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The ICTM Study Group on Music Archaeology was founded in the early 1980s by Ellen Hickmann, John Blacking, Mantle Hood and Cajsa S. Lund. This is the first volume of the new anthology series published by the study group, turning to the topic of music and religion in past cultures. Each volume of the series is composed of concise case studies, bringing together the world's foremost researchers on a particular subject, reflecting the wide scope of music-archaeological research world-wide. The series draws in perspectives from a range of different disciplines, including newly emerging fields such as archaeoacoustics, but particularly encouraging both music-archaeological and ethnomusicological perspectives.
The ICTM Study Group on Music Archaeology was founded in the early 1980s by Ellen Hickmann, John Blacking, Mantle Hood and Cajsa S. Lund. This is the third volume of the new anthology series published by the study group, bringing together theoretical and methodological approaches in the study of past music cultures. Each volume of the series is composed of concise case studies, bringing together the world's foremost researchers on a particular subject, reflecting the wide scope of music-archaeological research world-wide. The series draws in perspectives from a range of different disciplines, including newly emerging fields such as archaeoacoustics, but particularly encouraging both music-archaeological and ethnomusicological perspectives.
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The ICTM Study Group on Music Archaeology was founded in the early 1980s by Ellen Hickmann, John Blacking, Mantle Hood and Cajsa S. Lund. This is the second volume of the new anthology series published by the study group, turning to the topic of cross-cultural musical interactions through time. Each volume of the series is composed of concise case studies, bringing together the world's foremost researchers on a particular subject, reflecting the wide scope of music-archaeological research world-wide. The series draws in perspectives from a range of different disciplines, including newly emerging fields such as archaeoacoustics, but particularly encouraging both music-archaeological and ethnomusicological perspectives.
This is a book about how Nahuas—native speakers of Nahuatl, the common language of the Aztec Empire and of more than 2.5 million Indigenous people today—have explored, understood, and explained the world around them in pre-invasion, colonial, and contemporary time periods. It is a deep dive into Nahua theoretical and practical inquiry related to the environment, as well as the dynamic networks in which Nahuas create, build upon, and share knowledges, practices, tools, and objects to meet social, political, and economic needs. In this work, author Kelly S. McDonough addresses Nahua understanding of plants and animals, medicine and ways of healing, water and water control, alphabetic wr...
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1976.
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The new book series ANTIQUARIAN WRITINGS IN MUSIC ARCHAEOLOGY brings to light forgotten works of 19th and early 20th century authors in combining high-quality reprints with commentaries on the life and work of these early authors. The first volume celebrates the 150th anniversary of Carl Engel¿s groundbreaking work THE MUSIC OF THE MOST ANCIENT NATIONS (1864). Long before music archaeology and ethnomusicology became disciplines, Carl Engel (1818-1882) was the first scholar to undertake revolutionary research into our musical past, taking into account all sources available at the time. Like other 19th century scholars, he referred to archaeological finds of musical instruments, works of art ...
This book focuses on researching the chime stone, a percussion instrument carved from stone that originated in ancient China. In antiquity, people regarded the chime stone as an important musical instrument because its presence indicated the wealth and status of the tomb owners. In the late Neolithic Age, people discovered the differences between each type of stone and their sound qualities. Chime stone manufacture focused on the timbre of the natural stone, as opposed to both materials and sounding based selection in later periods, which formed a part of making a perfect and delicate chime stone. In the earlier period the chime stone was only a musical instrument for producing rhythmic soun...