Translated from the Polish, Anna G. PiotrowskaÕs Gypsy Music in European Culture details the profound impact that Gypsy music has had on European culture from a broadly historical perspective. The author explores the stimulating influence that Gypsy music had on a variety of European musical forms, including opera, vaudeville, ballet, and vocal and instrumental compositions. The author analyzes the use of Gypsy themes and idioms in the music of recognized giants such as Bizet, Strauss, and Paderewski, detailing the composersÕ use of scale, form, motivic presentations, and rhythmic tendencies, and also discusses the impact of Gypsy music on emerging national musical forms.

This volume examines the concept of rhapsody through a broad lens. Beginning with a discussion of the meaning(s) of the term itself, it then traces the history and reception of the genre and its significance in European culture. It argues for a close relationship between the idea of rhapsody and the concept of Gypsiness by demonstrating that 'rhapsody' and 'Gypsiness' can be seen as manifestations of the same types of influence and preferences for certain aesthetic categories. The book pays special attention to the seminal role of Franz Liszt in its discussion of the instrumental rhapsody. Ultimately, it reveals the consequences of historiographical representations of the rhapsody (e.g. the ossification of the image of the European Gypsy musician as a bard/rhapsode, the fossilization of presumptions concerning the nature of so-called 'Gypsies') as well as unexpected similarities and differences between the rhapsody and the ballad as romantic genres with national implications.

An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library. This book, designed as a resource for scholars, educators, activists and non-specialist readers, presents the results of new research on the role of Romani groups in European culture and society since the nineteenth century. Its specific focus is on the ways in which Romani actors, in their interactions with non-Romanies, have contributed to shaping Europe’s public spaces. Twelve chapters recount the experiences and accomplishments of individuals and families, from across Europe (England, France, Spain, Germany, Poland, Hungary, Romania and Finland) and Canada. All based on new research, and maintaining a focus on the real lives and activities of Romani people rather than on the perspective of the majority societies, these studies exemplify the creative presence of Romani people in the fields of politics, economics and culture. We see them as writers, artists and performers, political activists and resistance fighters, traders and entrepreneurs, circus and cinema managers and purveyors of popular science. Sensitive to the ambivalent position from which Roma act, the cases are linked and contextualized by a general introduction and by section introductions written by leading scholars of Romani studies with expertise in history, ethnography, musicology, literary and discourse studies and visual culture. The volume is richly illustrated, including many images that have never been published before, and includes an extensive bibliography / guide to further reading. Contributors to the volume: Begoña Barrera, Beatriz Carrillo de los Reyes, Malte Gasche, Paweł Lechowski, Anna G. Piotrowska, Laurence Prempain, Juan Pro, Eve Rosenhaft, Carolina García Sanz, María Sierra, and Tamara West.

This book shows how over the hundred years between the Vienna Congress and the dissolution of the Empire, the waltz altered from signifier of upper-class artifice—covering with glitz and glamour the poverty and war central to the time—to the link between the three classes, between man and nature, and between Viennese and “Other.”

Since the arrival of the "Gypsies," or Romanies, in Europe at the beginning of the eleventh century, Europeans have simultaneously feared and romanticized them. That ambiguity has contributed to centuries of confusion over the origins, culture, and identity of the Romanies, a confusion that too often has resulted in marginalization, persecution, and scapegoating. The Role of the Romaniesbrings together international experts on Romany culture from the fields of history, sociology, linguistics, and anthropology to address the many questions and problems raised by the vexed relationship between Romany and European cultures. The book's first section considers the genesis, development, and scope of the field of Romany studies, while the second part expands from there to consider constructions of Romany culture and identity. Part three focuses on twentieth-century literary representations of Romany life, while the final part considers how the role of the Romanies will ultimately be remembered and recorded. Together, the essays provide an absorbing portrait of a frequently misunderstood people.

Gypsies, Egyptians, Romanies, and—more recently—Travellers. Who are these marginal and mysterious people who first arrived in England in early Tudor times? Are claims of their distant origins on the Indian subcontinent true, or just another of the many myths and stories that have accreted around them over time? Can they even be regarded as a single people or ethnicity at all? Gypsies have frequently been vilified, and not much less frequently romanticized, by the settled population over the centuries. Social historian David Cressy now attempts to disentangle the myth from the reality of Gypsy life over more than half a millennium of English history. In this, the first comprehensive historical study of the doings and dealings of Gypsies in England, he draws on original archival research, and a wide range of reading, to trace the many moments when Gypsy lives became entangled with those of villagers and townsfolk, religious and secular authorities, and social and moral reformers. Crucially, it is a story not just of the Gypsy community and its peculiarities, but also of England's treatment of that community, from draconian Elizabethan statutes, through various degrees of toleration and fascination, right up to the tabloid newspaper campaigns against Gypsy and Traveller encampments of more recent years.

This book highlights the role of Romani musical presence in Central and Eastern Europe, especially from Krakow in the Communist period, and argues that music can and should be treated as one of the main points of relation between Roma and non-Roma. It discusses Romani performers and the complexity of their situation as conditioned by the political situations starkly affected by the Communist regime, and then by its fall. Against this backdrop, the book engages with musician Stefan Dymiter (known as Corroro) as the leader of his own street band: unwelcome in the public space by the authorities, merely tolerated by others, but admired by many passers-by and respected by his peer Romain musicians and international music stars. It emphasizes the role of Romani musicians in Krakow in shaping the soundscape of the city while also demonstrating their collective and individual strategies to adapt to the new circumstances in terms of the preferred performative techniques, repertoire, and overall lifestyle.

Now that the political and economic plight of European Roma and the popularity of their music are objects of international attention, Romani Routes provides a timely and insightful view into Romani communities both in their home countries and in the diaspora. Over the past two decades, a steady stream of recordings, videos, feature films, festivals, and concerts has presented the music of Balkan Gypsies, or Roma, to Western audiences, who have greeted them with exceptional enthusiasm. Yet, as author Carol Silverman notes, Roma are revered as musicians and reviled as people. In this book, Silverman introduces readers to the people and cultures who produce this music, offering a sensitive and incisive analysis of how Romani musicians address the challenges of discrimination. Focusing on southeastern Europe then moving to the diaspora, her book examines the music within Romani communities, the lives and careers of outstanding musicians, and the marketing of music in the electronic media and "world music" concert circuit. Silverman touches on the way that the Roma exemplify many qualities -- adaptability, cultural hybridity, transnationalism--that are taken to characterize late modern experience. And rather than just celebrating these qualities, she presents the musicians as complicated, pragmatic individuals who work creatively within the many constraints that inform their lives.

Although scholars have long been aware of the crucial roles that gender plays in music, and vice versa, the contributors to this volume are among the first to systematically examine the interactions between the two. This book is also the first to explore the diverse, yet often strikingly similar, musics of the areas bordering the Mediterranean from comparative anthropological perspectives. From Spanish flamenco to Algerian raï, Greek rebetika to Turkish pop music, Sephardi and Berber songs to Egyptian belly dancers, the contributors cover an exceedingly wide range of geographic and musical territories. Individual essays examine musical behavior as representation, assertion, and sometimes transgression of gender identities; compare men's and women's roles in specific musical practices and their historical evolution; and explore how music and gender relate to such issues as ethnicity, nationality, and religion. Anyone studying the musics or cultures of the Mediterranean, or more generally the relations between gender and the arts, will welcome this book. Contributors: Caroline Bithell, Joaquina Labajo, Jane C. Sugarman, Carol Silverman, Goffredo Plastino, Gail Holst-Warhaft, Edwin Seroussi, Marie Virolle, Terry Brint Joseph, Deborah Kapchan, Karin van Nieuwkerk, Svanibor Pettan, Martin Stokes, Philip V. Bohlman