Challenging myths that mountain isolation and ancient folk customs defined the music culture of the Polish Tatras, Timothy J. Cooley shows that intensive contact with tourists and their more academic kin, ethnographers, since the late 19th century helped shape both the ethnic group known as Górale (highlanders) and the music that they perform. Making Music in the Polish Tatras reveals how the historically related practices of tourism and ethnography actually created the very objects of tourist and ethnographic interest in what has become the popular resort region of Zakopane. This lively book introduces readers to Górale musicians, their present-day lives and music making, and how they navigate a regional mountain-defined identity while participating in global music culture. Vivid descriptions of musical performances at weddings, funerals, and festivals and the collaboration of Górale fiddlers with the Jamaican reggae group Twinkle Brothers are framed by discussions of currently influential theories relating to identity and ethnicity and to anthropological and sociological studies of ritual, tourism, festivals, globalism, and globalization. The book includes a 46-track CD illustrating the rich variety of Górale music, including examples of its fusion with Jamaican reggae.
This first major examination the interrelationships of music and surfing explores different ways that surfers combine surfing with making and listening to music. Tim Cooley uses his knowledge and experience as a practicing musician and avid surfer to consider the musical practices of surfers in locations around the world, taking into account ideas about surfing as a global affinity group and the real-life stories of surfers and musicians he encounters. In doing so, he expands ethnomusicological thinking about the many ways musical practices are integral to human socializing, creativity, and the condition of being human. Cooley discusses the origins of surfing in Hawai‘i, its central role in Hawaiian society, and the mele (chants) and hula (dance or visual poetry) about surfing. He covers instrumental rock from groups like Dick Dale and the Del Tones and many others, and songs about surfing performed by the Beach Boys. As he traces trends globally, three broad styles emerge: surf music, punk rock, and acoustic singer-songwriter music. Cooley also examines surfing contests and music festivals as well as the music used in a selection surf movies that were particularly influential in shaping the musical practices of significant groups of surfers. Engaging, informative, and enlightening, this book is a fascinating exploration of surfing as a cultural practice with accompanying rituals, habits, and conceptions about who surfs and why, and of how musical ideas and practices are key to the many things that surfing is and aspires to be.
Challenging myths that mountain isolation and ancient folk customs defined the music culture of the Polish Tatras, Timothy J. Cooley shows that intensive contact with tourists and their more academic kin, ethnographers, since the late 19th century helped shape both the ethnic group known as Górale (highlanders) and the music that they perform. Making Music in the Polish Tatras reveals how the historically related practices of tourism and ethnography actually created the very objects of tourist and ethnographic interest in what has become the popular resort region of Zakopane. This lively book introduces readers to Górale musicians, their present-day lives and music making, and how they navigate a regional mountain-defined identity while participating in global music culture. Vivid descriptions of musical performances at weddings, funerals, and festivals and the collaboration of Górale fiddlers with the Jamaican reggae group Twinkle Brothers are framed by discussions of currently influential theories relating to identity and ethnicity and to anthropological and sociological studies of ritual, tourism, festivals, globalism, and globalization. The book includes a 46-track CD illustrating the rich variety of Górale music, including examples of its fusion with Jamaican reggae.
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