a sob; in moments of sung beauty listeners sometimes cry. Providing an ethnographic account of Lisbon's fado scene, Lila Ellen Gray draws on research conducted with amateur fado musicians, fadistas, communities of listeners, poets, fans, and cultural brokers during the first decade of the twenty-first century. She demonstrates the power of music to transform history and place into feeling in a rapidly modernizing nation on Europe's periphery, a country no longer a dictatorship or an imperial power. Gray emphasizes the power of the genre to absorb sounds, memories, histories, and styles and transform them into new narratives of meaning and "soul."

A compelling account of the role of Fado and the fadista in Portuguese film and the wider culture.

The idea of al-Andalus—medieval Muslim Iberia—has many uses, inspiring artists and activists who imagine a place and time of peaceful coexistence among Europeans, North Africans, and Middle Easterners; Christians, Jews, and Muslims. Eric Calderwood explores the consolidation of this reputation and its impact on artistic and political aspiration.

Mair'ead Nic Craith's has sought to integrate critical heritage studies, cultural history, literature and folklore into a creative ethnology. Issues of community and place, memory and nostalgia are key themes in her work. The tensions around forms, definitions and uses of heritage are picked up in the contributions to this book. Research essays engage with the wide range of topics Mair'ead has explored. Other contributions note her support and mentoring or illustrate the author's appreciation of her work through prose, music and artistic representations. Ullrich Kockel teaches at Heriot-Watt University Edinburgh, the Latvian Academy of Culture and Vytautas Magnus University Kaunas. He is Emeritus Professor of Ethnology at Ulster University, a Member of the Royal Irish Academy, and Mair'ead's anam cara.

With entries on topics ranging from non-Western instruments to distinctive rhythms of music from various countries, this one-stop resource on global music also promotes appreciation of other countries and cultural groups. A perfect resource for students and music enthusiasts alike, this expansive three-volume set provides readers with multidisciplinary perspectives on the music of countries and ethnic groups from around the globe. Students will find Music around the World: A Global Encyclopedia accessible and useful in their research, not only for music history and music appreciation classes but also for geography, social studies, language studies, and anthropology. Additionally, general readers will find the books appealing and an invaluable general reference on world music. The volumes cover all world regions, including the Americas, Europe, Africa and the Middle East, and Asia and the Pacific, promoting a geographic understanding and appreciation of global music. Entries are arranged alphabetically. A preface explains the scope of the set as well as how to use the encyclopedia, followed by a brief history of traditional music and important current influences of music in each particular world region.

‘Retro’ is not only a pervading phenomenon in today’s Western culture but has informed cultural history for some centuries and thus gives momentousness to the subject of the present volume, namely literary texts and musical compositions which, for various reasons and with multiple functions, ‘make it old’.

Transnational Portuguese Studies offers a radical rethinking of the role played by the concepts of ‘nationhood’ and ‘the nation’ in the epistemologies that underpin Portuguese Studies as an academic discipline. Portuguese Studies offers a particularly rich and enlightening challenge to methodological nationalism in Modern Languages, not least because the teaching of Portuguese has always extended beyond the study of the single western European country from which the language takes its name. However, this has rarely been analysed with explicit, or critical, reference to the ‘transnational turn’ in Arts and Humanities. This volume of essays from leading scholars in Portugal, Brazil, the USA and the UK, explores how the histories, cultures and ideas constituted in and through Portuguese language resist borders and produce encounters, from the manoeuvres of 15th century ‘globalization’ and cartography to present-day mega events such as the Rio Olympics. The result is a timely counter-narrative to the workings of linguistic and cultural nationalism, demonstrating how texts, paintings and photobooks, musical forms, political ideas, cinematic representations, gender identities, digital communications and lexical forms, may travel, translate and embody transcultural contact in ways which only become readable through the optics of transnationalism. Contributors: Ana Margarida Dias Martins, Anna M. Klobucka, Christopher Larkosh, Claire Williams, Cláudia Pazos Alonso, Edward King, Ellen W. Sapega, Fernando Arenas, Hilary Owen, José Lingna Nafafé, Kimberly DaCosta Holton, Maria Luísa Coelho, Paulo de Medeiros, Sara Ramos Pinto, Sheila Moura Hue, Simon Park, Susana Afonso, Tatiana Heise, Toby Green, Tori Holmes, Vivien Kogut Lessa de Sá and Zoltán Biedermann.

Choral Voices: Ethnographic Imaginations of Sound and Sacrality is about sacred and secular choirs in Goa and Shillong across churches, seminaries, schools, auditoriums, classrooms, reality TV shows, and festivals. Voice and genre emerge as social objects annotated by tradition, nostalgia, and innovation. Piety literally and metaphorically shapes the Christian lifeworld, predominantly those belonging to the Presbyterian and Catholic denominations. Indigeneity structures the political and cultural motifs in the making of the Christian musical traditions. Located at the intersection of Sociology, Anthropology, and Ethnomusicology, the choral voices emplace 'affect' and the visual-aural dispatch. Thus, sonic spectrum holds space for indigenous and global musicality. This ethnographic work will be useful for scholars researching music and sound studies, religious studies, cultural anthropology, and sociology of India.