This volume makes available the full range of the American/Canadian musical experience, covering-for the first time in print-all major regions, ethnic groups, and traditional and popular contexts. From musical comedy to world beat, from the songs of the Arctic to rap and house music, from Hispanic Texas to the Chinese communities of Vancouver, the coverage captures the rich diversity and continuities of the vibrant music we hear around us. Special attention is paid to recent immigrant groups, to Native American traditions, and to such socio-musical topics as class, race, gender, religion, government policy, media, and technology.
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Ethnomusicology at the University of Rochester's Eastman School of Music. She is editor of Women and Music in Cross-Cultural Perspective (1989).From Library Journal:
Part of Garland's highly acclaimed "World Music" series, this latest contribution gives voluminous quality treatment to the music of the United States and Canada. (Recent volumes in the series include Southeast Asia, Australia and the Pacific Islands, Europe, The Middle East, Africa, LJ 9/01/97, and South America, Mexico, Central America, and the Caribbean, LJ 4/15/99); East Asia is due out later this year.) Under the leadership of editor Koskoff (ethnomusicology, Eastman Sch. of Music), recognized experts have contributed scholarly yet readable essays on the topic's very diverse aspects, buttressed by numerous excellent bibliographic references of benefit to both serious scholars and casual readers. The content is organized into three large sections: Part 1 presents an overview of the music of the two countries as one cultural unit; Part 2, "Music in Social and Cultural Contexts," is a collaborative effort by writers from both countries that gives intensive treatment to issues of musical identity, such as class, race, gender, etc.; and Part 3, the tome's largest section, examines the musical cultures of Native American and other "First Nation" peoples. This is a monumental work of impressive scope that in less competent hands could have fallen flat on its bibliographic face. The included CD highlights selected audio examples of the music. Although pricey, this volume (and the series) would see much use in most public libraries and in academic libraries with even modest music and popular culture courses. David M. Turkalo, Suffolk Univ. Law Lib., Boston
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