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Chicago Studies in Ethnomusicology

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Book Requires Authentication Unlicensed Licensed 1997
Volume 1997 in this series
The history of Haiti throughout the twentieth century has been marked by oppression at the hands of colonial and dictatorial overlords. But set against this "day for the hunter" has been a "day for the prey," a history of resistance, and sometimes of triumph. With keen cultural and historical awareness, Gage Averill shows that Haiti's vibrant and expressive music has been one of the most highly charged instruments in this struggle—one in which power, politics, and resistance are inextricably fused.

Averill explores such diverse genres as Haitian jazz, troubadour traditions, Vodou-jazz, konpa, mini-djaz, new generation, and roots music. He examines the complex interaction of music with power in contexts such as honorific rituals, sponsored street celebrations, Carnival, and social movements that span the political spectrum.

With firsthand accounts by musicians, photos, song texts, and ethnographic descriptions, this book explores the profound manifestations of power and song in the day-to-day efforts of ordinary Haitians to rise above political repression.
Book Requires Authentication Unlicensed Licensed 2025
An empathetic and eye-opening portrait of Muslim migrants in England that debunks many misperceptions about their music and poetry.

In Journeys of Love, ethnomusicologist Thomas Hodgson offers a sensitive corrective to harmful portrayals of immigrants—specifically, Pakistanis living in England—as a self-segregating group prohibited from making music, a stereotype that has often resulted in violent Islamophobia. He argues that, in practice, these migrants—many of whom come from the Mirpur area of Azad Kashmir—occupy rich musical worlds, full of poetic metaphors, that are central to surviving migration and its attendant losses.

Hodgson shows how Mirpuris in England, as well as those who remain in Pakistan, carry on traditions of reciting a collection of poetry by the nineteenth-century Sufi saint Mian Muhammad Bakhsh, translated by Hodgson here as Journeys of Love. With its themes of remaining true to one’s home, the oppressed being saved, having patience, and keeping faith in God, this work has become the story of movement and displacement in its narrative arc, as well as through the way it provides spiritual and ethical frameworks for settling in new lands. These hidden poetics of migration transform across generations as young Mirpuris develop new expressions of the connections across continents. These poetics reveal the connections between Kashmir’s rural village life and urban centers abroad, offering a sensitive and illuminating portrait of migration and multiculturalism in Britain and beyond.
Book Requires Authentication Unlicensed Licensed 2024
The coming-of-age story of a master musician in mid-twentieth century colonial Rhodesia as he learns his community’s most cherished art, all while navigating profound social transformation.

Ethnomusicologist Paul F. Berliner has been studying Zimbabwean mbira for more than fifty years. When he first arrived in what was then Rhodesia after the nation declared independence from the United Kingdom, he met Cosmas Magaya, a mbira player who would become his teacher and lifelong collaborator. A Prodigy’s Calling chronicles the early years of Magaya’s life, documenting the master mbira player’s journey from child prodigy to established expert. As a child, Magaya was immersed in mbira music through his father’s work as a healer and spirit medium. As Magaya grew, so too did his world; his performances extended beyond the family compound as his skill and knowledge increased, bringing him into contact with a society fraught with decolonial conflict.

Following Magaya’s childhood, readers will learn how his upbringing guided his journey through the community’s social networks and how his early sensibilities, proclivities, and talents shaped his development. At the same time, his deepening engagement with music and the ancestors was affected by overlapping tensions between Shona cosmology and Christian ideology, rural and urban lifestyles, and the escalating African nationalist struggle and the white supremacist state. While Magaya’s story reflects profound social changes in the nation, it is also a story of musical apprenticeship. Readers following Magaya’s discovery of ever finer details in the music’s richly layered patterns will enhance their ability to hear mbira music’s forms, variations, and sonic qualities. Linocut illustrations by South African artist Lucas Bambo bring the narrative to life, and Berliner’s spirited storytelling is accompanied by QR codes that take readers directly to recordings of music as Magaya learns it. Appendices for musicians interested in learning or improving their mbira playing complement the story of Magaya’s early life. Inviting the reader into the very tradition it recounts, the book offers intimate insights into the relationships among music, Shona cosmology, and colonial politics in everyday life.
Book Requires Authentication Unlicensed Licensed 2024
A close look at how wylers, a popular musical style from the island of St. Kitts and Nevis, expresses a unique mode of relation in the postcolonial Caribbean.

In Island Time, ethnomusicologist Jessica Swanston Baker examines wylers, a musical form from St. Kitts and Nevis that is characterized by speed. Baker argues that this speed becomes a useful and highly subjective metric for measuring the relationship between Caribbean aspirations and the promises of economic modernity; women’s bodily autonomy and the nationalist fantasies that would seek to curb that autonomy; and the material realities of Kittitian-Nevisian youth living in the disillusionment following postcolonial independence. She traces the wider Caribbean musical, cultural, and media-based resonances of wylers, posing an alternative model to scholarship on Caribbean music that has tended to privilege the big islands—Trinidad, Jamaica, and Haiti—thus neglecting not only the unique cultural worlds of smaller nations but also the unbounded nature of musical exchange in the region. The archipelago emerges as a useful model for apprehending the relationality across scales that governs the temporal and spatial logics that undergird Caribbean performance. The archipelago and its speeds ultimately emerge as a meaningful medium for postcolonial, postmodern world-making.
Book Requires Authentication Unlicensed Licensed 2023
An intimate account of everyday life in Somaliland, explored through an ever-evolving musical genre of love songs.

At first listen, both music and talk about love are conspicuously absent from Somaliland’s public soundscapes. The lingering effects of war, the contested place of music in Islam, and gendered norms of emotional expression limit opportunities for making music and sharing personal feelings. But while Christina J. Woolner was researching peacebuilding in Somaliland’s capital, Hargeysa, she kept hearing snippets of songs. Almost all of these, she learned, were about love. In these songs, poets, musicians, and singers collaborate to give voice to personal love aspirations and often painful experiences of love-suffering. Once in circulation, the intimate and heartfelt voices of love songs provide rare and deeply therapeutic opportunities for dareen-wadaag (feeling-sharing). In a region of political instability, these songs also work to powerfully unite listeners on the basis of shared vulnerability, transcending social and political divisions and opening space for a different kind of politics.

Taking us from 1950s recordings preserved on dusty cassettes to new releases on YouTube and live performances at Somaliland’s first postwar music venue—where the author herself eventually takes the stage—Woolner offers an account of love songs in motion that reveals the capacity of music to connect people and feelings across time and space, creating new possibilities for relating to oneself and others.
Book Requires Authentication Unlicensed Licensed 2023
The first book-length ethnographic study on music and Ifá divination in Cuba and Nigeria.

Hailing from Cuba, Nigeria, and various sites across Latin America and the Caribbean, Ifá missionary-practitioners are transforming the landscape of Ifá divination and deity (òrìṣà/oricha) worship through transatlantic travel and reconnection. In Cuba, where Ifá and Santería emerged as an interrelated, Yorùbá-inspired ritual complex, worshippers are driven to “African traditionalism” by its promise of efficacy: they find Yorùbá approaches more powerful, potent, and efficacious.

In the first book-length study on music and Ifá, Ruthie Meadows draws on extensive, multisited fieldwork in Cuba and Yorùbáland, Nigeria, to examine the controversial “Nigerian-style” ritual movement in Cuban Ifá divination. Meadows uses feminist and queer of color theory along with critical studies of Africanity to excavate the relation between utility and affect within translocal ritual music circulations. Meadows traces how translocal Ifá priestesses (ìyánífá), female batá drummers (bataleras), and priests (babaláwo) harness Yorùbá-centric approaches to ritual music and sound to heighten efficacy, achieve desired ritual outcomes, and reshape the conditions of their lives. Within a contentious religious landscape marked by the idiosyncrasies of revolutionary state policy, Nigerian-style Ifá-Òrìṣà is leveraged to transform femininity and masculinity, state religious policy, and transatlantic ritual authority on the island.
Book Requires Authentication Unlicensed Licensed 2023
Presents a new history of how Hindustani court music responded to the political transitions of the nineteenth century.

How far did colonialism transform north Indian music? In the period between the Mughal empire and the British Raj, how did the political landscape bleed into aesthetics, music, dance, and poetry? Examining musical culture through a diverse and multilingual archive, primarily using sources in Urdu, Bengali, and Hindi that have not been translated or critically examined before, The Scattered Court challenges our assumptions about the period. Richard David Williams presents a long history of interactions between northern India and Bengal, with a core focus on the two courts of Wajid Ali Shah (1822–1887), the last ruler of the kingdom of Awadh. He charts the movement of musicians and dancers between the two courts in Lucknow and Matiyaburj, as well as the transregional circulation of intellectual traditions and musical genres, and demonstrates the importance of the exile period for the rise of Calcutta as a celebrated center of Hindustani classical music. Since Lucknow is associated with late Mughal or Nawabi society and Calcutta with colonial modernity, examining the relationship between the two cities sheds light on forms of continuity and transition over the nineteenth century, as artists and their patrons navigated political ruptures and social transformations. The Scattered Court challenges the existing historiography of Hindustani music and Indian culture under colonialism by arguing that our focus on Anglophone sources and modernizing impulses has directed us away from the aesthetic subtleties, historical continuities, and emotional dimensions of nineteenth-century music.
Book Requires Authentication Unlicensed Licensed 2022
A close look at how Taiwanese musicians are using rap music as a creative way to explore and reconcile Taiwanese identity and history.

Like many states emerging from oppressive political rule, Taiwan saw a cultural explosion in the late 1980s, when nearly four decades of martial law under the Chinese Nationalist Party ended. As members of a multicultural, multilingual society with a complex history of migration and colonization, Taiwanese people entered this moment of political transformation eager to tell their stories and grapple with their identities. In Renegade Rhymes, ethnomusicologist Meredith Schweig shows how rap music has become a powerful tool in the post-authoritarian period for both exploring and producing new knowledge about the ethnic, cultural, and political history of Taiwan.

Schweig draws on extensive ethnographic fieldwork, taking readers to concert venues, music video sets, scenes of protest, and more to show how early MCs from marginalized ethnic groups infused rap with important aspects of their own local languages, music, and narrative traditions. Aiming their critiques at the educational system and a neoliberal economy, new generations of rappers have used the art form to nurture associational bonds and rehearse rituals of democratic citizenship, making a new kind of sense out of their complicated present.
Book Requires Authentication Unlicensed Licensed 2022
A moving portrait of the contemporary experiences of migrant Moroccan men.

Umbria is known to most Americans for its picturesque rolling hills and medieval villages, but to the many migrant Moroccan men who travel there, Umbria is better known for the tobacco fields, construction sites, small industries, and the outdoor weekly markets where they work. Marginalized and far from their homes, these men turn to Moroccan traditions of music and poetry that evoke the countryside they have left— l-‘arubiya, or the rural. In this book, Alessandra Ciucci takes us inside the lives of Moroccan workers, unpacking the way they share a particular musical style of the rural to create a sense of home and belonging in a foreign and inhospitable nation. Along the way, she uncovers how this culture of belonging is not just the product of the struggles of migration, but also tied to the reclamation of a noble and virtuous masculine identity that is inaccessible to Moroccan migrants in Italy.

The Voice of the Rural allows us to understand the contemporary experiences of migrant Moroccan men by examining their imagined relationship to the rural through sound, shedding new light on the urgent issues of migration and belonging.

Book Requires Authentication Unlicensed Licensed 2022
A fascinating look at how the popular musical culture of Guangzhou expresses the city’s unique cosmopolitanism.

Guangzhou is a large Chinese city like many others. With a booming economy and abundant job opportunities, it has become a magnet for rural citizens seeking better job prospects as well as global corporations hoping to gain a foothold in one of the world’s largest economies. This openness and energy have led to a thriving popular music scene that is every bit the equal of Beijing’s. But the musical culture of Guangzhou expresses the city’s unique cosmopolitanism. A port city that once played a key role in China’s maritime Silk Road, Guangzhou has long been an international hub. Now, new migrants to the city are incorporating diverse Chinese folk traditions into the musical tapestry.

In Sonic Mobilities, ethnomusicologist Adam Kielman takes a deep dive into Guangzhou's music scene through two bands, Wanju Chuanzhang (Toy Captain) and Mabang (Caravan), that express ties to their rural homelands and small-town roots while forging new cosmopolitan musical connections. These bands make music that captures the intersection of the global and local that has come to define Guangzhou, for example by writing songs with a popular Jamaican reggae beat and lyrics in their distinct regional dialects mostly incomprehensible to their audiences. These bands create a sound both instantly recognizable and totally foreign, international and hyper-local. This juxtaposition, Kielman argues, is an apt expression of the demographic, geographic, and political shifts underway in Guangzhou and across the country. Bridging ethnomusicology, popular music studies, cultural geography, and media studies, Kielman examines the cultural dimensions of shifts in conceptualizations of self, space, publics, and state in a rapidly transforming the People’s Republic of China.
Book Requires Authentication Unlicensed Licensed 2022
A sweeping history of Ethiopian musicians during and following the 1974 Ethiopian revolution.

Sing and Sing On is the first study of the forced migration of musicians out of the Horn of Africa dating from the 1974 Ethiopian revolution, a political event that overthrew one of the world’s oldest monarchies and installed a brutal military regime. Musicians were among the first to depart the region, their lives shattered by revolutionary violence, curfews, and civil war. Reconstructing the memories of forced migration, Sing and Sing On traces the challenges musicians faced amidst revolutionary violence and the critical role they played in building communities abroad.

Drawing on the recollections of dozens of musicians, Sing and Sing On details personal, cultural, and economic hardships experienced by musicians who have resettled in new locales abroad. Kay Kaufman Shelemay highlights their many artistic and social initiatives and the ways they have offered inspiration and leadership within and beyond a rapidly growing Ethiopian American diaspora. While musicians held this role as sentinels in Ethiopian culture long before the revolution began, it has taken on new meanings and contours in the Ethiopian diaspora. The book details the ongoing creativity of these musicians while exploring the attraction of return to their Ethiopian homeland over the course of decades abroad. Ultimately, Shelemay shows that musicians are uniquely positioned to serve this sentinel role as both guardians and challengers of cultural heritage.
Book Requires Authentication Unlicensed Licensed 2021
Django Generations shows how relationships between racial identities, jazz, and national belonging become entangled in France.

Jazz manouche—a genre known best for its energetic, guitar-centric swing tunes—is among France’s most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as “Gypsies”) to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France’s assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others.

In this book, Siv B. Lie explores how this music is used to construct divergent ethnoracial and national identities in a context where discussions of race are otherwise censured. Weaving together ethnographic and historical analysis, Lie shows that jazz manouche becomes a source of profound ambivalence as it generates ethnoracial difference and socioeconomic exclusion. As the first full-length ethnographic study of French jazz to be published in English, this book enriches anthropological, ethnomusicological, and historical scholarship on global jazz, race and ethnicity, and citizenship while showing how music can be an important but insufficient tool in struggles for racial and economic justice.
Book Requires Authentication Unlicensed Licensed 2021
Ambient Sufism is a study of the intertwined musical lives of several ritual communities in Tunisia that invoke the healing powers of long-deceased Muslim saints through music-driven trance rituals. Richard C. Jankowsky illuminates the virtually undocumented role of women and minorities in shaping the ritual musical landscape of the region, with case studies on men’s and women’s Sufi orders, Jewish and black Tunisian healing musical troupes, and the popular music of hard-drinking laborers, as well as the cohorts involved in mass-mediated staged spectacles of ritual that continue to inject ritual sounds into the public sphere. He uses the term “ambient Sufism” to illuminate these adjacent ritual practices, each serving as a musical, social, and devotional-therapeutic niche while contributing to a larger, shared ecology of practices surrounding and invoking the figures of saints. And he argues that ritual musical form—that is, the large-scale structuring of ritual through musical organization—has agency; that is, form is revealing and constitutive of experience and encourages particular subjectivities. Ambient Sufism promises many useful ideas for ethnomusicology, anthropology, Islamic and religious studies, and North African studies.
Book Requires Authentication Unlicensed Licensed 2020
Growing out of the collaborative research of an American ethnomusicologist and Zimbabwean musician, Paul F. Berliner and Cosmas Magaya’s Mbira’s Restless Dance documents the repertory for a keyboard instrument known generally as mbira. At the heart of this work lies the analysis of the improvisatory processes that propel mbira music’s magnificent creativity.

Mbira’s Restless Dance is written to be played. This two-volume, spiral-bound set features musical transcriptions of thirty-nine compositions and variations, annotated with the master player’s advice on technique and performance, his notes and observations, and commentary by Berliner. Enhanced with extensive website audiovisuals, Mbira’s Restless Dance is in effect a series of masterclasses with Magaya, suitable for experienced mbira players and those learning the fundamentals.

Together with Berliner's The Art of Mbira, in which he provides an indispensable historical and cultural guide to mbira in a changing world, Mbira's Restless Dance breaks new ground in the depth and specificity of its exploration of an African musical tradition, and in the entwining of the authors’ collaborative voices. It is a testament to the powerful relationship between music and social life—and the rewards of lifelong musical study, performance, and friendship.
Book Requires Authentication Unlicensed Licensed 2020
Growing out of the collaborative research of an American ethnomusicologist and Zimbabwean musician, Paul F. Berliner’s The Art of Mbira documents the repertory for a keyboard instrument known generally as mbira. At the heart of this work lies the analysis of the improvisatory processes that propel mbira music’s magnificent creativity.

In this book, Berliner provides insight into the communities of study, performance, and worship that surround mbira. He chronicles how master player Cosmas Magaya and his associates have developed their repertory and practices over more than four decades, shaped by musical interaction, social and political dynamics in Zimbabwe, and the global economy of the music industry. At once a detailed exposition of the music’s forms and practices, it is also an indispensable historical and cultural guide to mbira in a changing world.

Together with Berliner and Magaya's compendium of mbira compositions, Mbira’s Restless Dance, The Art of Mbira breaks new ground in the depth and specificity of its exploration of an African musical tradition, and in the entwining of the authors’ collaborative voices. It is a testament to the powerful relationship between music and social life—and the rewards of lifelong musical study, performance, and friendship.
Book Requires Authentication Unlicensed Licensed 2019
Music has long been an avenue for protest, seen as a way to promote freedom and equality, instill hope, and fight for change. Popular music, in particular, is considered to be an effective form of subversion and resistance under oppressive circumstances. But, as Nomi Dave shows us in The Revolution’s Echoes, the opposite is also true: music can often support, rather than challenge, the powers that be.

Dave introduces readers to the music supporting the authoritarian regime of former Guinean president Sékou Touré, and the musicians who, even long after his death, have continued to praise dictators and avoid dissent. Dave shows that this isn’t just the result of state manipulation; even in the absence of coercion, musicians and their audiences take real pleasure in musical praise of leaders. Time and again, whether in traditional music or in newer genres such as rap, Guinean musicians have celebrated state power and authority. With The Revolution’s Echoes, Dave insists that we must grapple with the uncomfortable truth that some forms of music choose to support authoritarianism, generating new pleasures and new politics in the process.
Book Requires Authentication Unlicensed Licensed 2019
In the Caribbean island of Guadeloupe, the complex interplay between anticolonial resistance and accommodation resounds in its music. Guadeloupean gwoka music—a secular, drum-based tradition—captures the entangled histories of French colonization, movements against it, and the uneasy process of the island’s decolonization as an overseas territory of France. In Creolized Aurality, Jérôme Camal demonstrates that musical sounds and practices express the multiple—and often seemingly contradictory—cultural belongings and political longings that characterize postcoloniality. While gwoka has been associated with anti-colonial activism since the 1960s, in more recent years it has provided a platform for a cohort of younger musicians to express pan-Caribbean and diasporic solidarities. This generation of musicians even worked through the French state to gain UNESCO heritage status for their art. These gwoka practices, Camal argues, are “creolized auralities”—expressions of a culture both of and against French coloniality and postcoloniality.
Book Requires Authentication Unlicensed Licensed 2019
When thinking of indigenous music, many people may imagine acoustic instruments and pastoral settings far removed from the whirl of modern life. But, in contemporary Peru, indigenous chimaycha music has become a wildly popular genre that is even heard in the nightclubs of Lima. In Making Music Indigenous, Joshua Tucker traces the history of this music and its key performers over fifty years to show that there is no single way to “sound indigenous.” The musicians Tucker follows make indigenous culture and identity visible in contemporary society by establishing a cultural and political presence for Peru’s indigenous peoples through activism, artisanship, and performance. This musical representation of indigeneity not only helps shape contemporary culture, it also provides a lens through which to reflect on the country’s past. Tucker argues that by following the musicians that have championed chimaycha music in its many forms, we can trace shifting meanings of indigeneity—and indeed, uncover the ways it is constructed, transformed, and ultimately recreated through music.
Book Requires Authentication Unlicensed Licensed 2019
Most studies of musical improvisation focus on individual musicians. But that is not the whole story. From jazz to flamenco, Shona mbira to Javanese gamelan, improvised practices thrive on group creativity, relying on the close interaction of multiple simultaneously improvising performers. In Making It Up Together, Leslie A. Tilley explores the practice of collective musical improvisation cross-culturally, making a case for placing collectivity at the center of improvisation discourse and advocating ethnographically informed music analysis as a powerful tool for investigating improvisational processes.

Through two contrasting Balinese case studies—of the reyong gong chime’s melodic norot practice and the interlocking drumming tradition kendang arja—Tilley proposes and tests analytical frameworks for examining collectively improvised performance. At the micro-level, Tilley’s analyses offer insight into the note-by-note decisions of improvising performers; at the macro-level, they illuminate larger musical, discursive, structural, and cultural factors shaping those decisions. This multi-tiered inquiry reveals that unpacking how performers play and imagine as a collective is crucial to understanding improvisation and demonstrates how music analysis can elucidate these complex musical and interactional relationships.

Highlighting connections with diverse genres from various music cultures, Tilley’s examinations of collective improvisation also suggest rich potential for cross-genre exploration. The surrounding discussions point to larger theories of communication and interaction, creativity and cognition that will be of interest to a range of readers—from ethnomusicologists and music theorists to cognitive psychologists, jazz studies scholars, and improvising performers. Setting new parameters for the study of improvisation, Making It Up Together opens up fresh possibilities for understanding the creative process, in music and beyond.
Book Requires Authentication Unlicensed Licensed 2018
Song Walking explores the politics of land, its position in memories, and its foundation in changing land-use practices in western Maputaland, a borderland region situated at the juncture of South Africa, Mozambique, and Swaziland. Angela Impey investigates contrasting accounts of this little-known geopolitical triangle, offsetting textual histories with the memories of a group of elderly women whose songs and everyday practices narrativize a century of borderland dynamics. Drawing evidence from women’s walking songs (amaculo manihamba)—once performed while traversing vast distances to the accompaniment of the European mouth-harp (isitweletwele)—she uncovers the manifold impacts of internationally-driven transboundary environmental conservation on land, livelihoods, and local senses of place.

This book links ethnomusicological research to larger themes of international development, environmental conservation, gender, and local economic access to resources. By demonstrating that development processes are essentially cultural processes and revealing how music fits within this frame, Song Walking testifies to the affective, spatial, and economic dimensions of place, while contributing to a more inclusive and culturally apposite alignment between land and environmental policies and local needs and practices.
Book Requires Authentication Unlicensed Licensed 2017
Hip hop has long been a vehicle for protest in the United States, used by its primarily African American creators to address issues of prejudice, repression, and exclusion. But the music is now a worldwide phenomenon, and outside the United States it has been taken up by those facing similar struggles. Flip the Script offers a close look at the role of hip hop in Europe, where it has become a politically powerful and commercially successful form of expression for the children and grandchildren of immigrants from former colonies.

Through analysis of recorded music and other media, as well as interviews and fieldwork with hip hop communities, J. Griffith Rollefson shows how this music created by black Americans is deployed by Senegalese Parisians, Turkish Berliners, and South Asian Londoners to both differentiate themselves from and relate themselves to the dominant culture. By listening closely to the ways these postcolonial citizens in Europe express their solidarity with African Americans through music, Rollefson shows, we can literally hear the hybrid realities of a global double consciousness.
Book Requires Authentication Unlicensed Licensed 2016
Tigers of a Different Stripe takes readers inside the unique world of merengue típico, a traditional music of the Dominican Republic. While in most genres of Caribbean music women usually participate as dancers or vocalists, in merengue típico they are more often instrumentalists and even bandleaders—something nearly unheard of in the macho Caribbean music scene. Examining this cultural phenomenon, Sydney Hutchinson offers an unexpected and fascinating account of gender in Dominican art and life.

Drawing on over a decade of fieldwork in the Dominican Republic and New York among musicians, fans, and patrons of merengue típico—not to mention her own experiences as a female instrumentalist—Hutchinson details a complex nexus of class, race, and artistic tradition that unsettles the typical binary between the masculine and feminine. She sketches the portrait of the classic male figure of the tíguere, a dandified but sexually aggressive and street-smart “tiger,” and she shows how female musicians have developed a feminine counterpart: the tíguera, an assertive, sensual, and respected female figure who looks like a woman but often plays and even sings like a man. Through these musical figures and studies of both straight and queer performers, she unveils rich ambiguities in gender construction in the Dominican Republic and the long history of a unique form of Caribbean feminism.
Book Requires Authentication Unlicensed Licensed 2016
In Argentina, tango isn’t just the national music—it’s a national brand. But ask any contemporary Argentine if they ever really listen to it and chances are the answer is no: tango hasn’t been popular for more than fifty years. In this book, Morgan James Luker explores that odd paradox by tracing the many ways Argentina draws upon tango as a resource for a wide array of economic, social, and cultural—that is to say, non-musical—projects. In doing so, he illuminates new facets of all musical culture in an age of expediency when the value and meaning of the arts is less about the arts themselves and more about how they can be used.

Luker traces the diverse and often contradictory ways tango is used in Argentina in activities ranging from state cultural policy-making to its export abroad as a cultural emblem, from the expanding nonprofit arts sector to tango-themed urban renewal projects. He shows how projects such as these are not peripheral to an otherwise “real” tango—they are the absolutely central means by which the values of this musical culture are cultivated. By richly detailing the interdependence of aesthetic value and the regimes of cultural management, this book sheds light on core conceptual challenges facing critical music scholarship today.
Book Requires Authentication Unlicensed Licensed 2016
In mid-1990s South Africa, apartheid ended, Nelson Mandela was elected president, and the country’s urban black youth developed kwaito—a form of electronic music (redolent of North American house) that came to represent the post-struggle generation. In this book, Gavin Steingo examines kwaito as it has developed alongside the democratization of South Africa over the past two decades. Tracking the fall of South African hope into the disenchantment that often characterizes the outlook of its youth today—who face high unemployment, extreme inequality, and widespread crime—Steingo looks to kwaito as a powerful tool that paradoxically engages South Africa’s crucial social and political problems by, in fact, seeming to ignore them.

Politicians and cultural critics have long criticized kwaito for failing to provide any meaningful contribution to a society that desperately needs direction. As Steingo shows, however, these criticisms are built on problematic assumptions about the political function of music. Interacting with kwaito artists and fans, he shows that youth aren’t escaping their social condition through kwaito but rather using it to expand their sensory realities and generate new possibilities. Resisting the truism that “music is always political,” Steingo elucidates a music that thrives on its radically ambiguous relationship with politics, power, and the state.
Book Requires Authentication Unlicensed Licensed 2016
For more than a century, urban North Africans have sought to protect and revive Andalusi music, a prestigious Arabic-language performance tradition said to originate in the “lost paradise” of medieval Islamic Spain. Yet despite the Andalusi repertoire’s enshrinement as the national classical music of postcolonial North Africa, its devotees continue to describe it as being in danger of disappearance. In The Lost Paradise, Jonathan Glasser explores the close connection between the paradox of patrimony and the questions of embodiment, genealogy, secrecy, and social class that have long been central to Andalusi musical practice.

Through a historical and ethnographic account of the Andalusi music of Algiers, Tlemcen, and their Algerian and Moroccan borderlands since the end of the nineteenth century, Glasser shows how anxiety about Andalusi music’s disappearance has emerged from within the practice itself and come to be central to its ethos. The result is a sophisticated examination of musical survival and transformation that is also a meditation on temporality, labor, colonialism and nationalism, and the relationship of the living to the dead.
Book Requires Authentication Unlicensed Licensed 2013
Exploring Peru’s lively music industry and the studio producers, radio DJs, and program directors that drive it, Gentleman Troubadours and Andean Pop Stars is a fascinating account of the deliberate development of artistic taste. Focusing on popular huayno music and the ways it has been promoted to Peru’s emerging middle class, Joshua Tucker tells a complex story of identity making and the marketing forces entangled with it, providing crucial insights into the dynamics among art, class, and ethnicity that reach far beyond the Andes.
Tucker focuses on the music of Ayacucho, Peru, examining how media workers and intellectuals there transformed the city’s huayno music into the country’s most popular style. By marketing contemporary huayno against its traditional counterpart, these agents, Tucker argues, have paradoxically reinforced ethnic hierarchies at the same time that they have challenged them. Navigating between a burgeoning Andean bourgeoisie and a music industry eager to sell them symbols of newfound sophistication, Gentleman Troubadours and Andean Pop Stars is a deep account of the real people behind cultural change.
Book Requires Authentication Unlicensed Licensed 2013
When we think of composers, we usually envision an isolated artist separate from the orchestra—someone alone in a study, surround by staff paper—and in Europe and America this image generally has been accurate. For most of Japan’s musical history, however, no such role existed—composition and performance were deeply intertwined. Only when Japan began to embrace Western culture in the late nineteenth century did the role of the composer emerge. In Composing Japanese Musical Modernity, Bonnie Wade uses an investigation of this new musical role to offer new insights not just into Japanese music but Japanese modernity at large and global cosmopolitan culture.

Wade examines the short history of the composer in Japanese society, looking at the creative and economic opportunities that have sprung up around them—or that they forged—during Japan’s astonishingly fast modernization. She shows that modernist Japanese composers have not bought into the high modernist concept of the autonomous artist, instead remaining connected to the people. Articulating Japanese modernism in this way, Wade tells a larger story of international musical life, of the spaces in which tradition and modernity are able to meet and, ultimately, where modernity itself has been made.
Book Requires Authentication Unlicensed Licensed 2010

At the heart of The Republic of Love are the voices of three musicians—queer nightclub star Zeki Müren, arabesk originator Orhan Gencebay, and pop diva Sezen Aksu—who collectively have dominated mass media in Turkey since the early 1950s. Their fame and ubiquity have made them national icons—but, Martin Stokes here contends, they do not represent the official version of Turkish identity propagated by anthems or flags; instead they evoke a much more intimate and ambivalent conception of Turkishness.

Using these three singers as a lens, Stokes examines Turkey’s repressive politics and civil violence as well as its uncommonly vibrant public life in which music, art, literature, sports, and journalism have flourished. However, Stokes’s primary concern is how Müren, Gencebay, and Aksu’s music and careers can be understood in light of theories of cultural intimacy. In particular, he considers their contributions to the development of a Turkish concept of love, analyzing the ways these singers explore the private matters of intimacy, affection, and sentiment on the public stage.

Book Requires Authentication Unlicensed Licensed 2010

In West Java, Indonesia, all it takes is a woman’s voice and a drum beat to make a man get up and dance. Every day, men there—be they students, pedicab drivers, civil servants, or businessmen—breach ordinary standards of decorum and succumb to the rhythm at village ceremonies, weddings, political rallies, and nightclubs. The music the men dance to varies from traditional gong ensembles to the contemporary pop known as dangdut, but they consistently dance with great enthusiasm. In Erotic Triangles, Henry Spiller draws on decades of ethnographic research to explore the reasons behind this phenomenon, arguing that Sundanese men use dance to explore and enact contradictions in their gender identities.

Framing the three crucial elements of Sundanese dance—the female entertainer, the drumming, and men’s sense of freedom—as a triangle, Spiller connects them to a range of other theoretical perspectives, drawing on thinkers from Eve Kosofsky Sedgwick, Lévi-Strauss, and Freud to Euclid. By granting men permission to literally perform their masculinity, Spiller ultimately concludes, dance provides a crucial space for both reinforcing and resisting orthodox gender ideologies.

Book Requires Authentication Unlicensed Licensed 2010
In Stambeli, Richard C. Jankowsky presents a vivid ethnographic account of the healing trance music created by the descendants of sub-Saharan slaves brought to Tunisia during the eighteenth and nineteenth centuries. Stambeli music calls upon an elaborate pantheon of sub-Saharan spirits and North African Muslim saints to heal humans through ritualized trance. Based on nearly two years of participation in the musical, ritual, and social worlds of stambeli musicians, Jankowsky’s study explores the way the music evokes the cross-cultural, migratory past of its originators and their encounters with the Arab-Islamic world in which they found themselves. Stambeli, Jankowsky avers, is thoroughly marked by a sense of otherness—the healing spirits, the founding musicians, and the instruments mostly come from outside Tunisia—which creates a unique space for profoundly meaningful interactions between sub-Saharan and North African people, beliefs, histories, and aesthetics.

Part ethnography, part history of the complex relationship between Tunisia’s Arab and sub-Saharan populations, Stambeli will be welcomed by scholars and students of ethnomusicology, anthropology, African studies, and religion.
Book Requires Authentication Unlicensed Licensed 2009

Remains of Ritual, Steven M. Friedson’s second book on musical experience in African ritual, focuses on the Brekete/Gorovodu religion of the Ewe people. Friedson presents a multifaceted understanding of religious practice through a historical and ethnographic study of one of the dominant ritual sites on the southern coast of Ghana: a medicine shrine whose origins lie in the northern region of the country. Each chapter of this fascinating book considers a different aspect of ritual life, demonstrating throughout that none of them can be conceived of separately from their musicality—in the Brekete world, music functions as ritual and ritual as music. Dance and possession, chanted calls to prayer, animal sacrifice, the sounds and movements of wake keeping, the play of the drums all come under Friedson’s careful scrutiny, as does his own position and experience within this ritual-dominated society.

Book Requires Authentication Unlicensed Licensed 2003
Ilmatar gave birth to the bard who sang the Finnish landscape into being in the
Kalevala (the Finnish national epic). In Ilmatar's Inspirations, Tina K. Ramnarine explores creative processes and the critical role that music has played in Finnish nationalism by focusing on Finnish "new folk music" in the shifting spaces between the national imagination and the global marketplace.

Through extensive interviews and observations of performances, Ramnarine reveals how new folk musicians think and talk about past and present folk music practices, the role of folk music in the representation of national identity, and the interactions of Finnish folk musicians with performers from around the globe. She focuses especially on two internationally successful groups—JPP, a group that plays fiddle dance music, and Värttinä, an ensemble that highlights women's vocal traditions. Analyzing the multilayered processes—musical, institutional, political, and commercial—that have shaped and are shaped by new folk music in Finland, Ramnarine gives us an entirely new understanding of the connections between music, place, and identity.
Book Requires Authentication Unlicensed Licensed 2000
Hailed as a national hero and musical revolutionary, Thomas Mapfumo, along with other Zimbabwean artists, burst onto the music scene in the 1980s with a unique style that combined electric guitar with indigenous Shona music and instruments. The development of this music from its roots in the early Rhodesian era to the present and the ways this and other styles articulated with Zimbabwean nationalism is the focus of Thomas Turino's new study. Turino examines the emergence of cosmopolitan culture among the black middle class and how this gave rise to a variety of urban-popular styles modeled on influences ranging from the Mills Brothers to Elvis. He also shows how cosmopolitanism gave rise to the nationalist movement itself, explaining the combination of "foreign" and indigenous elements that so often define nationalist art and cultural projects. The first book-length look at the role of music in African nationalism, Turino's work delves deeper than most books about popular music and challenges the reader to think about the lives and struggles of the people behind the surface appeal of world music.
Book Requires Authentication Unlicensed Licensed 1997
This fresh look at the neglected rhythm section in jazz ensembles shows that the improvisational interplay among drums, bass, and piano is just as innovative, complex, and spontaneous as the solo. Ingrid Monson juxtaposes musicians' talk and musical examples to ask how musicians go about "saying something" through music in a way that articulates identity, politics, and race. Through interviews with Jaki Byard, Richard Davis, Sir Roland Hanna, Billy Higgins, Cecil McBee, and others, she develops a perspective on jazz improvisation that has "interactiveness" at its core, in the creation of music through improvisational interaction, in the shaping of social communities and networks through music, and in the development of cultural meanings and ideologies that inform the interpretation of jazz in twentieth-century American cultural life.

Replete with original musical transcriptions, this broad view of jazz improvisation and its emotional and cultural power will have a wide audience among jazz fans, ethnomusicologists, and anthropologists.



Book Requires Authentication Unlicensed Licensed 1997
Fiddling for Norway is an engrossing portrait of a fiddle-based folk revival in Norway, one that in many ways parallels contemporary folk institutions and festivals throughout the world, including American fiddling. It is a detailed case study in the politics of culture, the causes and purposes of folk revivals, and the cultivation of music to define identity.

The book begins with an investigation of the people and events important to Norwegian folk fiddling, tracing the history of Norwegian folk music and the growth and diversification of the folk music revival. The narrative takes us to fiddle clubs, concerts and competitions on the local, regional, and national levels, and shows how conflicting emphases—local vs. national identity, tradition vs. aesthetic qualities—continue to transform Norwegian folk music. Goertzen utilizes a large anthology of meticulously transcribed tunes to illustrate personal and regional repertoires, aspects of performance practice, melodic gesture and form, and tune relationships. Ethnomusicologists and readers who fiddle will enjoy both the music and the stories it tells.
Book Requires Authentication Unlicensed Licensed 1994
A landmark in jazz studies, Thinking in Jazz reveals as never before how musicians, both individually and collectively, learn to improvise. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner documents the lifetime of preparation that lies behind the skilled improviser's every idea.

The product of more than fifteen years of immersion in the jazz world, Thinking in Jazz combines participant observation with detailed musicological analysis, the author's experience as a jazz trumpeter, interpretations of published material by scholars and performers, and, above all, original data from interviews with more than fifty professional musicians: bassists George Duvivier and Rufus Reid; drummers Max Roach, Ronald Shannon Jackson, and Akira Tana; guitarist Emily Remler; pianists Tommy Flanagan and Barry Harris; saxophonists Lou Donaldson, Lee Konitz, and James Moody; trombonist Curtis Fuller; trumpeters Doc Cheatham, Art Farmer, Wynton Marsalis, and Red Rodney; vocalists Carmen Lundy and Vea Williams; and others. Together, the interviews provide insight into the production of jazz by great artists like Betty Carter, Miles Davis, Dizzy Gillespie, Coleman Hawkins, and Charlie Parker.

Thinking in Jazz overflows with musical examples from the 1920s to the present, including original transcriptions (keyed to commercial recordings) of collective improvisations by Miles Davis's and John Coltrane's groups. These transcriptions provide additional insight into the structure and creativity of jazz improvisation and represent a remarkable resource for jazz musicians as well as students and educators.

Berliner explores the alternative ways—aural, visual, kinetic, verbal, emotional, theoretical, associative—in which these performers conceptualize their music and describes the delicate interplay of soloist and ensemble in collective improvisation. Berliner's skillful integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside of performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic, and a tradition. This unprecedented journey to the heart of the jazz tradition will fascinate and enlighten musicians, musicologists, and jazz fans alike.
Book Requires Authentication Unlicensed Licensed 1993
Increasingly popular in the United States and Europe, Andean panpipe and flute music draws its vitality from the traditions of rural highland villages and of rural migrants who have settled in Andean cities. In Moving Away from Silence, Thomas Turino describes panpipe and flute traditions in the context of this rural-urban migration and the turbulent politics that have influenced Peruvian society and local identities throughout this century.

Turino's ethnography is the first large-scale study to concentrate on the pervasive effects of migration on Andean people and their music. Turino uses the musical traditions of Conima, Peru as a unifying thread, tracing them through the varying lives of Conimeos in different locales. He reveals how music both sustains and creates meaning for a people struggling amid the dramatic social upheavals of contemporary Peru.

Moving Away from Silence contains detailed interpretations based on comparative field research of Conimeo musical performance, rehearsals, composition, and festivals in the highlands and Lima. The volume will be of great importance to students of Latin American music and culture as well as ethnomusicological and ethnographic theory and method.

Book Requires Authentication Unlicensed Licensed 1992
Offering a broad perspective of the philosophy, theory, and aesthetics of early Indian music and musical ideology, this study makes a unique contribution to our knowledge of the ancient foundations of India's musical culture. Lewis Rowell reconstructs the tunings, scales, modes, rhythms, gestures, formal patterns, and genres of Indian music from Vedic times to the thirteenth century, presenting not so much a history as a thematic analysis and interpretation of India's magnificent musical heritage.

In Indian culture, music forms an integral part of a broad framework of ideas that includes philosophy, cosmology, religion, literature, and science. Rowell works with the known theoretical treatises and the oral tradition in an effort to place the technical details of musical practice in their full cultural context. Many quotations from the original Sanskrit appear here in English translation for the first time, and the necessary technical information is presented in terms accessible to the nonspecialist. These features, combined with Rowell's glossary of Sanskrit terms and extensive bibliography, make Music and Musical Thought in Early India an excellent introduction for the general reader and an indispensable reference for ethnomusicologists, historical musicologists, music theorists, and Indologists.
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