Exile Music

A "novel based on an unexplored slice of World War II history, following a young Jewish girl whose family flees refined and urbane Vienna for safe harbor in the mountains of Bolivia"--

Cover -- Half-title -- Title -- Copyright -- Contents -- Acknowledgments -- Chapter 1. Lost -- Chapter 2. A Family Long Free -- Chapter 3. City of Sound -- Chapter 4. City of Dust -- Chapter 5. City of Song -- Chapter 6. City of Exile -- Chapter 7. The Lost Violin -- Chapter 8. Found -- Notes -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- Z

In the 1970s John Baily conducted extensive ethnomusicological research in Afghanistan, principally in the city of Herat but also in Kabul. Then, with Taraki’s coup in 1978, came conflict, war, and the dispersal of many musicians to locations far and wide. This new publication is the culmination of Baily’s further research on Afghan music over the 35 years that followed. This took him to Afghanistan, Pakistan, Iran, the USA, Australia and parts of Europe - London, Hamburg and Dublin. Arranged chronologically, the narrative traces the sequence of political events - from 1978, through the Soviet invasion, to the coming of the Taliban and, finally, the aftermath of the US-led invasion in 2001. He examines the effects of the ever-changing situation on the lives and works of Afghan musicians, following individual musicians in fascinating detail. At the heart of his analysis are privileged vignettes of ten musical personalities - some of friends, and some newly discovered. The result is a remarkable personal memoir by an eminent ethnomusicologist known for his deep commitment to Afghanistan, Afghan musicians and Afghan musical culture. John Baily is also an ethnographic filmmaker. Four of his films relating to his research are included on the downloadable resources that accompanies the text.

In this epic, original novel in which Hawaii's fierce, sweeping past springs to life, Kiana Davenport, author of the acclaimed Shark Dialogues, draws upon the remarkable stories of her people to create a timeless, passionate tale of love and survival, tragedy and triumph, survival and transcendence. In spellbinding, sensual prose, Song of the Exile follows the fortunes of the Meahuna family—and the odyssey of one resilient man searching for his soul mate after she is torn from his side by the forces of war. From the turbulent years of World War II through Hawaii's complex journey to statehood, this mesmerizing story presents a cast of richly imagined characters who rise up magnificent and forceful, redeemed by the spiritual power and the awesome beauty of their islands.

Survivors of the Armenian genocide of 1915 and their descendants have used music to adjust to a life in exile and counter fears of obscurity. In this nuanced and richly detailed study, Sylvia Angelique Alajaji shows how the boundaries of Armenian music and identity have been continually redrawn: from the identification of folk music with an emergent Armenian nationalism under Ottoman rule to the early postgenocide diaspora community of Armenian musicians in New York, a more self-consciously nationalist musical tradition that emerged in Armenian communities in Lebanon, and more recent clashes over music and politics in California. Alajaji offers a critical look at the complex and multilayered forces that shape identity within communities in exile, demonstrating that music is deeply enmeshed in these processes. Multimedia components available online include video and audio recordings to accompany each case study.

Poetry. Trekking from the U.S. to the Caribbean and Canada--wind at their back, ear to the ground, listening for the logos of what trembles underfoot-- the poems in MUSIC FOR EXILE syncretize a host of lyrical, received and invented forms to beckon a mythic assemblage, an aggregation of personal and historical losses, intimate and en masse. From walking up Canefield River to hearing a thief on the stairs in Philadelphia, from dredging the voices of New England's enslaved to confronting familial grief, these poems trouble the ache, that ironic hunger for home when home is itself a vortex of violence. In poems of place, poems of encounter, domestic epics and epistolary calls, deGannes allows both the narrative and associative to limn the caesurae in one immigrant woman's arc. The poems trace and retrace, they crossover, they draw poison out they fissure desire and proclaim no one can say gone is gone, enacting and inviting an expansive reckoning of all that has brought us here. From this, might be salvaged a radical sense of belonging, Glissant's knowledge of the Whole, greater for having been at the abyss. MUSIC FOR EXILE is Nehassaiu deGannes' first book-length collection of poems.

"Exile is a band with a diverse history. The group formed in 1963 looking to play small clubs in Richmond, Kentucky, but managed to top both the pop and the country charts during a ten-year span in the late 1970s and 1980s. "Kiss You All Over" was a major hit in 1978, spending four weeks at the top of Billboard's pop chart. After several less successful follow-up singles, the band decided to make a move to country music. This resulted in 10 number one country hits. All of this success led to an induction into the Kentucky Music Hall of Fame in 2013. The years leading up to the release of "Kiss You All Over" represent an important and often misunderstood period in the band's history. During this time they played on three of Dick Clark's Caravan of Stars tours, released a series of singles and two full-length albums, worked with Tommy James, and played all over the Central Kentucky area and beyond. This book pays close attention to that era. In addition, a talented group of Kentucky musicians helped to rejuvenate the band in the 1990s, and this book tells their stories as well."--Provided by publisher.

Oft-referenced and frequently set to music, Psalm 137 - which begins "By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion" - has become something of a cultural touchstone for music and Christianity across the Atlantic world. It has been a top single more than once in the 20th century, from Don McLean's haunting Anglo-American folk cover to Boney M's West Indian disco mix. In Song of Exile, David Stowe uses a wide-ranging, interdisciplinary approach that combines personal interviews, historical overview, and textual analysis to demonstrate the psalm's enduring place in popular culture. The line that begins Psalm 137 - one of the most lyrical of the Hebrew Bible - has been used since its genesis to evoke the grief and protest of exiled, displaced, or marginalized communities. Despite the psalm's popularity, little has been written about its reception during the more than 2,500 years since the Babylonian exile. Stowe locates its use in the American Revolution and the Civil Rights movement, and internationally by anti-colonial Jamaican Rastafari and immigrants from Ireland, Korea, and Cuba. He studies musical references ranging from the Melodians' Rivers of Babylon to the score in Kazakh film Tulpan. Stowe concludes by exploring the presence and absence in modern culture of the often-ignored final words: "Happy shall he be, that taketh and dasheth thy little ones against the stones." Usually excised from liturgy and forgotten by scholars, Stowe finds these words echoed in modern occurrences of genocide and ethnic cleansing, and more generally in the culture of vengeance that has existed in North America from the earliest conflicts with Native Americans. Based on numerous interviews with musicians, theologians, and writers, Stowe reconstructs the rich and varied reception history of this widely used, yet mysterious, text.

This book examines the impact place and displacement can have on the composition and interpretation of Western art music, using as its primary objects of study the work of István Anhalt (1919–2012) György Kurtág (1926–) and Sándor Veress (1907–92). Although all three composers are of Hungarian origin, their careers followed radically different paths. Whereas, Kurtág remained in Budapest for most of his career, Anhalt and Veress left: the former in 1946 and immigrated to Canada and the latter in 1948 and settled in Switzerland. All three composers have had an extraordinary impact in the cultural environments within which their work took place. In the first section, “Place and Displacement,” contributors examine what happens when composers and their music migrate in the culturally complex world of the late twentieth century. The past one hundred years produced record numbers of refugees, and this fact is now beginning to resonate in the study of music. As Anhalt himself forcefully asserts, however, not all composers who emigrate should be understood as exiles. The first chapters of this book explore some of the problems and questions surrounding this issue. Essays in the second section, “Perspectives on Reception, Analysis, and Interpretation,” look at how performing acts of interpretation on music implies bringing the time, place, and identity of the musician, the analyst, and the teacher to bear on the object of study. Like Kodály, Kurtág considers his work to be “naturally” embedded in Hungarian culture, but he is also a quintessentially European artist. Much of his production—he is one of the twentieth century’s most prolific composers of vocal music—involves the setting of Hungarian texts, but in the late 1970s his cultural horizons expanded to include texts in Russian, German, French, English, and ancient Greek. The book explores how musicologists’ divergent cultural perspectives impinge on the interpretation of this work. The final section, “The Presence of the Past and Memory in Contemporary Music,” examines the impact time and memory can have on notions of place and identity in music. All living art taps into the personal and collective past in one way or another. The final four chapters look at various aspects of this relationship.

One of the most intriguing and engaging voices in contemporary Christianity is that of the Irish poet, Pádraig Ó Tuama and this is his first, long-awaited poetry collection. Hailing from the Ikon community in Belfast and working closely with its founder, the bestselling writer Pete Rollins, Pádraig’s poetry interweaves parable, poetry, art, activism and philosophy into an original and striking expression of faith. Pádraig’s poems are accessible, memorable profound and challenging. They emerge powerfully from a context of struggle and conflict and yet are filled with hope.