„Rudolstadts Metamorphose“ beschreibt die Entwicklung des Tanzfestes zur heutigen Bedeutung des Rudolstadt-Festivals. Während das Tanzfest von 1955 bis 1989 an Zustimmung verlor, gewann das seit 1991 jährlich stattfindende Festival immer mehr Besucher und wurde zur wichtigsten Visitenkarte der Stadt. Das Buch beleuchtet diese Transformation.
Given China's vast size and rich cultural history, it is surprising that ethno-musicological research has been relatively limited. UNESCO's initiative, Masterpieces of the Oral and Intangible Heritage of Humanity, has played a crucial role in rekindling appreciation for traditional Chinese arts. Since its inception, China has successfully inscribed nearly 30 traditions on this prestigious list, along with seven more on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding. This has led to a significant shift in how traditional arts are perceived, transforming them into “fashionable pastimes for educated young people” (Helen Rees). The book explores various traditions, including the evolving perceptions of the guqin zither, the minority music of the Naxi and Uyghur peoples, and significant 20th-century developments like Li Jinhui's children operas. It also examines the relationship between music and power during and after Mao Zedong's era. Moving into the 21st century, the text discusses a new folk song movement and the rise of popular girl bands, as well as perspectives from Taiwanese Chinese regarding their heritage. Additional topics include Chinese shadow play and the folk dance genre yangge, along with guidance for Westerners on appreciating Chinese music. An accompanying 80-minute audio CD features 17 tracks that complement the discussions in the book.
Examining the music of contemporary Tanzania reveals diverse forms of expression that necessitate a pluralistic approach. With local cooperation and value increasingly integrated into international music and cultural activities, it becomes essential to explore how contemporary musicology can evolve in this context. The contributions in this volume highlight the significance of social, historical, commercial, and political dimensions in understanding Tanzanian music. The term "Mambo Moto Moto," meaning "hot stuff," aptly describes the vibrant traditional and contemporary music of Tanzania. The ten essays cover a range of topics, including the vocal polyphony of Wagogo women, traditional and religious music from Zanzibar and the Swahili coast, urban musical trends, and the transcultural processes exemplified by the quartet Wamwiduka. Additionally, discussions on cultural education and the preservation of Radio Tanzania's treasures are included. These insightful texts offer a comprehensive perspective on Tanzanian music, transcending conventional musicology by incorporating research, inventory, didactic elements, and project presentations. An accompanying 80-minute DVD features the film "With the Drums in their Luggage," documenting the Ufunuo Muheme Group's journey from Central Tanzania to Germany, along with live performances from various bands.