Singing the Coast offers readers a rare opportunity to visit the heart of Gumbaynggirr culture and trace the shaping of place and identity in coastal Australia.

While indigenous languages have become prominent in global political and educational discourses, limited attention has been given to indigenous children’s everyday communication. Voices of Play is a study of multilingual play and performance among Miskitu children growing up on Corn Island, part of a multi-ethnic autonomous region on the Atlantic Coast of Nicaragua. Corn Island is historically home to Afro-Caribbean Creole people, but increasing numbers of Miskitu people began moving there from the mainland during the Contra War, and many Spanish-speaking mestizos from western Nicaragua have also settled there. Miskitu kids on Corn Island often gain some competence speaking Miskitu, Spanish, and Kriol English. As the children of migrants and the first generation of their families to grow up with television, they develop creative forms of expression that combine languages and genres, shaping intercultural senses of belonging. Voices of Play is the first ethnography to focus on the interaction between music and language in children’s discourse. Minks skillfully weaves together Latin American, North American, and European theories of culture and communication, creating a transdisciplinary dialogue that moves across intellectual geographies. Her analysis shows how music and language involve a wide range of communicative resources that create new forms of belonging and enable dialogue across differences. Miskitu children’s voices reveal the intertwining of speech and song, the emergence of “self” and “other,” and the centrality of aesthetics to social struggle.

Following three years of ethnomusicological fieldwork on the sacred singing traditions of evangelical Christians in North-East Scotland and Northern Isles coastal communities, Frances Wilkins documents and analyses current singing practices in this book by placing them historically and contemporaneously within their respective faith communities. In ascertaining who the singers were and why, when, where, how and what they chose to sing, the study explores a number of related questions. How has sacred singing contributed to the establishment and reinforcement of individual and group identities both in the church and wider community? What is the process by which specific regional repertoires and styles develop? Which organisations and venues have been particularly conducive to the development of sacred singing in the community? How does the subject matter of songs relate to the immediate environment of coastal inhabitants? How and why has gospel singing in coastal communities changed? These questions are answered with comprehensive reference to interview material, fieldnotes, videography and audio field recordings. As one of the first pieces of ethnomusicological research into sacred music performance in Scotland, this ethnography draws important parallels between practices in the North East and elsewhere in the British Isles and across the globe.

Will Thorfinn choose the princess who promises wealth, the princess who promises power, or the princess who is full of love?

The Whole Singing Ocean is a poetic narrative that circles around the central story of a boy and a whale, and the 2013 investigation into the École en bateau, a French countercultural "boat school," or school at sea, which was based not only on the ideals of the sixties, but also on twisted ideas about child psychology, the theories of Foucault and an abolition of the separation between adults and children. The narrative begins with a boat builder and his encounter with a whale when he was a student of the École en bateau himself, and moves on to explore threads of philosophy, memory and various kinds of destruction, fragmentation and wholeness. The text weaves in several voices and threads of rapture and horror, as it explores adventure, childhood, abuse and environmental degradation. This work becomes a self-conscious documentation of the boat builder's story as it unfolds, and as the narrator learns more of what happened and uncovers echoes from her own life and family history. Her discoveries cause the narrative to take some unexpected, and at times resisted, turns. Themes of memory and trauma, reliability and unreliability, binaries and magic, and the question of how to hold two very different things at once, are at the heart of this book.

Ever since she was a small child, Helma Swan, the daughter of a Northwest Coast chief, loved and learned the music of her people. As an adult she began to sing, even though traditionally Makah singers had been men. How did such a situation develop? In her own words, Helma Swan tells the unusual story of her life, her music, and how she became a singer. An excellent storyteller, she speaks of both musical and non-musical activities and events. In addition to discussing song ownership and other Makah musical concepts, she describes songs, dances, and potlatch ceremonies; proper care of masks and costumes; and changing views of Native music education. More generally, she speaks of cultural changes that have had profound effects on contemporary Makah life. Drawing on more than twenty years of research and oral history interviews, Linda J. Goodman in Singing the Songs of My Ancestors presents a somewhat different point of view-that of the anthropologist/ethnomusicologist interested in Makah culture and history as well as the changing musical and ceremonial roles of Makah men and women. Her information provides a context for Helma Swan’s stories and songs. Taken together, the two perspectives allow the reader to embark on a vivid and absorbing journey through Makah life, music, and ceremony spanning most of the twentieth century. Studies of American Indian women musicians are rare; this is the first to focus on a Northwest Coast woman who is an outstanding singer and storyteller as well as a conservator of her tribe’s cultural traditions.

“A passionate coming-of-age story.”—Kirkus Reviews Finalist, Eric Hoffer Book Awards 2024 Distinguished Favorite, Audiobook-Fiction, Independent Press Awards 2023 Finalist, Indies Today Book Awards Finalist, Fantasy, Book Excellence Awards All magical gifts are wild. The seer’s gift is wildest of all. Dasha, Tsarinovna of all of Zem’, was expected to have great magical gifts. Why else would the gods have arranged her conception? But instead of anything useful, Dasha’s gifts first manifested themselves as visions of terror and destruction. Then, just when it seemed she might be gaining some control over them, they abandoned her entirely. That’s unfortunate, because Dasha could really use some guidance right now. She’s volunteered to be her people’s envoy to the Rutsi, their warlike neighbors to the West. Dasha wants to make peace with the Rutsi, but the only way they want to make peace with her is by conquest—or marriage. Dasha leaves behind her home and everything she knows on a dangerous journey to treat with the Rutsi. As she travels through a new land, she discovers new powers, new dangers, and the oldest magic of all—love. Dasha’s gift is wild, but she’s about to find out that the heart is wilder still. Her exploration of forbidden passion and forbidden magic might be the key that unlocks all her untapped promise as the strongest sorceress of her generation—or it could be the weapon that destroys her and everything she cares about. A high fantasy saga that combines spiritual exploration with a touch of spicy romance, The Singing Shore I: Sea and Song is the first installment in the trilogy sequel to the award-winning miniseries The Breathing Sea. If you loved the Winternight trilogy, The Wolf and the Woodsman, and the Kushiel series, or you just want to immerse yourself in some subversive, snarky epic fantasy set in a matriarchal, Slavic-inspired world, come visit the land of Zem’! Reading order for The Zemnian Series: The Zemnian Series: Slava’s Story The Midnight Land I: The Flight The Midnight Land II: The Gift The Zemnian Series: Dasha’s Story The Breathing Sea I: Burning The Breathing Sea II: Drowning The Singing Shore I: Sea and Song The Singing Shore II: Sky and Stone (forthcoming) The Singing Shore III: Spirit and Flame (forthcoming) The Zemnian Series: Valya’s Story The Dreaming Land I: The Challenge The Dreaming Land II: The Journey The Dreaming Land III: The Sacrifice

Offers a decade-by-decade history of American singing groups, from the Ames and Mills Brothers, to the Platters and the Beach Boys, to Destiny's Child, the Backstreet Boys, 'N Sync, and many others, covering more than 380 artists and furnishing information on each group's career, key members, influences, photos, and discographies. Original.

(Amadeus). Frieda Hempel (1885--1955) was among the greatest sopranos of opera's Golden Age. She created the Marschallin in Der Rosenkavalier in both Berlin and at the Metropolitan Opera, where she debuted with Caruso in 1912.

In the last thirty years, the Upper Texas Coast has become a "must go" destination for birders around the globe. This book will serve as an essential companion to the customary field guide and pair of binoculars for all visitors to Houston, High Island, Galveston, Freeport, or any of the area's other exciting birding spots. It also places the birdlife of the region, a seven-county area with a larger bird list than forty-three states, into historical and ecological contexts. Authors Eubanks, Behrstock, and Weeks--all recognized authorities on the migrant and resident birds of this region--present a thorough introduction to the area's history, physiography, and avifauna. Then, in generous discussions of bird families and species, they synthesize years of records, tracking the comings and goings of more than 480 birds and incorporating their own lifetimes of experience to create an "ornithological mosaic" of lasting significance.