Postnational Musical Identities gathers interdisciplinary essays that explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizenship beyond the nation-state, and how music works as a site of resistance against globalization. 'Hybridity, ' 'postnationalism, ' 'transnationalism, ' 'globalization, ' 'diaspora, ' and similar buzzwords have not only informed scholarly discourse and analysis of music but also shaped the way musical productions have been marketed worldwide in recent times. While the construction of identities occupies a central position in this context, there are discrepancies between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has historically been incorporated. As such, music has always been linked to the construction of regional and national identities. The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identifica

Postnational Musical Identities gathers interdisciplinary essays that explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizenship beyond the nation-state, and how music works as a site of resistance against globalization. "Hybridity," "postnationalism," "transnationalism," "globalization," "diaspora," and similar buzzwords have not only informed scholarly discourse and analysis of music but also shaped the way musical productions have been marketed worldwide in recent times. While the construction of identities occupies a central position in this context, there are discrepancies between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has historically been incorporated. As such, music has always been linked to the construction of regional and national identities. The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identification.

Music is powerful and transformational, but can it spur actual social change? A strong collection of essays, At the Crossroads of Music and Social Justice studies the meaning of music within a community to investigate the intersections of sound and race, ethnicity, religion, gender, sexual orientation, and differing abilities. Ethnographic work from a range of theoretical frameworks uncovers and analyzes the successes and limitations of music's efficacies in resolving conflicts, easing tensions, reconciling groups, promoting unity, and healing communities. This volume is rooted in the Crossroads Section for Difference and Representation of the Society for Ethnomusicology, whose mandate is to address issues of diversity, difference, and underrepresentation in the society and its members' professional spheres. Activist scholars who contribute to this volume illuminate possible pathways and directions to support musical diversity and representation. At the Crossroads of Music and Social Justice is an excellent resource for readers interested in real-world examples of how folklore, ethnomusicology, and activism can, together, create a more just and inclusive world.

Jazz great Gerald Wilson (1918-2014), born in Shelby, Mississippi, left a global legacy of paramount significance through his progressive musical ideas and his orchestra's consistent influence on international jazz. Aided greatly by interviews that bring Wilson's voice to the story, Steven Loza presents a perspective on what the musician and composer called his ""jazz pilgrimage."" Wilson uniquely adapted Latin influences into his jazz palette, incorporating many Cuban and Brazilian inflections as well as those of Mexican and Spanish styling. Throughout the book, Loza refers to Wilson's compositions and arrangements, including their historical contexts and motivations. Loza provides savvy musical readings and analysis of the repertoire. He concludes by reflecting upon Wilson's ideas on the place of jazz culture in America, its place in society and politics, its origins, and its future. With a foreword written by Wilson's son, Anthony, and such sources as essays, record notes, interviews, and Wilson's own reflections, the biography represents the artist's ideas with all their philosophical, historical, and cultural dimensions. Beyond merely documenting Wilson's many awards and recognitions, this book ushers readers into the heart and soul of a jazz creator. Wilson emerges a unique and proud African American artist whose tunes became a mosaic of the world.

Steven Loza explores how the iconic aspects of religion transcend mere symbolism with a collection of essays that examine the arts and their relationship to religious belief in three cultural areas of the world: the Mexican mestizo belief in the Virgen de Guadalupe, the West African Yoruba religion's base in a divination system of orishas, and the Sufi sect of Islam's musical/textual practices of devotional ecstasy to God. The essays included here were originally presented at the 2004 international conference "Towards a Theory for Religion as Art: Guadalupe, Orishas, and Sufi," organized by the Arts of the Americas Institute at the University of New Mexico. While they reflect the interdisciplinary design and dialogue of the conference, the essays also reveal that many of the arts are conceptualized cross-culturally, ranging from visual art and poetry to music and dance, and offer comparative studies of their relationships to society, politics, and culture in general. Contributors to Religion as Art Gregory A. Cajete, University of New Mexico, Albuquerque Timothy Canova, Chapman University, Orange, California Martinus Cawley, Guadalupe Trappist Abbey, Lafayette, Oregon Francisco Crespo, University of California, Los Angeles Lorena D az N ez, Centro Nacional de Investigaci n, Documentaci n e Informaci n Musical, Mexico City Akin Euba, University of Pittsburgh Francisco Miranda God nez, Colegio de Michoac n, Mexico Juan G mez-Qui ones, University of California, Los Angeles Linda B. Hall, University of New Mexico, Albuquerque Clarence Henry, University of Kansas Ray Hern ndez-Dur n, University of New Mexico, Albuquerque Teresa Marrero, University of North Texas Orlando Ricardo Menes, University of Notre Dame Margaret Montoya, University of New Mexico, Albuquerque Charles Moore, Long Beach State University, California Luis A. Payan, University of Texas, El Paso Stafford Poole, C.M., Los Angeles A. J. Racy, University of California, Los Angeles Joe Sando, Jemez Pueblo, New Mexico Janice Schuetz, University of New Mexico, Albuquerque Robert Stevenson, University of California, Los Angeles Sylvia Tan, University of California, Los Angeles Maria Williams, University of New Mexico, Albuquerque