Denis crowdy (48 resultados)

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

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Paperback. Condición: New. During the turbulent decades of the 1970s and 1980s, Papua New Guinea gained political independence from a colonial hold that had lasted almost a century. It was an exciting time for a diverse group of pioneering musicians who formed a band they named ""Sanguma."" These Melanesian artists heard an imagined future and performed it during a socially and politically critical time for the region. They were united under one goal: to create a sound that represented the birth of a new, sovereign, and distinctly Melanesian nation; and to express their values, identities, and cosmology through their music and performance. Sanguma's experimental music sounded the complex expectations and pressures of their modern nation and helped to steer its postcolonial journey through music.In Hearing the Future, Australian ethnomusicologist Denis Crowdy documents and analyzes the music and activities of the Sanguma band, arguing that their music was a vital form of cultural expression in sync with sociopolitical change then taking place in PNG. Drawing from rock, jazz, and nascent ""world music"" influences, Sanguma reached audiences far from their home nation, introducing the world to modern music, Melanesia-style, with its fusion of old and new, local and global. Performances ranged from ensembles of Melanesian log drums (garamuts) to extended songs and improvisations involving electric guitars, synthesizers, saxophone, trumpet, bamboo percussion, panpipes, and kuakumba flutes. The band sang in a variety of local vernacular languages, as well as in Tok Pisin and English. To further emphasize their ancestral style, the musicians wore decorative headdresses and body decoration from all around the nation, along with distinctive pants featuring indigenous designs.As the optimism of the early years of the nation faded due to harsh economic and social realities, and as an increasingly commercial popular music scene came to dominate public music culture, tensions between a once heard future and the sounding present emerged. Continuing a theoretical trajectory in ethnomusicology, Crowdy explores the role of music in imagining, constructing, and representing national and regional identity. The analysis reveals inherent tensions between distinctly Melanesian ideals and the complexities in navigating the realities of local neoliberal capitalism.…

Paperback. Condición: Very Good. Acoustic guitar and ukulele-based ensembles, known as stringbands, developed in Papua New Guinea in the second half of the twentieth century. A variety of regional stringband styles are evident, differentiated through language, singing style, ensemble texture, and rhythm. This book examines some unique stringband guitar styles, exploring different open tunings, playing styles, and how these contribute to regional style differentiation. The study offers an insight into the innovative use of introduced instruments, overseas popular music forms, and provides an exampel of musical adaptation to societal change through the development of relevant, vernacular styles. 140 pages.…

Paperback. Condición: Brand New. reprint edition. 183 pages. 9.00x6.00x0.75 inches. In Stock.

Condición: New. 2017. Reprint. paperback. . . . . .

Paperback / softback. Condición: New. New copy - Usually dispatched within 4 working days.

Condición: New.

Condición: New. 2017. Reprint. paperback. . . . . . Books ship from the US and Ireland.

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Condición: New.

Paperback. Condición: New. Software mediates a great deal of human musical activity. The writing, running, and maintenance of code lies at the heart of such software. Code Musicology: From Hardwired to Software argues why it is time for a "code musicology," then outlines what that should entail. A code musicology opens a conduit between musicology and software studies, providing insights into both of these now interlinked fields along the way. It extends an ethnomusicology of technoculture from the world of hardware and the hardwired to software, code, and algorithms. For popular music studies, it helps direct attention to a newly relevant industrial focus-IT and software-centered transnational commerce-as a result of sectorial transformation.Denis Crowdy demonstrates how analysis from software studies, critical code studies, and the digital humanities offers insights into power relations, diversity, and commerce in music. Crowdy weaves readings of code and application programming interfaces (APIs) into the discussion, as well as ethnomusicological fieldwork exploring music and mobile phones from the Global South. Analysis of the author's own music apps and associated distribution infrastructure provides unique insights into the machinations of music "appification.".…

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Soft cover. Condición: New. Summary:During the turbulent decades of the 1970s and 1980s, Papua New Guinea gained political independence. It was an exciting time for a diverse group of pioneering musicians who formed a band they named "Sanguma". Australian ethnomusicologist Denis Crowdy argues that the Sanguma band's music was a vital form of cultural expression in sync with sociopolitical change then taking place in PNG.…

Imperial octavo hardcover (VG+) in d/w (VG+); all our specials have minimal description to keep listing them viable. They are at least reading copies, complete and in reasonable condition, but usually secondhand; frequently they are superior examples. Ordering more than one book will reduce your overall postage costs.…

Condición: New. In English.

Condición: New.

Soft cover. Condición: Very Good. 124 pp., illustrations, maps, bibliography. Contents: Editors' introduction to Krähenheide's "Music of the Gunantuna in the Vicariate of Rabaul"; Music of the Gunantuna in the Vicariate of Rabaul; Ol Singsing Enga; "Same but Different": musical behavior, gender roles, and the transference of power in Yanyuwa society; Three traditional songs form Malala, Madang Province; Questions of origin: George Telek and David Birdie's collaborative recordings; Meekamui: music of Bougainville's war; Recording review: Betel Nuts by Christopher Roberts.…

Hardcover. Condición: Very Good+. Estado de la sobrecubierta: Very Good+. Text clean and tight; Music and Performing Arts of Asia and the Pacific; 9.13 X 6.57 X 1.11 inches; 198 pages.

Condición: As New. Unread book in perfect condition.

Hardcover. Condición: New. Estado de la sobrecubierta: New. xiii, 183 pages : illustrations, music : 24 cm. Summary:During the turbulent decades of the 1970s and 1980s, Papua New Guinea gained political independence from a colonial hold that had lasted almost a century. It was an exciting time for a diverse group of pioneering musicians who formed a band they named 'Sanguma'. These artists heard an imagined future and performed it during a socially and politically critical time for the region. They were united under one goal: to create a sound that represented the birth of a new, sovereign, and distinctly Melanesian nation; and to express their values, identities, and cosmology through their music and performance. Sanguma's experimental music sounded the complex expectations and pressures of their modern nation and helped to steer its postcolonial journey through music. In 'Hearing the Future', Denis Crowdy documents and analyzes the music and activities of the Sanguma band.…

Taschenbuch. Condición: Neu. Neuware - During the turbulent decades of the 1970s and 1980s, Papua New Guinea gained political independence from a colonial hold that had lasted almost a century. It was an exciting time for a diverse group of pioneering musicians who formed a band they named ''Sanguma.'' These Melanesian artists heard an imagined future and performed it during a socially and politically critical time for the region. They were united under one goal: to create a sound that represented the birth of a new, sovereign, and distinctly Melanesian nation; and to express their values, identities, and cosmology through their music and performance. Sanguma's experimental music sounded the complex expectations and pressures of their modern nation and helped to steer its postcolonial journey through music.In Hearing the Future, Australian ethnomusicologist Denis Crowdy documents and analyzes the music and activities of the Sanguma band, arguing that their music was a vital form of cultural expression in sync with sociopolitical change then taking place in PNG. Drawing from rock, jazz, and nascent ''world music'' influences, Sanguma reached audiences far from their home nation, introducing the world to modern music, Melanesia-style, with its fusion of old and new, local and global. Performances ranged from ensembles of Melanesian log drums (garamuts) to extended songs and improvisations involving electric guitars, synthesizers, saxophone, trumpet, bamboo percussion, panpipes, and kuakumba flutes. The band sang in a variety of local vernacular languages, as well as in Tok Pisin and English. To further emphasize their ancestral style, the musicians wore decorative headdresses and body decoration from all around the nation, along with distinctive pants featuring indigenous designs.As the optimism of the early years of the nation faded due to harsh economic and social realities, and as an increasingly commercial popular music scene came to dominate public music culture, tensions between a once heard future and the sounding present emerged. Continuing a theoretical trajectory in ethnomusicology, Crowdy explores the role of music in imagining, constructing, and representing national and regional identity. The analysis reveals inherent tensions between distinctly Melanesian ideals and the complexities in navigating the realities of local neoliberal capitalism.…

Paperback. Condición: Brand New. 158 pages. 9.00x6.00x0.38 inches. In Stock.

Condición: like_new. Appears unused. Pictures available upon request. Individually inspected by Shadow. Thanks for supporting an independent bookseller.

Condición: New. During the turbulent decades of the 1970s and 1980s, Papua New Guinea gained political independence. It was an exciting time for a diverse group of pioneering musicians who formed a band they named Sanguma . Australian ethnomusicologist Denis Crowdy argues.

Condición: New.

Condición: New.

Paperback. Condición: New. During the turbulent decades of the 1970s and 1980s, Papua New Guinea gained political independence from a colonial hold that had lasted almost a century. It was an exciting time for a diverse group of pioneering musicians who formed a band they named ""Sanguma."" These Melanesian artists heard an imagined future and performed it during a socially and politically critical time for the region. They were united under one goal: to create a sound that represented the birth of a new, sovereign, and distinctly Melanesian nation; and to express their values, identities, and cosmology through their music and performance. Sanguma's experimental music sounded the complex expectations and pressures of their modern nation and helped to steer its postcolonial journey through music.In Hearing the Future, Australian ethnomusicologist Denis Crowdy documents and analyzes the music and activities of the Sanguma band, arguing that their music was a vital form of cultural expression in sync with sociopolitical change then taking place in PNG. Drawing from rock, jazz, and nascent ""world music"" influences, Sanguma reached audiences far from their home nation, introducing the world to modern music, Melanesia-style, with its fusion of old and new, local and global. Performances ranged from ensembles of Melanesian log drums (garamuts) to extended songs and improvisations involving electric guitars, synthesizers, saxophone, trumpet, bamboo percussion, panpipes, and kuakumba flutes. The band sang in a variety of local vernacular languages, as well as in Tok Pisin and English. To further emphasize their ancestral style, the musicians wore decorative headdresses and body decoration from all around the nation, along with distinctive pants featuring indigenous designs.As the optimism of the early years of the nation faded due to harsh economic and social realities, and as an increasingly commercial popular music scene came to dominate public music culture, tensions between a once heard future and the sounding present emerged. Continuing a theoretical trajectory in ethnomusicology, Crowdy explores the role of music in imagining, constructing, and representing national and regional identity. The analysis reveals inherent tensions between distinctly Melanesian ideals and the complexities in navigating the realities of local neoliberal capitalism.…