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Ardit Gjebrea’s Projekt Jon
As market reforms and migration transformed Albania in the early 1990s, Ardit Gjebrea began mixing traditional folk music with world music and Italian pop. The resulting album, Projekt Jon (1997), provided a new model for song-Western and cosmopolitan, yet firmly rooted in the fertile soil of the nation-against a backdrop of deepening political uncertainty about the very future of Albania. The Ionian Project announced itself with the frenetic beating of the daullë and the traditional cries of Albania's highland shepherd. This sprawling collaboration between singer-songwriter Ardit Gjebrea, folk singer Hysni Zela, producer Paul Mazzolini, and a team of crack studio musicians in Italy, had an outsized ambition: to transcend the small postsocialist nation-state's borders, imaginatively crafting through sound a new home in Europe for its citizens. But as Gjebrea prepared to launch Projekt Jon, violence prompted by the collapse of widespread pyramid schemes threatened to tear Albania apart. And for the intellectuals concerned about growing cracks in the symbolic foundations of the Albanian nation-state, the album came to serve as a referendum on the nature of postsocialist citizenship.
Audible States
In Audible States: Socialist Politics and Popular Music in Albania, author Nicholas Tochka traces an aural history of Albania's government through a close examination of the development and reception of light music as it has long been broadcast at an annual song competition, Radio-Television Albania's Festival of Song. Drawing on a wide range of archival resources and over forty interviews with composers, lyricists, singers, and bureaucrats, Tochka describes how popular music became integral to governmental projects to improve society-and a major concern for both state-socialist and post-socia.
Rocking in the Free World
Progressive and libertarian, anti-Communist and revolutionary, Democratic and Republican, quintessentially American but simultaneously universal. By the late 1980s, rock music had acquired a dizzying array of political labels. These claims about its political significance shared one common thread: that the music could set you free. Rocking in the Free World explains how Americans came to believe they had learned the truth about rock 'n' roll, a truth shaped by the Cold War anxieties of the Fifties, the countercultural revolutions (and counter-revolutions) of the Sixties and Seventies, and the end-of-history triumphalism of the Eighties. How did rock 'n' roll become enmeshed with so many different competing ideas about freedom? And what does that story reveal about the promise-and the limits-of rock music as a political force in postwar America?
Audible States
During the Cold War, state-sponsored musical performances were central to the diplomatic agendas of the United States and the Soviet Union. But states on the periphery of the conflict also used state-funded performances to articulate their positions in the polarized global network. In Albania in particular, the postwar government invested heavily in public performances at home, effectively creating a new genre of popular music: the wildly popular light music. In Audible States: Socialist Politics and Popular Music in Albania, author Nicholas Tochka traces an aural history of Albania's government through a close examination of the development and reception of light music at Radio-Television A...
The Making of European Music in the Long Eighteenth Century
In this book, author D. R. M. Irving traces the emergence of such large-scale categories as "European music" and "Western music," showing how they originate from self-fashioning in contexts of intercultural comparison outside the European continent rather than the resolution of national aesthetic differences within it. Taken as a whole, this study demonstrates how reductive labels for the musics of a continent or a hemisphere often imply homogeneity and essentialism, and how a renewed critique of primary sources can help dismantle historiographical constructs that arose within narratives of musical pasts involving Europe.
Socialist Laments
The Ruin -- The Socialists' Cemetery -- The Church -- Concentration Camp Memorials -- The Artists' Cemetery.
Lost and Found
No one doubts we have quickly moved to what Charles Taylor called “a secular age.” How do Christian pastors, professors, seminary students, and others respond to the myriad issues now facing the Body of Christ? Following on a biblical and reformed understanding of public theology, Milton along with trusted theologians John Frame, George Grant, Peter Lillback (and a special contribution from noted Orthodox economist and theologian John Panagiotou) not only provide biblical responses to the issues of our time but in doing so give the Church a method, a way, to conduct faithful Gospel ministry in an increasingly hostile post-Christian world. A must for classes on ethics, sociology of religion, pastoral theology, and serious-minded Christians seeking insight that they might “Understand of the times” (1 Chr 12:32).
Awangarda
In Awangarda, Lisa Cooper Vest explores how the Polish postwar musical avant-garde framed itself in contrast to its Western European counterparts. Rather than a rejection of the past, the Polish avant-garde movement emerged as a manifestation of national cultural traditions stretching back into the interwar years and even earlier into the nineteenth century. Polish composers, scholars, and political leaders wielded the promise of national progress to broker consensus across generational and ideological divides. Together, they established an avant-garde musical tradition that pushed against the limitations of strict chronological time and instrumentalized discourses of backwardness and forwardness to articulate a Polish road to modernity. This is a history that resists Cold War periodization, opening up new ways of thinking about nations and nationalism in the second half of the twentieth century.
Contemporary Carioca
The ethnomusicologist Frederick Moehn introduces a generation of Rio-based musicians who build on the música popular brasileira (MPB) of previous decades, but who have yet to receive scholarly attention. This generation, the "children of the dictatorship," reinvigorated Brazilian genres such as samba and maracatu through juxtaposition with international influences, including rock, techno, and funk. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies.
Musical Solidarities
Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland is a music history of Solidarity, the social movement opposing state socialism in 1980s Poland. The story unfolds along crucial sites of political action under state socialism: underground radio networks, the sanctuaries of the Polish Roman Catholic Church, labor strikes and student demonstrations, and commemorative performances. Through innovative close listenings of archival recordings, author Andrea F. Bohlman uncovers creative sonic practices in bootleg cassettes, televised state propaganda, and the unofficial, uncensored print culture of the opposition. She argues that sound both unified and splintered the...
