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Bacchanalian Sentiments: Musical Experiences and Political Counterpoints in Trin

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Item specifics

Condition
Brand New: A new, unread, unused book in perfect condition with no missing or damaged pages. See the ...
ISBN-13
9780822341659
Type
NA
Publication Name
NA
ISBN
9780822341659
Book Title
Bacchanalian Sentiments : Musical Experiences and Political Counterpoints in Trinidad
Publisher
Duke University Press
Item Length
9 in
Publication Year
2008
Format
Perfect
Language
English
Item Height
0.7 in
Author
Kevin K. Birth
Genre
Music, Social Science, History
Topic
Philosophy & Social Aspects, Genres & Styles / Folk & Traditional, Anthropology / Cultural & Social, Ethnic, Caribbean & West Indies / General, Genres & Styles / Pop Vocal
Item Weight
13.8 Oz
Item Width
6.2 in
Number of Pages
280 Pages

About this product

Product Identifiers

Publisher
Duke University Press
ISBN-10
0822341654
ISBN-13
9780822341659
eBay Product ID (ePID)
63656267

Product Key Features

Book Title
Bacchanalian Sentiments : Musical Experiences and Political Counterpoints in Trinidad
Number of Pages
280 Pages
Language
English
Publication Year
2008
Topic
Philosophy & Social Aspects, Genres & Styles / Folk & Traditional, Anthropology / Cultural & Social, Ethnic, Caribbean & West Indies / General, Genres & Styles / Pop Vocal
Genre
Music, Social Science, History
Author
Kevin K. Birth
Format
Perfect

Dimensions

Item Height
0.7 in
Item Weight
13.8 Oz
Item Length
9 in
Item Width
6.2 in

Additional Product Features

Intended Audience
Trade
LCCN
2007-032557
Reviews
"Integrating a wealth of ethnographic observations of life in rural Trinidad, Kevin K. Birth offers a rich analysis of how performers and audiences actually experience and interpret music in Trinidad. He demonstrates how central musical experience is to the diverse and changing ways that Trinidadians understand various dimensions of their lives, such as kinship, friendship, community, gender, ethnicity, and national identity."- Stephen Stuempfle , author of The Steelband Movement: The Forging of a National Art in Trinidad and Tobago, " Bacchanalian Sentiments certainly does contribute to the canon of anthropological writing on the Caribbean." - Dylan Kerrigan, Caribbean Review of Books, "Kevin K. Birth persuasively argues that previous scholarship has concentrated too much on text, discourse, and even performance analysis, avoiding the more challenging questions of reception and use. The few existing studies of reception have tended to be overly theoretical. Birth goes significantly beyond these studies, offering a rich portrait of the way popular music informs and structures everyday life."- Bryan McCann , author of Hello, Hello Brazil: Popular Music in the Making of Modern Brazil, "Kevin K. Birth persuasively argues that previous scholarship has concentrated too much on text, discourse, and even performance analysis, avoiding the more challenging questions of reception and use. The few existing studies of reception have tended to be overly theoretical. Birth goes significantly beyond these studies, offering a rich portrait of the way popular music informs and structures everyday life." Bryan McCann, author of Hello, Hello Brazil: Popular Music in the Making of Modern Brazil"Integrating a wealth of ethnographic observations of life in rural Trinidad, Kevin K. Birth offers a rich analysis of how performers and audiences actually experience and interpret music in Trinidad. He demonstrates how central musical experience is to the diverse and changing ways that Trinidadians understand various dimensions of their lives, such as kinship, friendship, community, gender, ethnicity, and national identity." Stephen Stuempfle, author of The Steelband Movement: The Forging of a National Art in Trinidad and Tobago, "I recommend Bacchanalian Sentiments highly to those searching for new approaches to the representation and analysis of expressive culture. It is an important contribution to Caribbean anthropology and ethnomusicology due to its emphasis on music's affectivity and the close relationship between the experience of music and the region's political history. This text is an important addition to the literature on Trinidad and Tobago's history. . . ." - Patricia van Leeuwaarde Moonsammy, Journal of Latin American and Caribbean Anthropology, "Birth's Bacchanalian Sentiments . . . seamlessly synthesizes rich observation with a rigorous, compelling and theoretically innovative analysis of music and political community. . . . Birth's study makes an original contribution to debates on music in Trinidad, and to wider discussions on pluralism and creolization in the Caribbean and on racialized subjectification." - Yasmeen Narayan, Ethnic and Racial Studies, "Kevin K. Birth persuasively argues that previous scholarship has concentrated too much on text, discourse, and even performance analysis, avoiding the more challenging questions of reception and use. The few existing studies of reception have tended to be overly theoretical. Birth goes significantly beyond these studies, offering a rich portrait of the way popular music informs and structures everyday life." Bryan McCann, author of Hello, Hello Brazil: Popular Music in the Making of Modern Brazil "Integrating a wealth of ethnographic observations of life in rural Trinidad, Kevin K. Birth offers a rich analysis of how performers and audiences actually experience and interpret music in Trinidad. He demonstrates how central musical experience is to the diverse and changing ways that Trinidadians understand various dimensions of their lives, such as kinship, friendship, community, gender, ethnicity, and national identity." Stephen Stuempfle, author of The Steelband Movement: The Forging of a National Art in Trinidad and Tobago, " Bacchanalian Sentiments explores the multiple ways that music, politics, and ethnicity intersect in Trinidad, and it does so through a deeply engaging and highly nuanced ethnography of a rural community located near Sangre Grande." - Timothy Rommen, Journal of Anthropological Research, "This book makes gains for a wider audience across disciplines and geographic focuses. . . . As one who is concerned with culture and nationalism, I believe that Birth's exploration of Trinidadian sense of nation drawing on ethnographic research in rural villages serves as a reminder that colonial Trinidad was divisive but relatively fluid, causing constant dialogues between different segments. This has been seriously disregarded in the urban- and state-focused studies of 'nation-building'." - Teruyuki Tsuji, Journal of the Royal Anthropological Institute, "Kevin K. Birth persuasively argues that previous scholarship has concentrated too much on text, discourse, and even performance analysis, avoiding the more challenging questions of reception and use. The few existing studies of reception have tended to be overly theoretical. Birth goes significantly beyond these studies, offering a rich portrait of the way popular music informs and structures everyday life."-- Bryan McCann , author of Hello, Hello Brazil: Popular Music in the Making of Modern Brazil, รขโ‚ฌล“Integrating a wealth of ethnographic observations of life in rural Trinidad, Kevin K. Birth offers a rich analysis of how performers and audiences actually experience and interpret music in Trinidad. He demonstrates how central musical experience is to the diverse and changing ways that Trinidadians understand various dimensions of their lives, such as kinship, friendship, community, gender, ethnicity, and national identity.รขโ‚ฌ๏ฟฝ- Stephen Stuempfle , author of The Steelband Movement: The Forging of a National Art in Trinidad and Tobago, "Integrating a wealth of ethnographic observations of life in rural Trinidad, Kevin K. Birth offers a rich analysis of how performers and audiences actually experience and interpret music in Trinidad. He demonstrates how central musical experience is to the diverse and changing ways that Trinidadians understand various dimensions of their lives, such as kinship, friendship, community, gender, ethnicity, and national identity."-- Stephen Stuempfle , author of The Steelband Movement: The Forging of a National Art in Trinidad and Tobago
Dewey Edition
22
Dewey Decimal
780.972983
Table Of Content
Preface ix Note on Music References xiii Introduction. Initial Connections 1 1. Governmental Organization of Spontaneity 43 2. Bacchnalian Counterpoints to the State 69 3. Parang: Christmas in Anamat 119 4. Bakrnal: An Example of Changing Opinions 149 5. "Chukaipan," "Lootala," and the Counterpoint of "Mix Up" 182 6. Concluding Relations 212 Appendix 227 References 229 Index 249
Synopsis
An ethnographic exploration of the relationship between music and social and political consciousness on the island of Trinidad., Trinidad is known for its vibrant musical traditions, which reflect the island's ethnic diversity. The annual Carnival, far and away the biggest event in Trinidad, is filled with soca and calypso music. Soca is a dance music derived from calypso, a music with African antecedents. In parang, a Venezuelan and Spanish derived folk music that dominates Trinidadian Christmas festivities, groups of singers and musicians progress from house to house, performing for their neighbors. Chutney is also an Indo-Caribbean music. In Bacchanalian Sentiments , Kevin K. Birth argues that these and other Trinidadian musical genres and traditions not only provide a soundtrack to daily life on the southern Caribbean island; they are central to the ways that Trinidadians experience and navigate their social lives and interpret political events. Birth draws on fieldwork he conducted in one of Trinidad's ethnically diverse rural villages to explore the relationship between music and social and political consciousness on the island. He describes how Trinidadians use the affective power of music and the physiological experience of performance to express and work through issues related to identity, ethnicity, and politics. He looks at how the performers and audience members relate to different musical traditions. Turning explicitly to politics, Birth recounts how Trinidadians used music as a means of making sense of the attempted coup d'รฉtat in 1990 and the 1995 parliamentary election, which resulted in a tie between the two major political parties. Bacchanalian Sentiments is an innovative ethnographic analysis of the significance of music, and particular musical forms, in the everyday lives of rural Trinidadians., Trinidad is known for its vibrant musical traditions, which reflect the island's ethnic diversity. The annual Carnival, far and away the biggest event in Trinidad, is filled with soca and calypso music. Soca is a dance music derived from calypso, a music with African antecedents. In parang, a Venezuelan and Spanish derived folk music that dominates Trinidadian Christmas festivities, groups of singers and musicians progress from house to house, performing for their neighbors. Chutney is also an Indo-Caribbean music. In Bacchanalian Sentiments , Kevin K. Birth argues that these and other Trinidadian musical genres and traditions not only provide a soundtrack to daily life on the southern Caribbean island; they are central to the ways that Trinidadians experience and navigate their social lives and interpret political events. Birth draws on fieldwork he conducted in one of Trinidad's ethnically diverse rural villages to explore the relationship between music and social and political consciousness on the island. He describes how Trinidadians use the affective power of music and the physiological experience of performance to express and work through issues related to identity, ethnicity, and politics. He looks at how the performers and audience members relate to different musical traditions. Turning explicitly to politics, Birth recounts how Trinidadians used music as a means of making sense of the attempted coup d' tat in 1990 and the 1995 parliamentary election, which resulted in a tie between the two major political parties. Bacchanalian Sentiments is an innovative ethnographic analysis of the significance of music, and particular musical forms, in the everyday lives of rural Trinidadians.
LC Classification Number
ML3565.B57 2008

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