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The article reviews the music release "Americans in Rome" featuring music by the Fellows of the American Academy in Rome.

The article reviews the musical releases "Chamber Music" and "Vocal Music," which feature chamber and vocal works from composer Heinrich Ernst Erwin Walther performed by such musicians as pianist Frank Gutschmidt, soprano Yvonne Friedli, and clarinetist Ib Hausmann.

The article reviews a recording of various works by composer Toshio Hosokawa, including Cello Concerto, "Voyage VII," and "Metamorphosis," performed by trumpeters Jeroen Berwaerts and Olivier Dartevelle and cellist Rohan da Saram.

The article reviews the book "John Cage," by Rob Haskins, along with a recording of composer John Cage's vocal works featuring singers Loré Lixenberg and Gregory Rose entitled "Song Books" and the recording "As it is" featuring pianist Alexei Lubimov and vocalist Natalia Pschenitchnikova.

The article reviews a recording of various violin and piano pieces from composer Morton Feldman performed by pianist Steffen Schleiermacher and violinist Andreas Seidel, such as "Spring of Chosroes," "Extensions 1 and 3," and "For John Cage."

The article reviews two recordings of various pieces of Central Asian music featuring composers such as Dmitri Yanov-Yanovsky, Franghiz Ali-Zadeh, and Alexander Knaifel.

The article reviews a piano music release featuring works composed by Michael Blake and performed by Jill Richards, including "French Suite," "Three Toys," and "BWV Fragments."

The article reviews two piano music releases, including "Sonata No. 3," composed and performed by Anthony Green, "The Life Force (Sonata No. 3)," composed by Marcus Blunt and performed by Murray McLachlan and "Malta Nocturne," composed by Marcus Blunt and performed by Murray McLachlan.

The article reviews the piano music release "Piano Music, 1993-2007," featuring the works of Michael Parsons and performed by John Tilbury and Michael Parsons, including Triptych," "Piano Piece August 2001," and "Piano Piece May 2003."

The article reviews the music release "UBS Soundscapes: Pioneers," featuring music by artists including Luke Bedford, Joe Duddell, and Martin Suckling.

The article reviews the music release "Voci Celesti (String Quartet No. 3)" composed by Thomas Simaku, performed by the Kreutzer Quartet.

The article reviews the music release "The Late Piano Works: For Bunita Marcus," performed by Steffen Schleiermacher, composed by Morton Feldman, and the music release "For Christian Wolff," by composer Morton Feldman.

The article reviews several orchestral music releases including "Alphabicycle Order," composed by Colin Matthews, "La mer," by Claude Debussy and "Number 9 VI: A Bigger Splash," by Moritz Eggert.

The article reviews several orchestral music releases composed by Jörg Widmann and performed by Juliane Banse and the Leipzig String Quartet, including "String Quartets: No. 1," "String Quartets: No. 2., 'Choral'" and "String Quartets: No. 3, "Hunting"."

The article reviews the music releases "Bartlebooth," "Archie," and "Buckley's Hot Licks," composed by Joe Cutler and performed by Andrew Sparling, Robert Michael and Mary Dullea.

The article reviews the music release "The Shops," composed by Edward Rushton and performed by the Opera Group.

In my recent review of a Col Legno disc of music by Luke Bedford (born 1978), I described this composer as ‘a major voice’. That disc included the piece Wonderful Two-Headed Nightingale, for solo violin, solo viola and 11 players (2011); this concert by the London Sinfonietta under Sian Edwards began with a reworking for 10 players and no soloists, hence its new title, Wonderful No-Headed Nightingale (the heads are lost but the bird sings on). This was the UK première of the revision. In absentia soloists, strangely, the lines seemed even more expressive. Perhaps it was the rather small space of the South Bank's Purcell Room, but climaxes tended towards overwhelming; the use of quartertones seemed emphasized by acoustics, also. [ABSTRACT FROM PUBLISHER]

The article reviews a recording of various string, vocal, and piano works by composer Luke Bedford performed by violist Lawrence Power, vocalist Claire Booth, the Scottish Ensemble, the Fidelio Trio, and the London Sinfonietta, among others.

The article reviews a recording of various works by composer Oliver Knussen, such as "Choral," Secret Psalm," and "Ophelia's Last Dance," performed by violinists Alexandra Wood and Leila Josefowicz, vocalist Claire Booth, and pianists Huw Watkins and Ryan Wigglesworth.

The article reviews a recording of composer George Benjamin's opera "Written on Skin" and orchestral work "Duet," which features vocalists Christopher Purves, Barbara Hannigan, Bejun Mehta, Rebecca Jo Loeb, and Allan Clayton and pianist Pierre-Laurent Aimard.

The article reviews a recording of various pieces of piano music by composer Claus-Steffen Mahnkopf, such as "Rhizom," "Angelus Novus Cycle," and "Fünf kleine Lakunaritäten," performed by pianist Ermis Theodorakis.

The article reviews a piano music release featuring works composed by Simon Holt and performed by Rolf Hind, including "Tauromaquia," "A Book of Colours" and "Black Lanterns."

The article reviews the music release "Il catalogo è questo," composed by Sylvano Bussotti and performed by Olivier Lallouette, Philippe Kahn and Sylvano Bussotti.

The article reviews the music release "Patterns in a Chromatic Field; Projection I; Composition - Eight Little Pieces; Intersection IV; Duration II," composed by Morton Feldman and performed by Arne Deforce and Yutaka Oya.

The article reviews the music release "Piano Concerto; Invocation VI; Spur; FAMA VI; Retour an dich; Iotófagos," composed by Beat Furrer and performed by various individuals and ensembles including Nicholas Hodges, the WDR Symphony Orchestra, and Petra Hoffmann.

The article reviews several orchestral music releases composed by Roger Smalley and performed by Smalley, Darryl Poulsen, Paul Wright and the Australian Quartet, including "Piano Quintet," "Trio for Horn, Violin and Piano" and "String Quartet No. 2."

Copyright of Canadian Journal of Political Science / Revue Canadienne de Science Politique is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As a concept, ethnogenesis presupposes a category of individuals that are not a group becomes a group. Most accounts of ethnogenesis exhibit two features: they confuse ethnogenesis with the resilience of ethnicity, and they describe the "emergence" of ethnic groups as a response to external circumstances. This paper deviates from these perspectives by adopting a primordial approach, arguing that internal rather than external forces generate group cohesion. I establish three related propositions: First, while the debate between the so-called "circumstantialists" and "primordialists" suggests that these perspectives can be used interchangeably depending on scholarly preference, I argue that a "primacy" holds in favor of the primordial perspective. Second, I assert that this primordial perspective must be redefined, since ethnogenesis always incorporates "external" elements, thus changing and adapting to specific social and physical ecologies. Consequently, an ethnic group is constituted by the content of the ethnicity which functions as "boundaries." Third, I contend that the emergence of primordial (though adjusted) ethnicity is not a "natural" process but instead requires actors that shape it, and that the initiatives of ethnic leaders are crucial in this regard. These propositions are established through a comparison of British Indians in the three former Caribbean plantation colonies of Suriname, Guyana, and Jamaica. [ABSTRACT FROM AUTHOR]