Intonations

Intonations tells the story of how Angola's urban residents in the late colonial period (roughly 1945-74) used music to talk back to their colonial oppressors and, more importantly, to define what it meant to be Angolan and what they hoped to gain from independence. A compilation of Angolan music is included in CD format. Marissa J. Moorman presents a social and cultural history of the relationship between Angolan culture and politics. She argues that it was in and through popular urban music, produced mainly in the musseques (urban shantytowns) of the capital city, Luanda, that Angolans forged the nation and developed expectations about nationalism. Through careful archival work and extensive interviews with musicians and those who attended performances in bars, community centers, and cinemas, Moorman explores the ways in which the urban poor imagined the nation. The spread of radio technology and the establishment of a recording industry in the early 1970s reterritorialized an urban-produced sound and cultural ethos by transporting music throughout the country. When the formerly exiled independent movements returned to Angola in 1975, they found a population receptive to their nationalist message but with different expectations about the promises of independence. In producing and consuming music, Angolans formed a new image of independence and nationalist politics.

This second volume of twenty popular hymn intonations again offers every church organist exciting alternative introductions to traditional hymns. Included in this volume are intermediate settings of: Amazing Grace * The Ash Grove * Cwm Rhondda * Ellacombe * Foundation * Kremser * Lyons * St. Denio * St. Theodulph * Stuttgart and ten others. Both volumes in this series contain hymns covering the entire church year.

Intonations tells the story of how Angola’s urban residents in the late colonial period (roughly 1945–74) used music to talk back to their colonial oppressors and, more importantly, to define what it meant to be Angolan and what they hoped to gain from independence. A compilation of Angolan music is included in CD format. Marissa J. Moorman presents a social and cultural history of the relationship between Angolan culture and politics. She argues that it was in and through popular urban music, produced mainly in the musseques (urban shantytowns) of the capital city, Luanda, that Angolans forged the nation and developed expectations about nationalism. Through careful archival work and extensive interviews with musicians and those who attended performances in bars, community centers, and cinemas, Moorman explores the ways in which the urban poor imagined the nation. The spread of radio technology and the establishment of a recording industry in the early 1970s reterritorialized an urban-produced sound and cultural ethos by transporting music throughout the country. When the formerly exiled independent movements returned to Angola in 1975, they found a population receptive to their nationalist message but with different expectations about the promises of independence. In producing and consuming music, Angolans formed a new image of independence and nationalist politics.

ANTONIS BOTINIS 1. 1 Background This introduction provides essential information about the structure and the objects of study of this volume. Following the introduction, fourteen papers which represent current research on intonation are organised into five thematic sections: (I) Overview of Intonation, (II) Prominence and Focus, (III) Boundaries and Discourse, (IV) Intonation Modelling, and (V) Intonation Technology. Within the sections the papers are arranged thematically, although several papers which deal with various aspects of intonation and prosody are basically intersectional. As the title indicates, "Intonation: Analysis, Modelling and Technology" is a contribution to the study of prosody, with major emphasis on intonation. Intonation and tonal themes are thus the central object of the volume, although temporal and dynamic aspects are also taken into consideration by a good number of papers. Although tonal and prosodic distinctions have been dealt with throughout man's literate history with reference to the study of language, for example by classical philosophers such as Plato and Aristotle, it is in recent decades that we have witnessed the most fertile growth in intonation studies, as with experimental phonetics and speech technology in general. As Rossi (this volume) points out, intonation research really began to blossom in the sixties with a multi fold increase in prosodic studies, reflected in contributions to the International Congress of Phonetic Sciences (ICPhS), and in the international literature.

Sound recording (digital) disk shelved separately in office.