Combining approaches from Western art music, First Nations music, pop music, studies of contemporary community practice, and anthropological and ethnomusicological field work, 'Australasian Music, At Home and Abroad' presents peer-reviewed chapters that critically reflect on Australasian music-making in the last 125 years. As the first interdisciplinary consideration of music in the Australasian region in 15 years, this book advances Australasian music as a dynamic area of interdisciplinary research in the 21st century. Its themes range from institutional histories of music, composer biography, music and migration, in diaspora, and cultural exchange and collaboration.

The second woman to earn a PhD from Columbia University – and the first from south of the Mason-Dixon Line to do so – Kentucky native Katherine Jackson French broke boundaries. Her research kick-started a resurgence of Appalachian music that continues to this day, but French's collection of traditional Kentucky ballads, which should have been her crowning scholarly achievement, never saw print. Academic rivalries, gender prejudice, and broken promises set against a thirty-year feud known as the Ballad Wars denied French her place in history and left the field to northerner Olive Dame Campbell and English folklorist Cecil Sharp, setting Appalachian studies on a foundation marred by stereotypes and misconceptions. Katherine Jackson French: Kentucky's Forgotten Ballad Collector tells the story of what might have been. Drawing on never-before-seen artifacts from French's granddaughter, Elizabeth DiSavino reclaims the life and legacy of this pivotal scholar by emphasizing the ways her work shaped and could reshape our conceptions about Appalachia. In contrast to the collection published by Campbell and Sharp, French's ballads elevate the status of women, give testimony to the complexity of balladry's ethnic roots and influences, and reveal more complex local dialects. Had French published her work in 1910, stereotypes about Appalachian ignorance, misogyny, and homogeneity may have diminished long ago. Included in this book is the first-ever publication of Katherine Jackson French's English-Scottish Ballads from the Hills of Kentucky.

Critical Brass tells the story of neofanfarrismo, an explosive carnival brass band community turned activist musical movement in Rio de Janeiro, as Brazil shifted from a country on the rise in the 2000s to one beset by various crises in the 2010s. Though predominantly middle-class, neofanfarristas have creatively adapted the critical theories of carnival to militate for a more democratic city. Illuminating the tangible obstacles to musical movement building, Andrew Snyder argues that festive activism with privileged origins can promote real alternatives to the neoliberal city, but meets many limits and contradictions in a society marked by diverse inequalities. Salwa El-Shawan Castelo-Branco, Professor Emerita, NOVA University of Lisbon

Love and Rage is a deeply ethnographic account of punk in Mexico City as it is lived and practiced, connecting the sounds of punk music to different styles of political action. Through compelling first-person accounts, ethnographer Kelley Tatro shows that punk is more than music. It is a lifestyle choice that commits scene participants to experimentation with anarchist politics. Key to that process is the concept of autogestión ("self-management"), a term with deep history in local leftist politics. In detailed vignettes, grounded in historical, social, and political frames, the book shows how punk-scene sounds and practices foster autogestión through intensely affective experiences, understood as manifestations of love and rage. Drawing on the history of anarchism in Mexico City, as well as social movement scholarship, Love and Rage details the pleasures and problems of using music as a tool for creating an autonomous politics.

In Musical Resilience, Shalini Ayyagari shows how professional low-caste musicians from the Thar Desert borderland of Rajasthan, India have skillfully reinvented their cultural and economic value in postcolonial India. Before India's independence in 1947, the Manganiyar community of hereditary musicians were tied to traditional patrons over centuries and through hereditary ties. In postcolonial India, traditional patronage relations faded due to new political conditions, technological shifts, and cultural change. Ayyagari uses resilience, one of the most poignant keywords of our times, to understand how Manganiyar musicians sustain and enliven their cultural significance after the fading of traditional patronage.

This book is an academic biography of Liu Ching-chih, a renowned musicologist and translation scholar, and a prolific music critic in Hong Kong. Three Library Collections named after him are housed in the University of Hong Kong Libraries, the Hong Kong Central Library, and the Library of the Institute of Chinese Studies of the University of Heidelberg. This volume of life writing is distinguished from average biographies by its reliance on systematic analyses of an extensive array of texts and interview data. The chapters integrate chronologies, narratives, analyses and intertextual connections, with the voice of Liu foregrounded, to present a multifaceted character whose decades-long scholarship spanned across music criticism, the history of new music in China, and translation. Several chapters document Liu’s process of working on his major book projects,. One chapter portrays Liu as a scholar-music critic, and another features his leadership at the Hong Kong Translation Society. A chapter that documents Liu’s immensely rich array of academic and cultural services in Hong Kong is followed by a linguistic and cultural profile of the scholar. The ending chapter, on the biography project itself, traces the evolution of the project, explains the research methodology, and provides a metadiscoursal account of the writing of the book. The book provides a valuable reference for those who want to know about humanities scholars, public intellectuals, music criticism, music research, and civic societies in Hong Kong, for those who are curious about the academic exchange between Hong Kong and mainland China during the 1980s-1990s, and for those who are interested in an interdisciplinary approach in life writing research and the genre of life writing concerning in particular scholars.

Despite his numerous hits and Grammy nominations - and his induction into the Rock & Roll Hall of Fame - John Mellencamp remains one of America’s most underrated songwriters. In Mellencamp, David Masciotra explores the life and career of this important talent, persuasively arguing that he deserves to be celebrated alongside artists like Bruce Springsteen, Neil Young, and Bob Dylan. Starting with his modest beginnings in Seymour, Indiana, Masciotra details Mellencamp’s road to fame, examining his struggles with the music industry and his persistent dedication to his midwestern roots as he found success by remaining true to where he came from. Masciotra addresses the numerous themes Mellencamp introduces into his songs, which range from small town life, race, and Christianity to poverty and the struggles of adulthood, placing them within the social and historical context of contemporary America. From a cultural critic who has contributed to the Washington Post, Atlantic, and Los Angeles Review of Books, this thoughtful analysis highlights four decades of the artist’s music, which has consistently elevated the dignity of everyday people and honored the quiet heroism of raising families and working hard.

This book is an ethnographic study of sound archives and the processes of creative decolonization that form alternative modes of archiving and curating in the 21st century. It explores the histories and afterlives of sound collections and practices at the International Library of African Music. Sound Fragments follows what happens when a colonial sound archive is repurposed and reimagined by local artists in post-apartheid South Africa. The narrative speaks to larger issues in sound studies, curatorial practices, and the reciprocity and ethics of listening to and reclaiming culture. Sound Fragments interrogates how Xhosa arts activism contributes to an expanding notion of what a sound or cultural archive could be, and where it may resonate now and in future.

For artists, creativity plays a powerful role in understanding, confronting, and negotiating the crises of the present. Seeding the Tradition explores conflicting creativities in traditional music in Hõ Chí Minh City, the Mekong Delta, and the Vietnamese diaspora, and how they influence contemporary southern Vietnamese culture. The book centers on the ways in which musicians of đón ca tài tù, a "music for diversion," practice creativity or sáng tạo in early 21st-century southern Vietnam. These musicians draw from long-standing theories of primarily Daoist creation while adopting strategically from and also reacting to a western neo-liberal model of creativity focused primarily - although not exclusively - on the individual genius. They play with metaphors of growth, development, and ruin to not only maintain their tradition but keep it vibrant in the rapidly-shifting context of modern Vietnam. With ethnographic descriptions of zither lessons in Hõ Chi Minh City, outdoor music cafes in Cãn Thơ, and television programs in Đõng Tháp, Seeding the Tradition offers a rich description of southern Vietnamese sáng tạo and suggests revised approaches to studying creativity in contemporary ethnomusicology.

An exploration of ethical dynamism in vocal life Ways of Voice is the first ethnomusicological monograph to delve deeply into the diverse, variegated techniques of voice production in North India. It explicitly thematizes the dynamic movement between vocal dispositions—singers who consciously retrain themselves in order to acquire a different voice, focusing on the ways in which singers not only "have" voice, but actively acquire, cultivate and contest particular vocal dispositions. The book deals extensively with the formation and contestation of particular, historically grounded ways of voice, from Bollywood film singers to modern raga vocality to pop Sufi song. Working from dozens of concrete examples, it fills an important gap both in South Asian ethnomusicology and in the emerging field of voice studies. Audio and video examples are provided on the online companion site.

An ethnography about local working musicians in Brazil's "most African" city Living from Music in Salvador examines the labor of musicians in Salvador da Bahia, widely regarded as Brazil's most African city. Drawing on fieldwork that spans over sixteen years, the book explores local musicians' lives as members of a flexible work force, emphasizing questions of race, social class, and cultural politics in relation to professional music making. From clubs and restaurants, to Carnaval parades and festival celebrations, to concert stages and recordings, the abiliy of musicians to earn a living wage is contingent on their navigating industry and societal conditions that are profoundly informed by the entrenched legacies of colonization and slavery.

Genre Publics is a cultural history showing how new notions of 'the local' were produced in context of the Indonesian 'local music boom' of the late 1990s. Drawing on industry records and interviews, media scholar Emma Baulch traces the institutional and technological conditions that enabled the boom, and their links with the expansion of consumerism in Asia, and the specific context of Indonesian democratization. Baulch shows how this music helped reshape distinct Indonesian senses of the modern, especially as 'Asia' plays an ever more influential role in defining what it means to be modern.

How do people in an intensely multicultural city live alongside one another while maintaining clear boundaries? This question is at the core of Parameters and Peripheries of Culture, which illustrates how the Maroons (descendants of escaped slaves) of Suriname, on the northern coast of South America, have used culture-representational performance to sustain their communities within Paramaribo, the capital. Focusing on three collectives known locally as “cultural groups,” which specialize in the music and dance traditions of the Maroons, it marks a vital contribution to knowledge about the cultural map of the African diaspora in South America, Latin America, and the Caribbean.

Just how “Irish” is traditional Irish music? Trad Nation combines ethnography, oral history, and archival research to challenge the longstanding practice of using ethnic nationalism as a framework for understanding vernacular music traditions. Tess Slominski argues that ethnic nationalism hinders this music’s development today and in an increasingly multiethnic Ireland. She discusses early-twentieth century women whose musical lives were shaped by Ireland’s struggles to become a nation; follows the career of Julia Clifford, a fiddler who lived much of her life in England, and explores the experiences of women, LGBTQ+ musicians, and musicians of color in the early-twenty-first century.

Sublime is the word that better summarises Led Zeppelin’s philosophy and aesthetics. By highlighting the distinctive features of the band members and their management, analysing the symbolism behind the albums’ paratextual elements and exploring the epic of the band tours, the book identifies the main features of Led Zeppelin’s philosophy, or at least those that are intentionally disclosed by the entity {Page + Plant + Jones + Bonham}.

Ethnomusicologist Eric Charry’s innovative and road-tested textbook is an introduction to Rock and R&B suitable for general education courses in music and also accessible for general readers interested in a novel approach to gaining a historically rich, yet concise understanding of these genres. The book is organized around a series of timelines, tables, and figures created by the author, and provides fresh perspectives that bring readers into the heart of the social and cultural import of the music. Charry lays out key theoretical issues, covers the technical foundations of the music industry, and provides a capsule history of who did what when, with particular emphasis on the rapid emergence of distinct genres in the music industry. The book’s figures distill the history and provide new insight into understanding trends. Over 1000 artists, albums, and songs are included here, such as Muddy Water, Elvis Presley, Bob Dylan, Aretha Franklin, The Velvet Underground, Janis Joplin, Jimi Hendrix, Stevie Wonder, Prince, Madonna, Talking Heads, and Public Enemy.