Illuminates how voice, faith, and hearing become intertwined with technologies of sound reproduction and mobility amid the rapidly transforming religious landscape of China's ethnic borderland.

Focusing on 'runyege', the main traditional performance genre of the Banyoro and Batooro people, this book explores the entanglement of traditional music, dance, and theater with gender and postcolonialism in Western Uganda.

Offers expansive and intersecting understandings of erotic subjectivity, intimacy, and trauma in performance, in ethnography, and in institutional and disciplinary settings.

Examines the history of one of the best known dramatic dance performance practices on Bali and its connection with cultural tourism.

Chronicles the work of Norberto Tavares, a Cabo Verdean musician and humanitarian who served as the conscience of his island nation during the transition from Portuguese colony to democratic republic.

The music of clarinetists Naftule Brandwein and Dave Tarras is iconic of American klezmer music. Their legacy has had an enduring impact on the development of the popular world music genre.

Examines how the Kawuugulu Clan-Royal Musical Ensemble uses musical performance and storytelling to manage, structure, model, and legitimize power relations among the Baganda people of south-central Uganda.

A contemplative 'ethnographic study of a Benedictine monastery in Vermont known for its folk-inspired music.'

The essays in this volume offer rich and diverse perspectives on the encounter between Indigenous music and digital technologies. They explore how digital media -- whether on CD, VCD, the Internet, mobile technology, or in the studio -- have transformed and become part of the fabric of Indigenous cultural expression across the globe. Communication technologies have long been tools for nation building and imperial expansion, but these studies reveal how over recent decades digital media have become a creative and political resource for Indigenous peoples, often nurturing cultural revival, assisting activism, and complicating earlier hegemonic power structures. Bringing together the work of scholars and musicians across five continents, the volume addresses timely issues of transnationalism and sovereignty, production and consumption, archives and transmission, subjectivity and ownership, and virtuality and the posthuman. Music, Indigeneity, Digital Media is essential reading for scholars working on topics in ethnomusicology, Indigeneity, and media studies while also offering useful resources for Indigenous musicians and activists. The volume provides new perspectives on Indigenous music, refreshes and extends debates about digital culture, and points to how digital media shape what it means to be Indigenous in the twenty-first century. Contributors: Linda Barwick, Beverley Diamond, Thomas R. Hilder, Fiorella Montero-Diaz, John-Carlos Perea, Henry Stobart, Shzr Ee Tan, Russell Wallace Thomas R. Hilder is postdoctoral fellow in musicology at the University of Bergen. Henry Stobart is reader in music at Royal Holloway, University of London. Shzr Ee Tan is senior lecturer at Royal Holloway, University of London.

Drawing on extensive field research conducted over the course of two decades, Bode Omojola examines traditional and contemporary Yorùbá genres of music.

While ethnomusicologists and anthropologists have long recognized the theoretical connections between gender, place, and emotion in musical performance, these concepts are seldom analyzed together. Performing Gender, Place, and Emotion in Music is the first book-length study to examine the interweaving of these three concepts from a cross-cultural perspective. Contributors show how a theoretical focus on one dimension implicates the others, creating a complex nexus of performative engagement. This process is examined across different regions around the globe, through two key questions: How are aesthetic, emotional, and imagined relations between performers and places embodied musically? And in what ways is this performance of emotion gendered across quotidian, ritual, and staged events? Through ethnographic case studies, the volume explores issues of emplacement, embodiment, and emotion in three parts: landscape and emotion; memory and attachment; and nationalism and indigeneity. Part I focuses on emplaced sentiments in Australasia through Vietnamese spirit possession, Balinese dance, and land rights in Aboriginal performance. Part II addresses memories of Aboriginal choral singing, belonging in Bavarian music-making, and gender-performativity in Polish song. Part III evaluates emotion and fandom around a Korean singer in Japan, and Sámi interconnectivities in traditional and modern musical practices. Fiona Magowan is Professor of Anthropology at Queen's University, Belfast. Louise Wrazen is Associate Professor of Music at York University.

In Javanese Gamelan and the West, gamelan performer and scholar Sumarsam explores the concept of hybridity in performance traditions that have developed in the context of Javanese encounters with the West. The book begins by looking at the "domestication" of Western music in Java during the colonial and postcolonial eras, including brass bands in gendhing mares court music and West Javanese tanjidor; Western elements in contemporary wayang puppet plays; and works by contemporary composers and a choreographer. In the second part of the book, Sumarsam turns to the presentation and representation of gamelan in the West, exploring cross-cultural perspectives on gamelan theory and discussing the presence of gamelan in Western World's Fairs and American academia. Framing his discussion within the perspectives of interculturalism and hybridization, Sumarsam demonstrates how Javanese performing arts have developed over time as a manifestation and reflection of overlapping networks of individual, social, and institutional actions and ideas.Sumarsam is a University Professor of Music at Wesleyan University. He is the author of Gamelan: Cultural Interaction and Musical Development in Central Java (University of Chicago Press, 1995) and numerous articles in English and Indonesian. As a gamelan musician and a keen amateur dhalang (puppeteer) of Javanese wayang puppet play, he performs, conducts workshops, and lectures throughout the US, Australia, Europe, and Asia.

Drawing on extensive fieldwork, explores the contemporary pop music scene in this little understood Southeast Asian country.