Over the past two decades, a steady stream of recordings, videos, feature films, and concerts has presented the music of European Gypsies, or Roma, to Western audiences, who have greeted them with exceptional enthusiasm. In this book, Silverman introduces readers to the people and cultures who produce this music.
Over the past two decades, a steady stream of recordings, videos, feature films, and concerts has presented the music of European Gypsies, or Roma, to Western audiences, who have greeted them with exceptional enthusiasm. In this book, Silverman introduces readers to the people and cultures who produce this music.
Professor of Anthropology and Folklore at the University of Oregon
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Table of Contents Figures and Charts Acknowledgements Notes on Transliteration About the Companion Website Part I: Introduction Chapter 1: Balkan Roma: History, Politics, and Performance Chapter 2: Musical Styles and Genres Chapter 3: Dilemmas of Diaspora, Hybridity, and Identity Part II: Music in Diasporic Homes Chapter 4: Transnational Families Chapter 5: Transnational Celebrations Chapter 6: Transnational Dance Part III Music, States, and Markets Chapter 7: Dilemmas of Heritage and the Bulgarian Socialist State Chapter 8: Cultural Politics of Postsocialist Markets and Festivals Chapter 9: Bulgarian Pop/Folk: Chalga Part IV: Musicians in Transit Chapter 10: Esma Redzepova: "Queen of Gypsy Music" Chapter 11: Yuri Yunakov: Saxophonist, Refugee, Citizen Chapter 12: Romani Music as World Music Chapter 13: Collaboration, Appropriation, and Transnational Flows Notes References Index
Table of Contents Figures and Charts Acknowledgements Notes on Transliteration About the Companion Website Part I: Introduction Chapter 1: Balkan Roma: History, Politics, and Performance Chapter 2: Musical Styles and Genres Chapter 3: Dilemmas of Diaspora, Hybridity, and Identity Part II: Music in Diasporic Homes Chapter 4: Transnational Families Chapter 5: Transnational Celebrations Chapter 6: Transnational Dance Part III Music, States, and Markets Chapter 7: Dilemmas of Heritage and the Bulgarian Socialist State Chapter 8: Cultural Politics of Postsocialist Markets and Festivals Chapter 9: Bulgarian Pop/Folk: Chalga Part IV: Musicians in Transit Chapter 10: Esma Redzepova: "Queen of Gypsy Music" Chapter 11: Yuri Yunakov: Saxophonist, Refugee, Citizen Chapter 12: Romani Music as World Music Chapter 13: Collaboration, Appropriation, and Transnational Flows Notes References Index
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