Environmental sustainability and human cultural sustainability are inextricably linked. Reversing damaging human impact on the global environment is ultimately a cultural question, and as with politics, the answers are often profoundly local. Cultural Sustainabilities presents twenty-three essays by musicologists and ethnomusicologists, anthropologists, folklorists, ethnographers, documentary filmmakers, musicians, artists, and activists, each asking a particular question or presenting a specific local case study about cultural and environmental sustainability. Contributing to the environmental humanities, the authors embrace and even celebrate human engagement with ecosystems, though with a profound sense of collective responsibility created by the emergence of the Anthropocene. Contributors: Aaron S. Allen, Michael B. Bakan, Robert Baron, Daniel Cavicchi, Timothy J. Cooley, Mark F. DeWitt, Barry Dornfeld, Thomas Faux, Burt Feintuch, Nancy Guy, Mary Hufford, Susan Hurley-Glowa, Patrick Hutchinson, Michelle Kisliuk, Pauleena M. MacDougall, Margarita Mazo, Dotan Nitzberg, Jennifer C. Post, Tom Rankin, Roshan Samtani, Jeffrey A. Summit, Jeff Todd Titon, Joshua Tucker, Rory Turner, Denise Von Glahn, and Thomas Walker

Ethnomusicological fieldwork has significantly changed since the end of the the 20th century. Ethnomusicology is in a critical moment that requires new perspecitves on fieldwork - perspectives that are not addressed in the standard guides to ethnomusicological or anthropological method. The focus in ethnomusicological writing and teaching has traditionally centered around analyses and ethnographic representations of musical cultures, rather than on the personal world of understanding, experience, knowing, and doing fieldwork. Shadows in the Field deliberately shifts the focus of ethnomusicology and of ethnography in general from representation (text) to experience (fieldwork). The "new fieldwork" moves beyond mere data collection and has become a defining characteristic of ethnomusicology that engages the scholar in meaningful human contexts.
In this new edition of Shadows in the Field, renowned ethnomusicologists explore the roles they themselves act out while performing fieldwork and pose significant questions for the field: What are the new directions in ethnomusicological fieldwork? Where does fieldwork of "the past" fit into these theories? And above all, what do we see when we acknowledge the shadows we cast in the field?
The second edition of Shadows in the Field includes updates of all existing chapters, a new preface by Bruno Nettl, and seven new chapters addressing critical issues and concerns that have become increasingly relevant since the first edition.

This first major examination the interrelationships of music and surfing explores different ways that surfers combine surfing with making and listening to music. Tim Cooley uses his knowledge and experience as a practicing musician and avid surfer to consider the musical practices of surfers in locations around the world, taking into account ideas about surfing as a global affinity group and the real-life stories of surfers and musicians he encounters. In doing so, he expands ethnomusicological thinking about the many ways musical practices are integral to human socializing, creativity, and the condition of being human.
Cooley discusses the origins of surfing in HawaiOCyi, its central role in Hawaiian society, and the "mele "(chants) and hula (dance or visual poetry) about surfing. He covers instrumental rock from groups like Dick Dale and the Del Tones and many others, and songs about surfing performed by the Beach Boys. As he traces trends globally, three broad styles emerge: surf music, punk rock, and acoustic singer-songwriter music. Cooley also examines surfing contests and music festivals as well as the music used in a selection surf movies that were particularly influential in shaping the musical practices of significant groups of surfers. Engaging, informative, and enlightening, this book is a fascinating exploration of surfing as a cultural practice with accompanying rituals, habits, and conceptions about who surfs and why, and of how musical ideas and practices are key to the many things that surfing is and aspires to be.
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