Since Papua New Guinea's Independence in the 1970s, Port Moresby has been transformed from a colonial administrative centre to a distinctively Melanesian city. However visitors often shun the capital, their perceptions coloured by unsympathetic media accounts of violent crime and unchecked corruption. Instead they seek the 'real' Papua New Guinea - traditionally oriented and reassuringly parochial - beyond its boundaries. In this book, experts from the fields of anthropology, ethnomusicology and human ecology seek to represent 'Mosbi' as Papua New Guineans experience it. They augment the urban focus of the book with knowledge of the rural societies from which the contemporary inhabitants come. Considering groups of migrants, long-term residents and the traditional landholders of the territory on which it has grown, the contributors offer intimately informed perspectives on the vibrant, dynamic, exciting, hybrid environment that is 'Mosbi'. They argue that it needs to be recognised as the real Papua New Guinea, and that its inhabitants need to be understood not as caricatures of unemployed criminals on the one hand and as corrupt elites on the other, but as modern Melanesians creatively adapting to the exigencies of urban living.

Software mediates a great deal of human musical activity. The writing, running, and maintenance of code lies at the heart of such software. Code Musicology: From Hardwired to Software argues why it is time for a "code musicology," then outlines what that should entail. A code musicology opens a conduit between musicology and software studies, providing insights into both of these now interlinked fields along the way. It extends an ethnomusicology of technoculture from the world of hardware and the hardwired to software, code, and algorithms. For popular music studies, it helps direct attention to a newly relevant industrial focus-IT and software-centered transnational commerce-as a result of sectorial transformation. Denis Crowdy demonstrates how analysis from software studies, critical code studies, and the digital humanities offers insights into power relations, diversity, and commerce in music. Crowdy weaves readings of code and application programming interfaces (APIs) into the discussion, as well as ethnomusicological fieldwork exploring music and mobile phones from the Global South. Analysis of the author's own music apps and associated distribution infrastructure provides unique insights into the machinations of music "appification."