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She argues that the emergence of a mass market for culture reconfigured the gendered ambiguities already inherent in the discourses on Irish music and identity.\n\nDavis's book will appeal to scholars within Irish studies, postcolonial studies, gender studies, print culture, new British history, eighteenth- and nineteenth-century studies, and ethnomusicology.","brand":"Longleaf Services Univ of Notre Dame du Lac","offers":[{"title":"Default Title","offer_id":52657438392687,"sku":"9780268025786","price":209.22,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0268025789.jpg?v=1770813847"},{"product_id":"so-you-want-to-sing-music-by-women","title":"So You Want to Sing Music by Women","description":"So You Want to Sing Music by Women opens wide a vast repertoire of vocal music written by women to advocate for widespread inclusion of this too-often neglected work in performance repertoire. Hoch and Lister provide a historical and contemporary perspective, chronicling the Western art music canon while also addressing contemporary trends in music theater and CCM. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eIn addition to providing a historical overview and social context in which women created music, this volume explores the music of hundreds of historical and contemporary women composers, such as Hildegard von Bingen, Clara Schumann, Lili Boulanger, Cathy Berberian, Erykah Badu, and Sara Bareilles. In addition to discussions of art song, opera, choral music, and avant garde\/experimental music, Erin Guinup and Amanda Wansa Morgan also contribute chapters devoted to music theater, CCM, and advocacy for women composers. Interviews with high-profile composers including Lori Laitman, Rosephanye Powell, Meredith Monk, Georgia Stitt provide accounts from the frontlines of today’s composing world. 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Kaloyanides, Panayotis League, Roderick Conway Morris, National Endowment for the Arts\/National Heritage Fellows, Nick Pappas, Meletios Pouliopoulos, Anthony Shay, David Soffa, Dick Spottswood, Jim Stoynoff, and Anna Lomax Wood\u003c\/p\u003e\u003cp\u003eDespite a substantial artistic legacy, there has never been a book devoted to Greek music in America until now. Those seeking to learn about this vibrant and exciting music were forced to seek out individual essays, often published in obscure or ephemeral sources. This volume provides a singular platform for understanding the scope, practice, and development of Greek music in America through essays and profiles written by principal scholars in the field.\u003c\/p\u003e\u003cp\u003eGreece developed a rich variety of traditional, popular, and art music that diasporic Greeks brought with them to America. In Greek American communities, music was and continues to be an essential component of most social activities. Music links the past to the present, the distant to the near, and bonds the community with an embrace of memories and narrative. From 1896 to 1942, more than a thousand Greek recordings in many genres were made in the United States, and thousands more have appeared since then. These encompass not only Greek traditional music from all regions, but also emerging urban genres, stylistic changes, and new songs of social commentary. Greek Music in America includes essays on all of these topics as well as history and genre, places and venues, the recording business, and profiles of individual musicians. 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Engaging in an analysis of musical styles, performance practice, sheet music cover art, the discourses surrounding this music, and the sonic, somatic, and social realms of dance, Zelensky demonstrates the central role played by music in shaping and maintaining the Russian émigré diaspora over multiple generations as well as the fundamental paradox underlying this process: that music's sustaining power in this case rests on its proclivity to foster collective narratives of an idealized prerevolutionary Russia while often evolving stylistically to remain relevant to its makers, listeners, and dancers. 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