Melodious panpipes and kena flutes. The shimmering strums of a charango. Poncho-clad musicians playing "El Cóndor Pasa" at subway stops or street corners while selling their recordings. These sounds and images no doubt come to mind for many "world music" fans when they recall their early encounters with Andean music groups. Ensembles of this type known as "Andean conjuntos" or "pan-Andean bands" have long formed part of the world music circuit in the Global North. In the major cities of Latin America, too, Andean conjuntos have been present in the local music scene for decades, not only in Peru, Bolivia, and Ecuador (i.e., in the Andean countries), but also in Argentina, Chile, Colombia, and Mexico. It is solely in Bolivia, however, that the Andean conjunto has represented the preeminent folkloric-popular music ensemble configuration for interpreting national musical genres from the late 1960s onward. Despite its frequent association with indigenous villages, the music of Andean conjuntos bears little resemblance to the indigenous musical expressions of the Southern Andes. Created by urban criollo and mestizo folkloric artists, the Andean conjunto tradition represents a form of mass-mediated folkloric music, one that is only loosely based on indigenous musical practices. Panpipes & Ponchos reveals that in the early-to-mid 20th century, a diverse range of musicians and ensembles, including estudiantinas, female vocal duos, bolero trios, art-classical composers, and mestizo panpipe groups, laid the groundwork for the Andean conjunto format to eventually take root in the Bolivian folklore scene amid the boom decade of the 1960s. Author Fernando Rios analyzes local musical trends in conjunction with government initiatives in nation-building and the ideologies of indigenismo and mestizaje. Beyond the local level, Rios also examines key developments in Bolivian national musical practices through their transnational links with trends in Peru, Argentina, Chile, Mexico, and France. As the first book-length study that chronicles how Bolivia's folkloric music movement articulated, on the one hand, with Bolivian state projects, and on the other, with transnational artistic currents, for the pivotal era spanning the 1920s to 1960s, Panpipes & Ponchos offers new perspectives on the Andean conjunto's emergence as Bolivia's favored ensemble line-up in the field of national folkloric-popular music.

There are a bazillion titles on bookstore shelves and more than a few are travel-themed, but let me assure you: the Travelogues are different. These aren't the “got up, had banana pancake for breakfast, before shuffling-off to see some temples” kinds of stories. That’s probably because I’m not your typical fuddy-duddy travel writer. “Real” travel writers are glamorous, but real traveling is all I know. Vacations are when everything is safe and convenient and when you come to expect words like ‘aioli’ on the menu and when every “adventure” can be charged to American Express. Real traveling, on the other hand, is when everything can happen and nothing happens as planned and, whatever happened, mañana it will seem like a damn fine stroke of luck. At its most banal, day-to-day, real traveling is anything but normal and never glamorous. Except, maybe, in retrospect. The reality is that —very often— I have no idea where I’m going, except that I am. Nor how I’m gonna get there, except that I will. All these stories unfold as they may. That’s what these books are about. That’s what makes them different. The Travelogues pick up where traditional travel literature leaves off. They don’t mess around, pretending to describe every experience as if it were the feature in Condé Nast Traveler. They do, however, reveal what it’s really like to travel Out There. They describe everything: the good, the twisted, the ugly, and —occasionally— the sublime. No punches are pulled. It’s all in there. These are all out-of-the-ordinary experiences that lie within reach of ordinary people like you and I. Anyone can go and do those things. You too..., but only if you want to. That’s what the Travelogues are. That’s what “The South” is. Go ahead: discover the new kind of travel writing.

The Routledge Companion to Applied Musicology brings together academics, artist-researchers, and practitioners to provide readers with an extensive and authoritative overview of applied musicology. Once a field that addressed music’s socio-political or performative contexts, applied musicology today encompasses study and practice in areas as diverse as psychology, ecomusicology, organology, forensic musicology, music therapy, health and well-being, and other public-oriented musicologies. These rapid advances have created a fast-changing field whose scholarship and activities tend to take place in isolation from each other. This volume addresses that shortcoming, bringing together a wide-ranging survey of current approaches. Featuring 39 authors, The Routledge Companion to Applied Musicology falls into five parts—Defining and Theorising Applied Musicology; Public Engagement; New Approaches and Research Methods; Representation and Inclusion; and Musicology in/for Performance—that chronicle the subject’s rich history and consider the connections that will characterise its future. The book offers an essential resource for anyone exploring applied musicology.

The Rough Guide to World Musicwas published for the first time in 1994 and became the definitive reference. Six years on, the subject has become too big for one book- hence this new two-volume edition. World Music 2- Latin and North America, Caribbean, India, Asia and Pacifichas full coverage of everything from salsa and merengue to qawwali and gamelan, and biographies of artists from Juan Luis Guerra to The Klezmatics to Nusrat Fateh Ali Khan. Features include more than 80 articles from expert contributors, focusing on the popular and roots music to be seen and heard, both live and on disc, and extensive discographies for each country, with biography-notes on nearly 2000 musicians and reviews of their best available CDs. It includes photos and album cover illustrations which have been gathered from contemporary and archive sources, many of them unique to this book, and directories of World Music labels, specialist stores around the world and on the internet.

Nobody knows the city of light like Paris resident and travel writer John Baxter – and nobody is able to write about its culture quite so intriguingly. Let him guide you around the Paris you’ve always wanted to know. How was Ernest Hemingway received by the city he wrote so much about, and where did he rub shoulders with other literary greats? Are Parisian waiters really as rude as their reputation, and why do they race each other down the street in the annual Course des Garcons de Café? And where can you find fascinating remnants of the city’s history of violent revolution, jazz music, and bold artistic movements? From the reality of the city’s café culture and its literary luminaries, to some of its more curious landmarks, obscure events, and unusual inhabitants, Untold Paris will give the first-time visitor a vivid impression of the city and offer seasoned travelers a new vision of the city they love. The people, the quirks, peculiarities, charms, and eccentricities; the history and secrets. Welcome to the untold Paris. Praise for John Baxter's previous work: We'll Always Have Paris: Sex and Love in the City of Light – "towers above most recent memoirs of life abroad" Sunday Times. The Perfect Meal: In Search of the Lost Tastes of France – International Association of Culinary Professionals Award, “Full of humor, insight, and mouth-watering details… a delightful tour of traditional French culture and cuisine.” Travel and Leisure. Eating Eternity: Food and Wine in the Art and Literature of France – "Gorgeous" New York Times