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Original Essays | September 15, 2014

Lois Leveen: IMG Forsooth Me Not: Shakespeare, Juliet, Her Nurse, and a Novel



There's this writer, William Shakespeare. Perhaps you've heard of him. He wrote this play, Romeo and Juliet. Maybe you've heard of it as well. It's... Continue »
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    Juliet's Nurse

    Lois Leveen 9781476757445

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Governing Sound - With CD (07 Edition)

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Synopses & Reviews

Publisher Comments:

Calypso music is an integral part of Trinidads national identity. When, for instance, Franklin D. Roosevelt asked the great Trinidadian musician Roaring Lion where he was from, Lion famously replied “the land of calypso.” But in a nation as diverse as Trinidad, why is it that calypso has emerged as the emblematic music?

In Governing Sound, Jocelyne Guilbault examines the conditions that have enabled calypso to be valorized, contested, and targeted as a field of cultural politics in Trinidad. The prominence of calypso, Guilbault argues, is uniquely enmeshed in projects of governing and in competing imaginations of nation, race, and diaspora. During the colonial regime, the period of national independence, and recent decades of neoliberal transformation, calypso and its musical offshoots have enabled new cultural formations while simultaneously excluding specific social expressions, political articulations, and artistic traditions. Drawing on over a decade of ethnographic work, Guilbault maps the musical journeys of Trinidads most prominent musicians and arrangers and explains the distinct ways their musical sensibilities became audibly entangled with modes of governing, audience demands, and market incentives.

Generously illustrated and complete with an accompanying CD, Governing Sound constitutes the most comprehensive study to date of Trinidads carnival musics.

Synopsis:

Calypso music is an integral part of Trinidads national identity. When, for instance, Franklin D. Roosevelt asked the great Trinidadian musician Roaring Lion where he was from, Lion famously replied “the land of calypso.” But in a nation as diverse as Trinidad, why is it that calypso has emerged as the emblematic music?

In Governing Sound, Jocelyne Guilbault examines the conditions that have enabled calypso to be valorized, contested, and targeted as a field of cultural politics in Trinidad. The prominence of calypso, Guilbault argues, is uniquely enmeshed in projects of governing and in competing imaginations of nation, race, and diaspora. During the colonial regime, the period of national independence, and recent decades of neoliberal transformation, calypso and its musical offshoots have enabled new cultural formations while simultaneously excluding specific social expressions, political articulations, and artistic traditions. Drawing on over a decade of ethnographic work, Guilbault maps the musical journeys of Trinidads most prominent musicians and arrangers and explains the distinct ways their musical sensibilities became audibly entangled with modes of governing, audience demands, and market incentives.

Generously illustrated and complete with an accompanying CD, Governing Sound constitutes the most comprehensive study to date of Trinidads carnival musics.

About the Author

Jocelyne Guilbault is professor in the Department of Music at the University of California, Berkeley. She is the author of Zouk: World Music in the West Indies.

 

Table of Contents

CD Track List

Acknowledgments

Introduction

Part 1: Calypso

1. Calypsos Historical Entanglements

2. Governing the Conduct of Carnival and Calypso

3. Power, Practice, and Competitions

4. Calypsonians Onstage /

5. Independence, Innovation, and Authenticity

Part 2: Calypsos Musical Offshoots

6. Post-independence, Proliferation, and Permissible Traditions

7. Soca, Nation, and Discrepant Diasporas

8. Cultural Entrepreneurship under Neoliberalism

Coda

References

Selected Discography

Photographs follow page

CD TRACK LIST

1. Sam Manning: “Lieutenant Julian” (1929), oratorical calypso (also called “Sans Humanité”)

2. Unknown singers: “We Goin to Cut the Wood” (1956), lavway at funeral wakes (bongo)

3. Machel Montano and Xtatik: “Daddy Axe” (1998), ragga soca

4. Brother Resistance: “Cyar Take Dat” (1996 version), rapso

5. Machel Montano and Xtatik: “You” (2005), soca

6. Machel Montano and Xtatik: “On the Road” (Brancker Version), Peter C. Lewis featuring Machel Montano (2003), soca

7. Rikki Jai: “ Sting She” (2001), chutney soca

8. Rikki Jai: “Hamareh Galeeyah” (2001), chutney version

9. Rikki Jai: “Hamareh Galeeyah” (2001), chutney soca version

Product Details

ISBN:
9780226310602
Author:
Guilbault, Jocelyne
Publisher:
University of Chicago Press
Subject:
History
Subject:
Anthropology - Cultural
Subject:
Ethnomusicology
Subject:
Carnival
Subject:
Caribbean & West Indies - General
Subject:
Genres & Styles - Pop Vocal
Subject:
Genres & Styles - General
Subject:
Calypso (Music) -- Trinidad and Tobago.
Subject:
Carnival - Trinidad and Tobago - Trinidad -
Subject:
MUSIC / Ethnomusicology
Edition Description:
Trade Paper and CD
Series:
Chicago Studies in Ethnomusicology
Publication Date:
20070931
Binding:
TRADE PAPER
Grade Level:
Professional and scholarly
Language:
English
Illustrations:
25 halftones, 8 musical examples, 1 comp
Pages:
352
Dimensions:
9 x 6 in

Related Subjects

Arts and Entertainment » Music » Ethnomusicology
Arts and Entertainment » Music » Genres and Styles » General
History and Social Science » World History » Caribbean

Governing Sound - With CD (07 Edition) New Trade Paper
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Product details 352 pages University of Chicago Press - English 9780226310602 Reviews:
"Synopsis" by ,

Calypso music is an integral part of Trinidads national identity. When, for instance, Franklin D. Roosevelt asked the great Trinidadian musician Roaring Lion where he was from, Lion famously replied “the land of calypso.” But in a nation as diverse as Trinidad, why is it that calypso has emerged as the emblematic music?

In Governing Sound, Jocelyne Guilbault examines the conditions that have enabled calypso to be valorized, contested, and targeted as a field of cultural politics in Trinidad. The prominence of calypso, Guilbault argues, is uniquely enmeshed in projects of governing and in competing imaginations of nation, race, and diaspora. During the colonial regime, the period of national independence, and recent decades of neoliberal transformation, calypso and its musical offshoots have enabled new cultural formations while simultaneously excluding specific social expressions, political articulations, and artistic traditions. Drawing on over a decade of ethnographic work, Guilbault maps the musical journeys of Trinidads most prominent musicians and arrangers and explains the distinct ways their musical sensibilities became audibly entangled with modes of governing, audience demands, and market incentives.

Generously illustrated and complete with an accompanying CD, Governing Sound constitutes the most comprehensive study to date of Trinidads carnival musics.

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