For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline. The second volume of Transforming Ethnomusicology takes as a point of departure the recognition that colonial and environmental damages are grounded in historical and institutional failures to respect the land and its peoples. Featuring Indigenous and other perspectives from Brazil, North America, Australia, Africa, and Europe this volume critically engages with how ethnomusicologists can support marginalized communities in sustaining their musical knowledge and threatened geographies.

During the century of British rule of the Indian subcontinent known as the British Raj, the rulers felt the significant influence of their exotic subjects. Resonances of the Raj examines the ramifications of the intertwined and overlapping histories of Britain and India on English music in the last fifty years of the colonial encounter, and traces the effects of the Raj on the English musical imagination. Conventional narratives depict a one-way influence of Britain on India, with the 'discovery' of Indian classical music occurring only in the post-colonial era. Drawing on new archival sources and approaches in cultural studies, author Nalini Ghuman shows that on the contrary, England was both deeply aware of and heavily influenced by India musically during the Indian-British colonial encounter. Case studies of representative figures, including composers Edward Elgar and Gustav Holst, and Maud MacCarthy, an ethnomusicologist and performer of the era, integrate music directly into the cultural history of the British Raj. Ghuman thus reveals unexpected minglings of peoples, musics and ideas that raise questions about 'Englishness', the nature of Empire, and the fixedness of identity. Richly illustrated with analytical music examples and archival photographs and documents, many of which appear here in print for the first time, Resonances of the Raj brings fresh hearings to both familiar and little-known musics of the time, and reveals a rich and complex history of cross-cultural musical imaginings which leads to a reappraisal of the accepted historiographies of both British musical culture and of Indo-Western fusion.

This is the first book to tackle the diverse styles and multiple histories of popular musics in India. It brings together fourteen of the world's leading scholars on Indian popular music to contribute chapters on a range of topics from the classic songs of Bollywood to contemporary remixes, summarized by a reflective afterword by popular music scholar Timothy Taylor. The chapters in this volume address the impact of media and technology on contemporary music, the variety of industrial developments and contexts for Indian popular music, and historical trends in popular music development both before and after the Indian Independence in 1947. The book identifies new ways of engaging popular music in India beyond the Bollywood musical canon, and offers several case studies of local and regional styles of music. The contributors address the subcontinent's historical relationships with colonialism, the transnational market economies, local governmental factors, international conventions, and a host of other circumstances to shed light on the development of popular music throughout India. To illustrate each chapter author's points, and to make available music not easily accessible in North America, the book features an Oxford web music companion website of audio and video tracks.

The Panama Canal is a world-famous site central to the global economy, but the social, cultural, and political history of the country along this waterway is little known outside its borders. In Musica Tipica, author Sean Bellaviti sheds light on a key element of Panamanian culture, namely the story of cumbia or, as Panamanians frequently call it, "musica tipica," a form of music that enjoys unparalleled popularity throughout Panama. Through extensive archival and ethnographic research, Bellaviti reconstructs a twentieth-century social history that illuminates the crucial role music has played in the formation of national identities in Latin America. Focusing, in particular, on the relationship between cumbia and the rise of populist Panamanian nationalism in the context of U.S. imperialism, Bellaviti argues that this hybrid musical form, which forges links between the urban and rural as well as the modern and traditional, has been essential to the development of a sense of nationhood among Panamanians. With their approaches to musical fusion and their carefully curated performance identities, cumbia musicians have straddled some of the most pronounced schisms in Panamanian society.

Singing a Hindu Nation is a study of rags>riya kirtan, a western Indian performance medium that combines song, Hindu philosophical discourse, and nationalist storytelling. Beginning during the anti-colonial movement of the late nineteenth-century, performers of rags>riya kirtan led masses of Marathi-speaking people in temples and streets, and they have continued to preach and sing nationalism as devotion in the post-colonial era, and into the twenty-first century. In this book, author Anna Schultz demonstrates how, through this particular form of musical performance, the political becomes devotional, and explores why it motivates people to action and violence. Through both historical and ethnographic studies, Schultz shows that rags>riya kirtan has been especially successful in combining these two realms because kirtankars perform as representatives of the divine sage Narad, thereby infusing their nationalist messages with ritual weight. By speaking and singing in regional idioms with rich associations for Maharashtrian congregations, they use music to combine political and religious signs in ways that seem natural and desirable, promoting embodied experiences of nationalist devotion. As the first monograph on music and Hindu-nationalism, Singing a Hindu Nation presents a rare glimpse into the lives and performance worlds of nationalists on the margins of all-India political parties and cultural organizations, and is an essential resource for ethnomusicologists, as well as scholars of South Asian studies, religion, and political theory.

The vast majority of films produced by Mumbai's commercial Hindi language film industry - known world-wide as Bollywood - feature songs as a central component of the cinematic narrative. While many critics have addressed the visual characteristics of these song sequences, very few have engaged with their aurality and with the meanings that they generate within the film narrative and within Indian society at large. Because the film songs operate as powerful sonic ambassadors to individual and cultural memories in India and abroad, however, they are significant and carefully-constructed works of art. Bollywood Sounds focuses on the songs of Indian films in their historical, social, and commercial contexts. Author Jayson Beaster-Jones walks the reader through the highly collaborative songs, detailing the contributions of film directors, music directors and composers, lyricists, musicians, and singers. A vital component of film promotion on broadcast media, Bollywood songs are distributed on soundtracks by music companies, and have long been the most popular music genre in India - even among listeners who rarely see the movies. Through close musical and multimedia analysis of more than twenty landmark compositions, Bollywood Sounds illustrates how the producers of Indian film songs mediate a variety of influences, musical styles, instruments, and performance practices to create this distinctive genre. Beaster-Jones argues that, even from the moment of its inception, the film song genre has always been in the unique position of demonstrating cosmopolitan orientations while maintaining discrete sound and production practices over its long history. As a survey of the music of seventy years of Hindi films, Bollywood Sounds is the first monograph to provide a long-term historical insights into Hindi film songs, and their musical and cinematic conventions, in ways that will appeal both to scholars and newcomers to Indian cinema.

Bennett Zon's Representing Non-Western Music in Nineteenth-Century Britain is the first book to situate non-Western music within the intellectual culture of nineteenth-century Britain. It covers many crucial issues -- race, orientalism, otherness, evolution -- and explores the influence of important anthropological theories on the perception of non-Western music. The book also considers a wide range of other writings of the period, from psychology and travel literature to musicology and theories of musical transcription, and it reflects on the historically problematic term "ethnomusicology." Representing Non-Western Music discusses such theories as noble simplicity, monogenism and polygenism, the comparative method, degenerationism, and developmentalism. Zon looks at the effect of evolutionism on the musical press, general music histories, and histories of national music. He also treats the work of Charles Samuel Myers, the first Britain to record non-Western music in the field, and explores how A. H. Fox Strangways used contemporary translation theory as an analogy for transcription in The Music of Hindostan (1914) to show that individuality can be retained by embracing foreign elements rather than adapting them to Western musical style. Bennett Zon is Reader in Music and Fellow of the Institute of Advanced Study, Durham University UK and author of Music and Metaphor in Nineteenth-Century British Musicology (Ashgate, 2000).

Sound Relations delves into histories of Inuit musical life in Alaska to register the significance of sound as integral to self-determination and sovereignty. Offering radical and relational ways of listening to Inuit performances across a range of genres-from hip hop to Christian hymnody and traditional drumsongs to funk and R&B -author Jessica Bissett Perea registers how a density (not difference) of Indigenous ways of musicking from a vast archive of presence sounds out entanglements between structures of Indigeneity and colonialism. This work dismantles stereotypical understandings of "Eskimos," "Indians," and "Natives" by addressing the following questions: What exactly is "Native" about Native music? What does it mean to sound (or not sound) Native? Who decides? And how can in-depth analyses of Native music that center Indigeneity reframe larger debates of race, power, and representation in twenty-first century American music historiography? Instead of proposing singular truths or facts, this book invites readers to consider the existence of multiple simultaneous truths, a density of truths, all of which are culturally constructed, performed, and in some cases politicized and policed. Native ways of doing music history engage processes of sound worlding that envision otherwise, beyond nation-state notions of containment and glorifications of Alaska as solely an extraction site for U.S. settler capitalism, and instead amplifies possibilities for more just and equitable futures.

Shortlisted for the 2021 Prime Minister's Literary Award for Australian History. Representing Australian Aboriginal Music and Dance 1930-1970 offers a rethinking of recent Australian music history. In this open access book, Amanda Harris presents accounts of Aboriginal music and dance by Aboriginal performers on public stages. Harris also historicizes the practices of non-Indigenous art music composers evoking Aboriginal music in their works, placing this in the context of emerging cultural institutions and policy frameworks. Centralizing auditory worlds and audio-visual evidence, Harris shows the direct relationship between the limits on Aboriginal people's mobility and non-Indigenous representations of Aboriginal culture. This book seeks to listen to Aboriginal accounts of disruption and continuation of Aboriginal cultural practices and features contributions from Aboriginal scholars Shannon Foster, Tiriki Onus and Nardi Simpson as personal interpretations of their family and community histories. Contextualizing recent music and dance practices in broader histories of policy, settler colonial structures, and postcolonizing efforts, the book offers a new lens on the development of Australian musical cultures. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 license on bloomsburycollections.com. Open access was funded by Australian Research Council.

What is the place of ethnic minorities in the identity and culture of the majority? What happens when the colonizer appropriates the culture of the colonized? Throughout Russia's nineteenth-century expansion into the Caucasus and Central Asia, Russian intellectuals struggled with these questions that cut to the core of imperial identity. Representing Russia's Orient draws on political, cultural, and social history to tell the story of how Russia's imperial advancements and encounters with its southern and eastern neighbors influenced the development of Russian musical identity. While Russia's ethnic minorities, or inorodtsy, were located at the geographical and cultural periphery, they loomed large in composers' musical imagination and became central to the definition of Russianness itself. Drawing from previously untapped archival and published materials, including music scores, visual art, and ethnographies, author Adalyat Issiyeva offers an in-depth study of Russian musical engagement with oriental subjects. Within a complex matrix of politics, competing ideological currents, and social and cultural transformations, some Russian composers and writers developed multidimensional representations of oriental "others" and sometimes even embraced elements of Asian musical identity. Mapping the vast repertoire of bylinas, military and children songs, music ethnographies, rare collections of Asian folk songs, art songs inspired by Decembrist literature, and the art music of famous composers from the Mighty Five and their followers - all set against the development of oriental studies in Russia - the book sheds new light on how and why Russians sometimes rejected, sometimes absorbed and transformed elements of Asian history and culture in forging their own national identity.

Hip-Hop Within and Without the Academy explores why hip-hop has become such a meaningful musical genre for so many musicians, artists, and fans around the world. Through multiple interviews with hip-hop emcees, DJs, and turntablists, the authors explore how these artists learn and what this music means in their everyday lives. This research reveals how hip-hop is used by many marginalized peoples around the world to help express their ideas and opinions, and even to teach the younger generation about their culture and tradition. In addition, this book dives into how hip-hop is currently being studied in higher education and academia. In the process, the authors reveal the difficulties inherent in bringing this kind of music into institutional contexts and acknowledge the conflicts that are present between hip-hop artists and academics who study the culture. Building on the notion of bringing hip-hop into educational settings, the book discusses how hip-hop is currently being used in public school settings, and how educators can include and embrace hip-hop s educational potential more fully while maintaining hip-hop s authenticity and appealing to young people. Ultimately, this book reveals how hip-hop s universal appeal can be harnessed to help make general and music education more meaningful for contemporary youth."

In the mid-20th century, African musicians took up Cuban music as their own and claimed it as a marker of black Atlantic connections and of cosmopolitanism untethered from European colonial relations. Today, Cuban/African bands popular in Africa in the 1960s and '70s have moved into the world music scene in Europe and North America, and world music producers and musicians have created new West African-Latin American collaborations expressly for this market niche. World Music and the Black Atlantic follows two of these bands, Orchestra Baobab and AfroCubism, and the industry and audiences that surround them-from musicians' homes in West Africa, to performances in Europe and North America, to record label offices in London. World Music and the Black Atlantic examines the intensely transnational experiences of musicians, industry personnel, and audiences as they collaboratively produce, circulate, and consume music in a specific post-colonial era of globalization. Musicians, industry personnel, and audiences work with and push against one another as they engage in personal collaborations imbued with histories of global travel and trade. They move between and combine Cuban and Malian melodies, Norwegian and Senegalese markets, and histories of slavery and independence as they work together to create international commodities. Understanding the unstable and dynamic ways these peoples, musics, markets, and histories intersect elucidates how world music actors assert their places within, and produce knowledge about, global markets, colonial histories, and the black Atlantic. World Music and the Black Atlantic offers a nuanced view of a global industry that is informed and deeply marked by diverse transnational perspectives and histories of transatlantic exchange.

From the red earth of the reservation to the glitter of the Grammys, (the heartfelt music of Native America is getting into the mainstream. This informative and entertaining book includes profiles of some of the major Native artists, activists, and performers such as Robbie Robertson, Rita Coolidge, Bill Miller, Hank Williams III, and Joey Ramone. 44 photos. (Music)

The Centro Latinoamericano de Altos Estudios Musicales (CLAEM) in Buenos Aires operated for less than a decade, but by the time of its closure in 1971 it had become the undeniable epicenter of Latin American avant-garde music. Providing the first in-depth study of CLAEM, author Eduardo Herrera tells the story of the fellowship program-funded by the Rockefeller Foundation and the Di Tella family-that, by allowing the region's promising young composers to study with a roster of acclaimed faculty, produced some of the most prominent figures within the art world, including Rafael Aponte Ledee, Coriun Aharonian, and Blas Emilio Atehortua. Combining oral histories, ethnographic research, and archival sources, Elite Art Worlds explores regional discourses of musical Latin Americanism and the embrace, articulation, and resignification of avant-garde techniques and perspectives during the 1960s. But the story of CLAEM reveals much more: intricate webs of US and Argentine philanthropy, transnational currents of artistic experimentation and innovation, and the role of art in constructing elite identities. By looking at CLAEM as both an artistic and philanthropic project, Herrera illuminates the relationships between foreign policy, corporate interests, and funding for the arts in Latin America and the United States against the backdrop of the Cold War.

Lead author Bruno Nettl. The grand-daddy of Ethnomusicology compiled the first edition, and his name and contributions to the field have brought the book forward several editions. Chapters are written by established/known ethnomusicologists specializing in the particular region, in the perhaps the most balanced attempt to get expert authors together. Does not aim to teach students how to do field work (like Titon), per se, or other ethnomusicological study, and does not aim to teach music - rather, how to think about music in world perspective and the major themes and issues that emerge when we take the musics of the world seriously. Draws a big picture and explains why the musics of the world matter.....the economics, politics, and social dynamics of these sounds.

Jazz has always been a genre built on the blending of disparate musical cultures. Latin jazz illustrates this perhaps better than any other style in this rich tradition, yet its cultural heritage has been all but erased from narratives of jazz history. Told from the perspective of a long-time jazz insider, Latin Jazz: The Other Jazz corrects the record, providing a historical account that embraces the genre's international nature and explores the dynamic interplay of economics, race, ethnicity, and nationalism that shaped it.

At the dawn of the twenty-first century, the Nor-tec phenomenon emerged from the border city of Tijuana, and through modern Internet technology quickly conquered a global audience. Marketed as a kind of "ethnic" electronic dance music, Nor-tec samples sounds of traditional music from the north of Mexico, transforming these sounds through computer technology used in European and American techno music and electronica. Mostly middle-class artists in their thirties, and with few exceptions all from Tijuana, Nor-tec musicians tend to avoid the mainstream music industry's channels, distributing works instead through the underground, global means of the Internet, enabling a loyal international following to grow rapidly. Perched on the border between Mexico and the United States, Tijuana has media links to both countries, with peoples, currencies, and cultural goods -perhaps especially music- from both sides circulating intensely within the city. Tijuana's older residents and their more mobile, cosmopolitan-minded children thus engage in a constant struggle with identity and nationality, appropriation and authenticity. Nor-tec music in its very composition encapsulates this city's struggle. It resonates with issues felt on the global level, while holding vastly different meanings to the variety of communities that embrace it. In Nor-tec Rifa!, Alejandro L. Madrid crafts a fascinating account of this music and the city that fostered its birth. With an impressive hybrid of musicology, ethnomusicology, cultural and performance studies, urbanism, and border studies, Nor-tec Rifa! offers compelling insights into the cultural production of Nor-tec as it stems from ortena, banda, and grupera traditions. The book is also amongst the first to offer detailed accounts of Nor-tec music's composition process.

Peter Kivy presents a selection of his new and recent writings on the philosophy of music, a subject to which he has for many years been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, in a way that will attract the interest of philosophical and musical readers alike.

Music Saved Them, They Say: Social Impacts of Music-Making and Learning in Kinshasa (DR Congo) explores the role music-making has played in community projects run for young people in the poverty-stricken and often violent surroundings of Kinshasa, the capital city of the Democratic Republic of the Congo. The musicians described here - former gang members and so-called "witch children" living on the streets - believe music was vital in (re)constructing their lives. Based on fieldwork carried out over the course of three-and-a-half years of research, the study synthesizes interviews, focus group sessions, and participant observation to contextualize this complicated cultural and social environment. Inspired by those who have been "saved by music", Music Saved Them, They Say seeks to understand how structured musical practice and education can influence the lives of young people in such difficult living conditions, in Kinshasa and beyond. "... a tribute to the persistence, engagement and courage of the people in these projects, who can be proud that their work is now exposed to a global audience, not just of researchers but also to practitioners around the world who could learn from and be inspired by these hitherto unknown projects." -John Sloboda, Research Professor, Guildhall School of Music & Drama "This book is very moving but never sentimental, one of the best accounts of music's real transformative capacities that I have come across." -Lucy Green, Emerita Professor of Music Education, University College London Institute of Education

Examines the relationship between the structures provided by tradition, and the actual performance in reconsideration of the nature of 'tradition' in dhrupad. Includes a transcription of a compete dhrupad performance. First book-length study of an Indian vocal genre to be co-authored by an Indian practitioner and a Western musicologist

Originally published in 1867, this book is a collection of songs of African-American slaves. A few of the songs were written after the emancipation, but all were inspired by slavery. The wild, sad strains tell, as the sufferers themselves could, of crushed hopes, keen sorrow, and a dull, daily misery, which covered them as hopelessly as the fog from the rice swamps. On the other hand, the words breathe a trusting faith in the life after, to which their eyes seem constantly turned.