What does sound, whether preserved or lost, tell us about nineteenth-century wartime? Hearing the Crimean War: Wartime Sound and the Unmaking of Sense pursues this question through the many territories affected by the Crimean War, including Britain, France, Turkey, Russia, Italy, Poland, Latvia, Dagestan, Chechnya, and Crimea. Examining the experience of listeners and the politics of archiving sound, it reveals the close interplay between nineteenth-century geographies of empire and the media through which wartime sounds became audible--or failed to do so. The volume explores the dynamics of sound both in violent encounters on the battlefield and in the experience of listeners far-removed from theaters of war, each essay interrogating the Crimean War's sonic archive in order to address a broad set of issues in musicology, ethnomusicology, literary studies, the history of the senses and sound studies.

What does sound, whether preserved or lost, tell us about nineteenth-century wartime? Hearing the Crimean War: Wartime Sound and the Unmaking of Sense pursues this question through the many territories affected by the Crimean War, including Britain, France, Turkey, Russia, Italy, Poland, Latvia, Dagestan, Chechnya, and Crimea. Examining the experience of listeners and the politics of archiving sound, it reveals the close interplay between nineteenth-century geographies of empire and the media through which wartime sounds became audible--or failed to do so. The volume explores the dynamics of sound both in violent encounters on the battlefield and in the experience of listeners far-removed from theaters of war, each essay interrogating the Crimean War's sonic archive in order to address a broad set of issues in musicology, ethnomusicology, literary studies, the history of the senses and sound studies.

This book is a 'home front' study of Ireland during the Crimean War, which analyses how the various strands of Irish society responded to the conflict's events, issues and impacts and how they memorialised it as part of the British Empire.

Hearing the Crimean War: Wartime Sound and the Unmaking of Sense examines the experience of listeners and the politics of archiving sound throughout the many territories affected by the Crimean War, revealing the close interplay between nineteenth-century geographies of empire and the media through which wartime sounds became audible--or failed to do so.

Combining the approaches of ethnomusicology and music theory, Analytical Studies in World Music offers fresh perspectives for thinking about how musical sounds are shaped, arranged, and composed by their diverse makers worldwide. Eleven inspired, insightful, and in-depth explanations of Iranian sung poetry, Javanese and Balinese gamelan music, Afro-Cuban drumming, flamenco, modern American chamber music, and a wealth of other genres create a border-erasing compendium of ingenious music analyses. Selections on the companion website are carefully matched with extensive transcriptions and illuminating diagrams in every chapter. Opening rich cross-cultural perspectives on music, this volume addresses the practical needs of students and scholars in the contemporary world of fusions, contact, borrowing, and curiosity about music everywhere.

Recipient of the 2020 Lewis Lockwood Award from the American Musicological Society What are the uses of musical exoticism? In Wild Music, Maria Sonevytsky tracks vernacular Ukrainian discourses of "wildness" as they manifested in popular music during a volatile decade of Ukrainian political history bracketed by two revolutions. From the Eurovision Song Contest to reality TV, from Indigenous radio to the revolution stage, Sonevytsky assesses how these practices exhibit and re-imagine Ukrainian tradition and culture. As the rise of global populism forces us to confront the category of state sovereignty anew, Sonevytsky proposes innovative paradigms for thinking through the creative practices that constitute sovereignty, citizenship, and nationalism.