Quick viewing(Text Mode)

Ethnomusicology Journal of the Society for Ethnomusicology

Ethnomusicology Journal of the Society for Ethnomusicology

Journal of the Society for Ethnomusicology

Ten-Year Index Volumes 51–60 2007–2016 Editor: Ellen Koskoff Assistant Editor: Kimberly Hannon Teal and Gail Lowther Book Review Editor: Mark DeWitt Recording Review Editor: Maria Mendonça Film, Video, and Multimedia Editor: Frank Gunderson Editorial Board Kofi Agawu Stephen Blum Stefan Fiol Steven Friedson Ruth Hellier-Tinoco Michelle Kisliuk Jennifer Matsue Bode Omojola Timothy Taylor Jeremy Wallach Su Zheng

CONTENTS From the Editor Editorial Board Members, Editors, SEM Office Coordinators and Program Specialists, 2006–2016 Articles 1 Index to Authors, Titles, Subjects of Articles, and Geographic Areas Book Reviews 16 Index to Authors and Titles of Books Reviewed and Reviewers of Books Recording Reviews 40 Index to Titles of Recordings Reviewed and Reviewers of Recordings Film, Video, and Multimedia Reviews 49 Index to Reviewers, Titles, and Producers/Directors of Film, Video, and Multimedia From the Editor

This ten-year index of the journal,Ethnomusicology , covers volumes 51–60 (2007–16). I am grateful for the invaluable help I received in preparing this index from Gail Lowther, the incoming assistant editor, and Stephen Stuempfle, SEM’s Executive Director, both of whom appeared, like guardian angels, just in the nick of time. The index follows the format of the previous indices, with a few small changes: initial definite and indefinite articles (“The,” “A,” and “An,”) have been relocated according to the Chicago Manual of Style conventions to allow for consistent alphabetical listing; subjects, including geographic areas, have been listed under Articles only when more than two or three subjects were related. Book reviews are listed under title, author(s), and reviewer; recording reviews are listed under title, recording engineer, and/or collector (if known), and reviewer; and film and media reviews can be found under title, producer/director (if known), and reviewer. As always, it is my hope that this index will be of use to you in the years to come. Enjoy! Ellen Koskoff

“From the Editor” artwork by Tomie Hahn Editorial Board Members, 2009– 2016 Travis A. Jackson 2009, Vol. 53 Timothy Rice 2009, Vol. 53 Ricardo D. Trimillos 2009, Vol. 53 Naila Ceribasic 2009– 2010, Vols. 53, 54 Beverley Diamond 2009– 2010, Vols. 53, 54 Viet Erlmann 2009– 2010, Vols. 53, 54 Stephen Blum 2009– 2011, Vols. 53, 54, 55 Michael Frishkopf 2009– 2011, Vols. 53, 54, 55 Helen Rees 2009– 2011, Vols. 53, 54, 55 Kofi Agawu 2010– 2012, Vols. 54, 55, 56 Samuel Araújo 2010– 2012, Vols. 54, 55, 56 Philip V. Bohlman 2010– 2012, Vols. 54, 55, 56 Ellen Koskoff 2010– 2012, Vols. 54, 55, 56 Louise Meintjes 2010– 2012, Vols. 54, 55, 56 Ingrid Monson 2011– 2013, Vols. 55, 56, 57 Bruno Nettl 2011– 2013, Vols. 55, 56, 57 Stephen Slawek 2011– 2013, Vols. 55, 56, 57 Tan Sooi Beng 2011– 2013, Vols. 55, 56, 57 Jocelyne Guilbault 2012– 2014, Vols. 56, 57, 58 Tomie Hahn 2012– 2014, Vols. 56, 57, 58 T. M. Scruggs 2012– 2014, Vols. 56, 57, 58 Amy Ku’uleialoha Stillman 2012– 2014, Vols. 56, 57, 58 Eric Charry 2013– 2016, Vols. 57, 58, 59, 60(1) Jacqueline Cogdell DjeDje 2013– 2016, Vols. 57, 58, 59, 60(1) Pirkko Moisala 2013– 2016, Vols. 57, 58, 59, 60(1) Henry Spiller 2013– 2016, Vols. 57, 58, 59, 60(1) Eliot Bates 2014– 2016, Vols. 58, 59, 60(1) Stephen Blum 2014– 2016, Vols. 58, 59, 60 Michelle Kisliuk 2014– 2016, Vols. 58, 59, 60 Su Zheng 2014– 2016, Vols. 58, 59, 60 Stefan Fiol 2015– 2016, Vols. 59, 60 Ruth Hellier-Tinoco 2015– 2016, Vols. 59, 60 Bode Omojola 2015– 2016, Vols. 59, 60 Jeremy Wallach 2015– 2016, Vols. 59, 60 Kofi Agawu 2016, Vol. 60 Jennifer Milioto Matsue 2016, Vol. 60 Timothy Taylor 2016, Vol. 60 Editors Timothy J. Cooley 2007– 2009, Vols. 51, 52, 53 J. Lawrence Witzleben 2010– 2013, Vols. 54, 55, 56, 57 Ellen Koskoff 2014– 2016, Vols. 58, 59, 60 Assistant Editors Gibb Schreffler 2007, Vol. 51(1– 2) Barbara L. Taylor 2007– 2009, Vols. 51, 52, 53 Cheryl A. Tobler 2010, Vol. 54 Paul Michael Covey 2011– 2013, Vols. 55, 56, 57 Kimberly Hannon Teal 2014– 2016, Vols. 58, 59, 60 Editorial Assistants Sonja Lynn Downing 2008, Vol. 52(1) Book Review Editors Frederick Moehn 2007– 2008, Vols. 51, 52, 53(1) John Morgan O’Connell 2009– 2011, Vols. 53(2–3), 54, 55 Donna A. Buchanan 2012– 2016, Vols. 56, 57, 58, 59, 60(1) Mark DeWitt 2016, Vol. 60(2–3) Recording Review Editors Paul Greene 2007– 2009, Vols. 51, 52, 53 Sean Williams 2010–2016, Vols. 54, 55, 56, 57, 58, 59, 60(1) Maria Mendonça 2016, Vol. 60(2–3) Film, Video, and Multimedia Review Editors Rebecca S. Miller 2007– 2009, Vols. 51, 52, 53 Frank Gunderson 2010– 2016, Vols. 54, 55, 56, 57, 58, 59, 60 SEM Newsletter Editors Henry Spiller 2006– 2011 Gordon Thompson 2012– 2016 SEM Executive Directors Alan Burdette 2007– 2008 Stephen Stuempfle 2008– 2016 SEM Office Coordinators Lyn Pittman 2007– 2011 Jennifer Studebaker 2012– 2015 SEM Program Specialists Jennifer Studebaker 2015– 2016 Marysol Quevedo 2016

For information on and access to other SEM publications, visit the SEM website (www.ethnomusicology.org) and select “Publications.” Authors, Titles, Subjects of Articles, and Geographic Areas

A Armenia: popular : 57(2):236– 60; see also ABE, MARIÉ, “Sounding Against Nuclear diaspora Power in Post-3.11 Japan: Resonances of “A r t o f Representing the Other, The: Industry Silence and Chindon-ya,” 60(2): 233– 62 Personnel in the World ,” “Acoustemology, Indigeneity, and Joik in by Aleysia K. Whitmore, 60(2): 329– 55 Valkeapää’s Symphonic Activism: Views Arctic region: 53(2):187– 217; 56(2):234– 65; see from ’s Arctic Fringes for Envi- also specific countries ronmental Ethnomusicology,” by Tina Asia: 56(3): 450– 75 [see also diaspora]; central: K. Ramnarine, 53(2): 187– 217 56(3): 363– 95; northeast: 56(2): 234– 60; “Affects and Effects of Indigenous Tanzanian south: 55(2): 306– 17 [see also Nair Ali Music Traditions in Christian Worship Jairazbhoy]; 59(2):315– 36; 59(3):355– 78; in Dar Es Salaam, Tanzania,” by Kassomo see also specific countries Mkallyah, 60(2): 300– 28 “Asian Fury: A Tale of Race, Rock, and Air “Aficionados, Academics, and Danzón Exper- ,” by Sydney Hutchinson, 60(3): tise: Exploring Hierarchies in Popular 411– 33 Music Knowledge Production,” by Het- “Atmosphere as a Concept for Ethnomusicol- tie Malcomson, 58(2): 223– 53 ogy: Comparing the Gamelatron and : central: 52(2): 296– 323 [see also dias- ,” by Andrew McGraw, 60(1): pora]; 59(1): 1– 30; see also specific coun- 125– 47 tries “Audible Future, The: Reimagining the Role “African Musical Hybridity in the Colonial of Sound Archives and Sound Repatria- Context: An Analysis of Ephraim Amu’s tion in Uganda,” by Andrew Weintraub ‘Yɛn Ara Asase Ni’,” by Steven Spinner and Sylvia Nannyonga-Tamusuza, 56(2): Terpenning, 60(3): 459–83 206– 33 AGAWU, KOFI, “Response to Rice,” 54(2): “Aural Tradition with a Pause Button, An? The 326– 29 Role of Recording Technology in a North “Agency, Leadership, and Gender Negotiation East English Folk Session,” by Simon in Balinese Girls’ ,” by Sonja Keegan-Phipps, 57(1): 34– 56 Lynn Downing, 54(1): 54– 80 “Autotuned Belonging: Coptic Popular ALAJAJI, SYLVIA A., “Exilic Becomings: Post- and the Politics of Neo-Pentecostal Ped- Genocide Armenian Music in Lebanon,” agogies,” by Carolyn Ramzy, 60(3): 434– 57(2): 236– 60 58 Albania: 59(3): 398– 420 “Alexander J. Ellis and His Place in the His- B tory of Ethnomusicology,” by Jonathan BABIRACKI, CAROL, “Between Life History P. J. Stock, 51(2): 306– 25 and Performance: Sundari Devi and the “Animal Impersonation as an Ancient Art of Allusion,” 52(1): 1– 30 Musical System in North America, North- BAKAN, MICHAEL B., “‘Don’t Go Changing east Asia, and Arctic Europe,” by Richard to Try and Please Me’: Combating Essen- Keeling, 56(2): 234– 65 tialism Through Ethnography in the Eth- APPERT, CATHERINE, “On Hybridity in Afri- nomusicology of Autism,” 59(1): 116– 44 can : The Case of Senega- BAKAN, MICHAEL B., et al., “Following lese ,” 60(2): 279– 99 Frank: Response-Ability and the Co- “Applied Ethnomusicology and HIV and AIDS: Creation of Culture in a Medical Ethno- Responsibility, Ability, and Action,” by Program for Children on the Kathleen J. Van Buren, 54(2): 202– 23 Autism Spectrum,” 52(2): 163– 202 2 Ethnomusicology, Index Volumes 51–60

BAKAN, MICHAEL B., “Measuring Happiness Symbolic Ownership of Norwegian Folk in the Twenty-First Century: Ethnomusi- Music,” 58(1): 30– 53 cology, Evidence-Based Research, and the BERGER, HARRIS M., section editor, “Call and New Science of Autism,” 53(3): 510– 18 Response: Music, Power, and the Ethno- BAKER, JESSICA, “Black Like Me: Caribbean musicological Study of Politics and Cul- Tourism and the St. Kitts ,” ture,” 58(2): 310– 48 60(2): 263– 78 BERGER, HARRIS M., “New Directions for Bali: 54(1): 54– 80; 58(3): 481– 505; gender way- Ethnomusicological Research into the ang: 54(2): 224– 56; musik kontemporer: Politics of Music and Culture: Issues, 51(1): 115– 41 Projects, and Programs,” 58(2): 310– 15 BATES, ELIOT, “Mixing for Parlak and Bow- “Between Life History and Performance: Sun- ing for a Büyük Ses: The Aesthetics of dari Devi and the Art of Allusion,” by Arranged Traditional Music in Turkey,” Carol Babiracki, 52(1): 1– 30 54(1): 81– 105 “Beyond Musical Exceptionalism: Music, BATES, ELIOT, “The Social Life of Musical Value, and Ethnomusicology,” by Jayson Instruments,” 56(3): 363– 95 Beaster-Jones, 58(2): 329– 35 “Beale Street ? Tourism, Musical Labor, BICKFORD, TYLER, “Call and Response and the Fetishization of Poverty in Blues Revisited (Ethnomusicology and Empiri- Discourse,” by Jennifer Ryan, 55(3): 473– cism),” 54(2): 345– 46 503 BICKFORD, TYLER, “Music of Poetry and BEASTER-JONES, JAYSON, “Beyond Musical Poetry of Song: Expressivity and Gram- Exceptionalism: Music, Value, and Eth- mar in Vocal Performance,” 51(3): 439– nomusicology,” 58(2): 329– 35 476 BEASTER-JONES, JAYSON, “Evergreens to “Binding and Loosing in Song: Conflict, Iden- : Hindi Film Songs and ’s tity, and Canadian Mennonite Music,” by Popular Music Heritage,” 53(3): 425– Jonathan Dueck, 55(2): 229– 54 48 “Birdsong and a Song about a Bird: Popular BECKER, JUDITH, “Call and Response Revis- Music and the Mediation of Traditional ited,” 54(2): 346 Ecological Knowledge in Northeastern BECKER, JUDITH, “Response to ‘Consilience ,” by Michael Silvers, 59(3): 380– Revisited’,” 56(1): 112– 17 97 BECKER, JUDITH, and TYLER BICKFORD, “Black Like Me: Caribbean Tourism and the “Ethnomusicology and Empiricism in the St. Kitts Music Festival,” by Jessica Baker, Twenty-First Century,” 53(3): 478– 501 60(2): 263– 78 “‘Becoming One’: Embodying Korean P’ungmul “Bolero Trios, Mestizo Panpipe Ensembles, and Percussion Music and Dance Bolivia’s 1952 Revolution: Urban La Paz through Site-Specific Intermodal Trans- and the Nationalist Revolu- mission,” by Donna Lee Kwon, 59(1): tionary Movement,” by Fernando Rios, 31– 60 54(2): 281– 317 “Becoming the Floor / Breaking the Floor: Bolivia: 54(2): 281– 317 Experiencing the Kathak-Flamenco BOOTH, GREGORY D., “Copyright Law and Connection,” by Miriam Phillips, 57(3): the Changing Economic Value of Popular 396– 427 Music in India,” 59(2): 262– 87 “Beholder’s Share, The: Viewing Music and Brazil: 53(2): 277– 307; 59(2): 173– 201; 60(1): Dance in a Globalized World,” by Adri- 89– 124; northeastern, Bahia: 55(3): 414– enne L. Kaeppler, 54(2): 185– 201 44; 60(1): 89– 124; popular music: 55(3): BELLAVITI, SEAN, “Standing Out While Fit- 414–44; 59(3):380– 97; southern: 58(1):83– ting In: Genre, Style, and Critical Differ- 109 entiation Among Panamanian Conjunto BROWN, SARA BLACK, “Krishna, , Musicians,” 59(3): 450– 74 and Colors: The Socially Binding Influ- BERGE, OLA K. and MATS JOHANSSON, ence of Kirtan at a Utah Hare “Who Owns an Interpretation? Legal and Krishna Festival,” 58(3): 454– 80 Articles 3

BROWN, STEVEN, and PATRICK E. SAV- China: 56(1): 86– 111; 56(1): 112– 31; Fujian: AGE, “Mapping Music: Cluster Analysis 56(1): 1– 30; 60(1):53–88 of Song-Type Frequencies Within and “Chop, The: The Diffusion of an Instrumental Between Cultures,” 58(1): 133– 55 Technique across North Atlantic Fiddling BUCHANAN, DONNA A., “From the Book Traditions,” by Laura Risk, 57(3): 428– 54 Review Editor,” 56(1): 132 Christian worship: 51(2): 238– 80; 53(1): 32– 57; “Building and Teaching Theory in Ethnomu- 55(3): 445– 72; 58(3): 454– 80; 60(2): 300– sicology: A Response to Rice,” by Jane 28; 60(3):434–58 Sugarman, 54(2): 341– 44 CIANTAR, PHILIP, “The Process of Musical Bulgaria: 59(2): 227– 61 Translation: Composing a Maltese Festa Band March from Libyan Ma’lūf Music,” C 57(1): 1– 33 “Call and Response: Music, Power, and the CIUCCI, ALESSANDRA, “‘The Text Must Ethnomusicological Study of Politics and Remain the Same’: History, Collective Culture,” Harris M. Berger, section editor, Memory, and Sung Poetry in Morocco,” 58(2): 310– 48 56(3): 476– 504 “Call and Response Revisited (Ethnomusicol- COHEN, JUDAH, “Music Institutions and ogy and Empiricism),” by Tyler Bickford the Transmission of Tradition,” 53(2): and Judith Becker, 54(2): 345– 46 308– 325 Cameroon: 59(3): 421– 49 “Collision of Genres and Collusion of Par- Canada: 54(3):395– 424; Alberta: 55(2):229– 54; ticipants, The: Marathi Rastriya Kir- Métis: 51(1): 30– 63; Nova Scotia: 52(3): tan and the Communication of Hindu 401– 25 Nationalism,” by Anna Schultz, 52(1):31– CANNON, ALEXANDER M., “When Cha- 51 risma Sustains Tradition: Deploying “Commodification of Music at the Dawn of Musical Competence in Southern Viet- the Era of ‘Mechanical Music,’ The,” by nam,” 57(1): 88– 115 Timothy D. Taylor, 51(2): 281– 305 Caribbean: 60(2): 263– 78 “Composition, Authorship, and Ownership “Carioca Blade Runner, A, or How Percussion- in Flamenco, Past and Present,” by Peter ist Marcos Suzano Turned the Brazilian Manuel, 54(1): 106– 35 Tambourine into a , and Other “Concept, Style, and Structure in the Music Matters of (Politically) Correct Music of the African Pygmies and Bushmen: Making,” by Frederick Moehn, 53(2): A Study in Cross-Cultural Analysis,” by 277– 307 Victor A. Grauer, 53(3): 396– 424 “Categorically Speaking: Toward a Theory of “Connecting Histories: Liturgical Songs as (Musical) Genre,” by Heather Sparling, Classical Compositions in Hindustānī 52(3): 401– 25 Music,” by Meilu Ho, 57(2): 207– 35 “Categories and Timing: On the Perception of “Consilience Revisited: Musical and Scientific Meter,” by Tellef Kvifte, 51(1): 64– 84 Approaches to Chinese Performance,” “Categories in Motion: The Use of Generic Mul- by Francesca R. Sborgi Lawson, 56(1): tiplicity in Music Store Guitar Lessons,” 86– 111 by Anthony Guest-Scott, 52(3): 426– COOKE, PETER, “A Response to Sylvia 57 Nannyonga- Tamusuza and Andrew CATLIN-JAIRAZBHOY, AMY, and HELEN N. Weintraub’s ‘The Audible Future: REES, “Nazir Ali Jairazbhoy: Bibliog- Re imagining the Role of Sound Archives raphy, Discography, and Filmography,” and Sound Repatriation in Uganda’,” 59(3): 55(2): 306– 17 475– 79 Central African Republic: 53(3): 396– 424 copyright and ownership: 54(1): 106– 35; 58(1): CHENG, WILLIAM, “Role-Playing: Toward a 30– 53; 59(2): 262– 87 Virtual Musical Democracy in The Lord “Copyright Law and the Changing Economic of the Rings Online,” 56(1): 31– 62 Value of Popular Music in India,” by Chile: 57(3): 455– 84 Gregory D. Booth, 59(2): 262– 87 4 Ethnomusicology, Index Volumes 51–60

COTTRELL, STEPHEN, “Local Bimusicality “‘Don’t Go Changing to Try and Please Me’: Among London’s Freelance Musicians,” Combating Essentialism through Eth- 51(1): 85– 105 nography in the Ethnomusicology of Cuba: 58(2): 223– 53; see also diaspora Autism,” by Michael B. Bakan, 59(1): “Culture as Freedom: Musical ‘Liberation’ in 116– 44 Batticaloa, Sri Lanka,” by Jim Sykes, 57(3): DOUGLAS, GAVIN, “Performing Ethnicity in 485– 517 Southern Shan State, Burma/Myanmar: The Ozi and Traditions of the D Myelat,” 57(2): 185– 206 “‘Dancing Fingers’: Embodied Lineages in DOWNING, SONJA LYNN, “Agency, Leader- the Performance of Okinawan Classical ship, and Gender Negotiation in Balinese Music,” by Matt Gillan, 57(3): 367– 95 Girls’ Gamelans,” 54(1): 54– 80 “Dancing in Opposition: Muchongoyo, Emo- “Drumming of Dissent During South Korea’s tion, and the Politics of Performance in Democratization Movement, The,” by Southeastern Zimbabwe,” by Tony Per- Katherine In-Young Lee, 56(2): 179– man, 54(3): 425– 451 205 DAVE, NOMI, “The Politics of Silence: Music, “Drumming to One’s Own Beat: Japanese Taiko Violence, and Protest in Guinea,” 58(1): and the Challenge to Genre,” by Jennifer 1– 29 Milioto Matsue, 60(1): 22– 51 “Democratic Pedagogies: Perspectives from “Dual Framing: Locating Authenticities in the Ethnomusicology and World Music Music Videos of Himalayan Possession Educational Contexts in the United Rituals,” by Stefan Fiol, 54(1): 28– 53 Kingdom,” by Simone Krüger, 55(2):280– DUECK, BYRON, “Public and Intimate Socia- 305 bility in First Nations and Métis Fid- “Dialect, Diffusion, and Balinese Drumming: dling,” 51(1): 30– 63 Using Sociolinguistic Models for the DUECK, JONATHAN, “Binding and Loosing Analysis of Regional Variation in Kend- in Song: Conflict, Identity, and Canadian ang Arja,” by Leslie Tilley, 58(3):481– 505 Mennonite Music,” 55(2): 229– 54 diaspora: Canada, Polish Górale music: 51(2): 185– 204; Canada, Scottish bagpipes: E 54(3): 395– 424; , Uyghur ecology: 53(2): 187– 217; 53(2): 218– 48; 53(3): song: 56(3): 450– 75; Lebanon, Armenian 502– 09; 58(1): 110– 32; 59(2): 315– 36; music: 57(2):236– 60; Mexico, Cuban dan- 59(3): 380– 97; 60(1): 53– 88 zón: 58(2): 223– 53; Tanzania, Congolese “Ecology, Phenomenology, and Biocultural music: 52(2):296– 323; Zimbabwean dias- Thinking: A Response to Judith Becker,” pora: 57(2): 261– 85 by Jeff Todd Titon, 53(3): 502– 09 “Discipline or Dialogue? (A Response to Tim- ENGELHARDT, JEFFERS, “Right Singing in othy Rice),” by Suzel Ana Reily, 54(2): Estonian Orthodox : A Study 331– 33 of Music, Theology, and Religious Ideol- “Disciplined Listening in Tokyo: OnkyO and ogy,” 53(1): 32– 57 Non-Intentional Sounds,” by Lorraine : 51(1): 85– 105; 54(3): 369– 394; folk Plourde, 52(2): 270– 95 music: 57(1): 34– 56 “Disciplining Ethnomusicology: A Call for a “Ennobling of a ‘Folk Tradition’ and the Dis- New Approach,” by Timothy Rice, 54(2): empowerment of the Performers, The: 318– 325 Celebrations and Appropriations of “Does Language Determine Music in Tone Bāul-Fakir Identity in West Bengal,” by Languages?” by Murray Schellenberg, Benjamin Krakauer, 59(3): 355– 79 56(2): 266– 78 “Environmental Crisis, Culture Loss, and a “Domesticating Otherness: The Snake Charmer New Musical Aesthetic: China’s ‘Original in American Popular Culture,” by A. J. Ecology Folksongs’ in Theory and Prac- Racy, 60(2): 197– 232 tice,” by Helen Rees, 60(1): 53– 88 Articles 5

“Envisioned, Ensounded, Enacted: Sacred Finland: 53(1): 86– 114 Ecology and Indigenous Musical Expe- FIOL, STEFAN, “Dual Framing: Locating rience in Yoreme Ceremonies of North- Authenticities in the Music Videos of west Mexico,” by Helena Simonett, 58(1): Himalayan Possession Rituals,” 54(1): 110– 32 28– 53 “Epistemologies of Applied Ethnomusicology,” “Flowing Down Taiwan’s Tamsui River: Towards by Klisala Harrison, 56(3): 505– 29 an of the Environmen- Estonia: 53(1): 32– 57 tal Imagination,” by Nancy Guy, 53(2): “Ethnomusicology and Empiricism in the 218– 48 Twenty-First Century,” by Judith Becker, “Following Frank: Response-Ability and the 53(3): 478– 501 Co-Creation of Culture in a Medical “Ethnomusicology and the Twenty-First Cen- Ethnomusicology Program for Children tury Music Scene,” by Bill Ivey, 53(1): on the Autism Spectrum,” by Michael B. 18– 31 Bakan, et al., 52(2): 163– 202 ethnomusicology, history: 51(2): 306– 25; 51(2): FOSSUM, DAVID, “Westernizing Reform 326–44; 56(2):206– 33; 57(1):63– 85: 57(2): and Indigenous Precedent in Traditional 311– 29; 59(2): 173– 201; 59(3): 475– 79; Music: Insights from Turkmenistan,” 59(3): 480– 82 59(2): 202– 26 ethnomusicology, theory and method: 53(1): FRASER, JENNIFER, “Pop Song as Custom: 1– 17; 53(1): 18– 31; 54(2): 341– 44; 55(2): Weddings, Ethnicity, and Entrepreneurs 185– 99; 56(2): 299– 327; 58(1): 83– 109; in West Sumatra,” 55(2): 200– 28 58(2): 310– 15; 58(2): 316– 21; 58(2): 329– FRISBIE, CHARLOTTE J., “The Lifework of 35; 60(1): 125– 47; [see also politics]; and David P. McAllester: A Bibliography,” empiricism: 53(3):478– 501; 53(3):510– 18; 51(2): 326– 44 54(2): 345– 46; 56(1): 86– 111; 56(1): 118– “From the Book Review Editor,” by Donna A. 24; 58(2): 185– 222; 59(1): 1– 30; applied: Buchanan, 56(1): 132 54(2): 202– 23; 55(2): 280– 305; 56(3): 505– 29; medical: 55(3): 369– 86; 58(2): G 310– 48; 59(1): 116– 44; 54(2): 318– 325; “Gamelan in Prisons in England and Scotland: 54(2): 331– 33 Narratives of Transformation and the “Evergreens to Remixes: Hindi Film Songs and ‘Good Vibrations’ of Educational Rheto- India’s Popular Music Heritage,” by Jayson ric,” by Maria Mendonça, 54(3): 369– Beaster-Jones, 53(3): 425– 48 94 “Exilic Becomings: Post-Genocide Armenian GELBART, MATTHEW, “‘The Language of Music in Lebanon,” by Sylvia A. Alajaji, Nature’: Music as Historical Crucible for 57(2): 236– 60 the Methodology of Folkloristics,” 53(3): 363– 95 F gender: 54(1): 54– 80; 54(2): 257– 80; 55(1): 31– “Fascination, Musical Tourism, and the Loss 54; 58(3): 405– 30; 60(3): 388–410 of the Balkan Village (Notes on Bulgaria’s “Generalized Representations of Musical Time Koprivshtitsa Festival),” by Ian MacMil- and Periodic Structures,” by Michael Ten- lan, 59(2): 227– 61 zer, 55(3): 369– 86 FATONE, GINA, “‘You’ll Break Your Heart genre: 52(1): 31– 51; 52(3): 401– 25; 59(3): 450– Trying to Play It Like You Sing It’: Inter- 74; 60(1): 22– 51 modal Imagery and the Transmission “Getting Scientists and Ethnomusicologists to of Scottish Classical Bagpiping,” 54(3): Work Together: Some Thoughts and Rec- 395– 424 ommendations,” by Dane L. Harwood, FINCHUM-SUNG, HILARY VANESSA, 56(1): 118– 24 “Visual Excess: The Visuality of Tra- Ghana: 60(3): 459–83 ditional Music Performance in South GIDAL, MARC MEISTRICH, “Musical Korea,” 56(3): 396– 425 Boundary-Work: Ethnomusicology, Sym- 6 Ethnomusicology, Index Volumes 51–60

bolic Boundary Studies, and Music in the HEMMASI, FARZANEH, “Intimating Dissent: Afro-Gaucho Religious Community of Popular Song, Poetry, and Politics in Pre- Southern Brazil,” 58(1): 83– 109 Revolutionary Iran,” 57(1): 57– 87 GILLAN, MATT, “‘Dancing Fingers’: Embod- HILL, JUNIPER, “Rebellious Pedagogy, Ideo- ied Lineages in the Performance of Oki- logical Transformation, and Creative nawan ,” 57(3): 367– 95 Freedom in Finnish Contemporary Folk “Global Tabla Industry, The: An Instrumental Music,” 53(1): 86– 114 Ecology,” by P. Allen Roda, 59(2):315– 36 HO, MEILU, “Connecting Histories: Liturgi- GRAUER, VICTOR A., “Concept, Style, and cal Songs as Classical Compositions in Structure in the Music of the African Hindustānī Music,” 57(2): 207– 35 Pygmies and Bushmen: A Study in Cross- HUTCHINSON, SYDNEY, “Asian Fury: A Tale Cultural Analysis,” 53(3): 396– 424 of Race, Rock, and Air Guitar,” 60(3): GRAY, LILA ELLEN, “Memories of Empire, 411–33 Mythologies of the Soul: Fado Perfor- mance and the Shaping of Saudade,” I 51(1): 106– 30 “Improvising a Musical Metropolis: Detroit in GRAY, NICHOLAS, “Of One Family? Impro- the 1940s–1960s,” by Mark Slobin, 60(1): visation, Variation, and Composition in 1– 21 Balinese Gendér Wayang,” 54(2): 224– 56 India: 52(1):1– 30 [see also Sundari Devi]; 59(2): GUEST-SCOTT, ANTHONY, “Categories in 315–36; Hindustani: 52(3):349– 77; 54(3): Motion: The Use of Generic Multiplic- 484– 517; 55(2): 318– 24 [see also Nazir ity in Music Store Guitar Lessons,” 52(3): Ali Jairazbhoy]; 56(2): 279– 98; 56(3): 426– 57 426– 49; 57(2): 207– 35; film and popular GUILBAULT, JOCELYNE, “Politics of Eth- music: 53(3):425– 48; 59(2):262– 87; 59(2): nomusicological Knowledge Production 288– 314; north: 52(3): 378– 400 [see also and Circulation,” 58(2): 316– 21 Sufism]; 54(1):28– 53; 57(3):396– 427 [see Guinea: 58(1): 1– 29 also kathak]; 59(1): 82– 115; south, Tamil: “Guitar Playing and Representation in the 51(2): 238– 80; west: 52(1): 31– 51; West Changing Locations of New York City’s Bengal: 59(3): 355– 78 African Music Scene,” by David Racanelli, “Individual in Musical Ethnography, The,” by 58(2): 278– 309 Jesse D. Ruskin and Timothy Rice, 56(2): GUY, NANCY, “Flowing Down Taiwan’s Tam- 299– 327 sui River: Towards an Ecomusicology of : Bali: 51(1): 54– 80; 53(1): 115– 41; the Environmental Imagination,” 53(2): 54(2): 224– 56; 58(3): 481– 505; Java: 218– 48 52(1): 98– 116; 55(1): 31– 54; 60(3): 484– 507; Sumatra: 54(3): 452– 483; 55(2): H 200– 28 “Hard Work of Screaming, The: Physical Exer- INGALLS, MONIQUE, “Singing Heaven tion and Affective Labor Among Mexico Down to Earth: Spiritual Journeys, City’s Punk Vocalists,” by Kelley Tatro, Eschatalogical Sounds, and Community 58(3): 431– 53 Formation in Evangelical Conference HARRIS, RACHEL, “Tracks: Temporal Shifts Worship,” 55(2): 255– 79 and Transnational Networks of Senti- “Institutional Communalism in North Indian ment in Uyghur Song,” 56(3): 450– 75 Classical Music,” by Max Katz, 56(2): HARRISON, KLISALA, “Epistemologies of 279– 98 Applied Ethnomusicology,” 56(3): 505– instruments: 56(3):363– 95; 57(3):428– 54; 58(3): 29 379– 404; 59(2): 315– 36 HARWOOD, DANE L, “Getting Scientists and “Interdisciplinarity and Musical Exceptional- Ethnomusicologists to Work Together: ism,” by Henry Spiller, 58(2): 336– 41 Some Thoughts and Recommendations,” “Intermediate Sphere in North Indian Music 56(1): 118– 124 Culture, The: Between and Beyond ‘Folk’ Articles 7

and ‘Classical’,” by Peter Manuel, 59(1): KAMINSKY, DAVID, “‘Just Exotic Enough’: 82– 115 Swedish Chamber Klezmer as Postna- “Intimating Dissent: Popular Song, Poetry, tional World Music and Mid-East Proxy,” and Politics in Pre-Revolutionary Iran,” 58(2): 254– 77 by Farzaneh Hemmasi, 57(1): 57– 87 KARTOMI, MARGARET, “Toward a Meth- Iran: popular music: 57(1): 57– 87 odology of War and Peace Studies in Israel: 53(1): 58– 85 Ethnomusicology: The Case of Aceh, IVEY, BILL, “Ethnomusicology and the 1976– 2009,” 54(3): 452– 483 Twenty-First Century Music Scene,” KATZ, MAX, “Institutional Communalism 53(1): 18– 31 in North ,” 56(2): IYANAGA, MICHAEL, “On Flogging the Dead 279– 98 Horse, Again: Historicity, Genealogy, Kazakhstan: 58(3): 379– 404 and Objectivity in Richard Waterman’s KEEGAN-PHIPPS, SIMON, “An Aural Tra- Approach to Music,” 59(2): 173– 201 dition with a Pause Button? The Role of Recording Technology in a North East J English Folk Session,” 57(1): 34– 56 “Jacking the Dial: Radio, Race, and Place in KEELING, RICHARD, “Animal Impersonation Grand Theft Auto,” by Kiri Miller, 51(3): Songs as an Ancient Musical System in 402– 38 North America, Northeast Asia, and Arc- JACOBSEN, KRISTINA, “Rita(hhh): Place- tic Europe,” 56(2): 234– 65 making and on the KEISTER, JAY, “Okeikoba: Lesson Places as Navajo Nation,” 53(3): 449– 77 Sites for Negotiating Tradition in Japa- JAIRAZBHOY, NAZIR ALI, “What Hap- nese Music,” 52(2): 239– 69 pened to Indian ? Indo- Kenya: 54(2): 202– 23 Occidentalism?” 52(3): 349– 77 KOSKOFF, ELLEN, “Response to Rice: A Re- Japan: 52(2):239– 69; 52(2):270– 95; 57(3):367– Call of Arms,” 54(2): 329– 31 95; 60(1): 22– 51; 60(2): 233– 62 KRAKAUER, BENJAMIN, “The Ennobling of Java: 55(1): 31– 54; popular music: 52(1): 98– a ‘Folk Tradition’ and the Disempower- 116 ment of the Performers: Celebrations and JOHANSSON, MATS and OLA K. BERGE, Appropriations of Bāul-Fakir Identity in “Who Owns an Interpretation? Legal and West Bengal,” 59(3): 355– 79 Symbolic Ownership of Norwegian Folk “Krishna, Christians, and Colors: The Socially Music,” 58(1): 30– 53 Binding Influence of Kirtan Singing at “John Blacking, ,” by Victoria Rogers, a Utah Hare Krishna Festival,” by Sara 57(2): 311– 29 Black Brown, 58(3): 454– 80 “John Blacking: Social and Political Activist,” KRÜGER, SIMONE, “Democratic Pedagogies: by Victoria Rogers,” 56(1): 63– 85 Perspectives from Ethnomusicology and : 53(1): 58– 85 World Music Educational Contexts in the JUNG, EUN-YOUNG, “Transnational Migra- United Kingdom,” 55(2): 280– 305 tions and YouTube Sensations: Korean KVIFTE, TELLEF, “Categories and Timing: Americans, Popular Music, and Social On the Perception of Meter,” 51(1): 64– Media,” 58(1): 54– 82 84 “‘Just Exotic Enough’: Swedish Chamber KWON, DONNA LEE, “‘Becoming One’: Klezmer as Postnational World Music Embodying Korean P’ungmul Percus- and Mid-East Proxy,” by David Kamin- sion Band Music and Dance through sky, 58(2): 254– 77 Site- Specific Intermodal Transmission,” 59(1): 31– 60 K KYKER, JENNIFER W., “Listening in the KAEPPLER, ADRIENNE L., “The Beholder’s Wilderness: The Audience Reception of Share: Viewing Music and Dance in a Oliver Mtukudzi’s Music in the Zimba- Globalized World,” 54(2): 185– 201 bwean Diaspora,” 57(2): 261– 85 8 Ethnomusicology, Index Volumes 51–60

L Malta: 57(1): 1– 33 “‘Language of Nature, The’: Music as Historical MANUEL, PETER, “Composition, Author- Crucible for the Methodology of Folklor- ship, and Ownership in Flamenco, Past istics,” by Matthew Gelbart, 53(3): 363– and Present,” 54(1): 106– 35 95 MANUEL, PETER, “The Intermediate Sphere Lebanon: 57(2): 236– 60 in North Indian Music Culture: Between LEE, KATHERINE IN-YOUNG, “The Drum- and Beyond ‘Folk’ and ‘Classical’,” 59(1): ming of Dissent During South Korea’s 82– 115 Democratization Movement,” 56(2): MANUEL, PETER, “North Indian Sufi Popular 179– 205 Music in the Age of Hindu and Muslim Libya: 57(1): 1– 33 Fundamentalism,” 52(3): 378– 400 “Lifework of David P. McAllester, The: A Bib- “Mapping Music: Cluster Analysis of Song- liography,” by Charlotte J. Frisbie, 51(2): Type Frequencies Within and Between 326– 44 Cultures,” by Patrick E. Savage and Steven LIPSITZ, GEORGE, “Midnight at the Barrel- Brown, 58(1): 133– 55 house: Why Ethnomusicology Matters MATSUE, JENNIFER MILIOTO, “Drumming Now,” 55(2): 185– 99 to One’s Own Beat: Japanese Taiko and “Listening in the Wilderness: The Audience the Challenge to Genre,” 60(1): 22– 51 Reception of Oliver Mtukudzi’s Music in “‘May I Elope’: Song Words, Social Status, and the Zimbabwean Diaspora,” by Jennifer Honor among Female Nepali Dohori W. Kyker, 57(2): 261– 85 Singers,” by Anna Stirr, 54(2): 257– 80 “Listening to the World but Hearing Ourselves: McDONALD, DAVID A., “Poetics and the Per- Hybridity and Perceptions of Authentic- formance of Violence in Israel/Palestine,” ity in World Music,” by Sarah Weiss, 53(1): 58– 85 58(3): 506– 25 McGRAW, ANDREW CLAY, “Atmosphere as a “Listening with the Body: An Aesthetics of Concept for Ethnomusicology: Compar- Spirit Possession Outside the Terreiro,” by ing the Gamelatron and Gamelan,” 60(1): Juan Diego Diaz Meneses, 60(1): 89– 124 125– 47 “Living the Punk Lifestyle in Jakarta,” by Jer- McGRAW, ANDREW CLAY, “Radical Tradi- emy Wallach, 52(1): 98– 116 tion: Balinese Music Kontemporer,” 53(1): “Local Bimusicality Among London’s Freelance 115– 41 Musicians,” by Stephen Cottrell, 51(1): “Measuring Happiness in the Twenty-First 85– 105 Century: Ethnomusicology, Evidence- “‘Localize It’: Rock, Cosmopolitanism, and the Based Research, and the New Science Nation in Trinidad,” by Timothy Rom- of Autism,” by Michael B. Bakan, 53(3): men, 51(3): 371– 401 510– 18 LYSLOFF, RENÉ, “Worlding Music in Jogja- “Meditations on ‘Objective Aesthetics’ in World karta: Tales of the Global Postmodern,” Music,” by Michael Tenzer, 59(1): 1– 30 60(3): 484–507 “Memories of Empire, Mythologies of the Soul: Fado Performance and the Shaping of M Saudade,” by Lila Ellen Gray, 51(1):106– MACMILLAN, IAN, “Fascination, Musical 30 Tourism, and the Loss of the Balkan Vil- MENDONÇA, MARIA, “Gamelan in Prisons lage (Notes on Bulgaria’s Koprivshtitsa in England and Scotland: Narratives of Festival),” 59(2): 227– 61 Transformation and the ‘Good Vibra- MAHON, MAUREEN, “Music, Power, and tions’ of Educational Rhetoric,” 54(3): Practice,” 58(2): 322– 8 369– 94 MALCOMSON, HETTIE, “Aficionados, Aca- MENESES, JUAN DIEGO DIAZ, “Listening demics, and Danzón Expertise: Exploring with the Body: An Aesthetics of Spirit Hierarchies in Popular Music Knowledge Possession Outside the Terreiro,” 60(1): Production,” 58(2): 223– 53 89– 124 Articles 9

Mexico: 58(2): 223– 53; popular music: 58(3): mance,” by Tyler Bickford, 51(3): 439– 431– 53; west, Yoreme: 58(1): 110– 32; 76 MEYERS, JOHN PAUL, “‘Still Like That Old “Music, Language, and What Falls in Between,” Time Rock and Roll’: Tribute Bands and by Lawrence M. Zbikowski, 56(1): 125– Historical Consciousness in Popular 31 Music,” 59(1): 61– 81 “Music, Power, and Practice,” by Maureen “Midnight at the Barrelhouse: Why Ethnomu- Mahon, 58(2): 322– 8 sicology Matters Now,” by George Lipsitz, “Musical Boundary-Work: Ethnomusicology, 55(2): 185– 99 Symbolic Boundary Studies, and Music in MILLER, KIRI, “Jacking the Dial: Radio, Race, the Afro-Gaucho Religious Community and Place in Grand Theft Auto,” 51(3): of Southern Brazil,” by Marc Meistrich 402– 38 Gidal, 58(1): 83– 109 “Mixing for Parlak and Bowing for a Büyük Ses: “ as National Archive, The: The Aesthetics of Arranged Traditional A Case Study of the Kazakh Qyl-qobyz,” Music in Turkey,” by Eliot Bates, 54(1): by Megan Rancier, 58(3): 379– 404 81– 105 “Musical Style and the Changing Social Identity MKALLYAH, KASSOMO, “Affects and Effects of Tamil Christians,” by Zoe C. Sherinian, of Indigenous Tanzanian Music Tradi- 51(2): 238– 80 tions in Christian Worship in Dar es “Musicians’ Performances and Performances of Salaam, Tanzania,” 60(2): 300– 28 ‘’ in Salvador da Bahia, Brazil,” MOEHN, FREDERICK, “A Carioca Blade Run- by Jeff Packman, 55(3): 414– 44 ner, or How Percussionist Marcos Suzano Myanmar: 57(2): 185– 206 Turned the Brazilian Tambourine into a Drum Kit, and Other Matters of (Politi- N cally) Correct Music Making,” 53(2): NANNYONGA- TAMUSUZA, SYLVIA, 277– 307 and ANDREW N. WEINTRAUB, “A “Moninkim: A Symbiotic Performance of Rit- Response to Peter Cooke’s Response,” ual, Music, and Dance by the Ejagham 59(3): 480– 82 People of Nigeria and Cameroon,” by NANNYONGA-TAMUSUZA, SYLVIA, and Marie Agatha Ozah, 59(3): 421– 49 ANDREW N. WEINTRAUB, “The MORCOM, ANNA, “Terrains of Bollywood Audible Future: Reimagining the Role of Dance: (Neoliberal) Capitalism and the Sound Archives and Sound Repatriation Transformation of Cultural Economies,” in Uganda,” 56(2): 206– 33 59(2): 288– 314 “Native Seattle in the Concert Hall: An Eth- Morocco: 55(1): 77– 111; 56(3): 476– 504 nography of Two Symphonies,” by Laurel music analysis: 56(3): 530– 54; cluster analysis: Sercombe, 60(1): 148– 69 58(1): 133– 55; in India: 52(3): 349– 77; “Nazir Ali Jairazbhoy: Bibliography, Discogra- rhythm and meter: 51(1): 64– 84; 53(3): phy, and Filmography,” by Amy Catlin- 396– 424; 55(3): 369– 86; 52(1): 85– 97; Jairazbhoy and Helen Rees, 55(2):306– 17 58(3): 481– 505; 55(1): 55– 76 “Negotiating Authority and Arcticulating Gen- “Music and Dance for Interment Rituals in a der: Performer Interaction in Malang, Chinese Village,” by Yang Mu, 56(1):1– 30 East Java,” by Christina Sunardi, 55(1): “Music and Nationalism in Tanzania: Dynam- 31– 54 ics of National Space in Muziki wa Injili : 54(2): 257– 80 in Dar es Salaam,” by Imani Sanga, 52(1): NEUMAN, DARD, “Pedagogy, Practice, and 52– 84 Embodied Creativity in Hindustani “Music Institutions and the Transmission of Music,” 56(3): 426– 49 Tradition,” by Judah M. Cohen, 53(2): “New Directions for Ethnomusicological 308– 325 Research into the Politics of Music and “Music of Poetry and Poetry of Song: Expres- Culture: Issues, Projects, and Programs,” sivity and Grammar in Vocal Perfor- by Harris M. Berger,” 58(2): 310– 15 10 Ethnomusicology, Index Volumes 51–60

Nigeria: 59(3): 421– 49; highlife: 53(2): 249– 76 “Performing Ethnicity in Southern Shan State, “North Indian Sufi Popular Music in the Age Burma/Myanmar: The Ozi and Gong Tra- of Hindu and Muslim Fundamentalism,” ditions of the Myelat,” by Gavin Douglas, by Peter Manuel, 52(3): 378– 400 57(2): 185– 206 North America: 56(2): 234– 65; indigenous peo- PERMAN, TONY, “Dancing in Opposition: ples: 51(1): 1– 29; 60(1): 148– 69; see also Muchongoyo, Emotion, and the Politics specific countries of Performance in Southeastern Zimba- Norway: : 58(1): 30– 53 bwe,” 54(3): 425– 451 “Permeable Boundaries: Hybridity, Music, O and the Reception of Robert Wilson’s I “Of One Family? Improvisation, Variation, La Galigo,” by Sarah Weiss, 52(2): 203– 38 and Composition in Balinese Gendér “Permitted Indians and Popular Music in Con- Wayang,” by Nicholas Gray, 54(2): 224– temporary Peru,” by Joshua Tucker, 55(3): 56 387– 413 “Okeikoba: Lesson Places as Sites for Negotiat- Peru: popular music: 55(3): 387– 413 ing Tradition in Japanese Music,” by Jay PERULLO, ALEX, “Rumba in the City of Peace: Keister, 52(2): 239– 69 Migration and the Cultural Commodity OMOJOLA, BODE, “Politics, Identity, and of Congolese Music in Dar es Salaam, Nostalgia in Nigerian Music: A Study of 1968– 1985,” 52(2): 296– 323 Victor Olaiya’s Highlife,” 53(2): 249– 76 PHILLIPS, MIRIAM, “Becoming the Floor / “On Flogging the Dead Horse, Again: Historic- Breaking the Floor: Experiencing the ity, Genealogy, and Objectivity in Rich- Kathak-Flamenco Connection,” 57(3): ard Waterman’s Approach to Music,” by 396– 427 Michael Iyanaga, 59(2): 173– 201 PLOURDE, LORRAINE, “Disciplined Lis- “On Hybridity in African Popular Music: The tening in Tokyo: OnkyO and Non- Case of Senegalese Hip Hop,” by Cath- Intentional Sounds,” 52(2): 270– 95 erine Appert, 60(2): 279– 99 “Poetics and the Performance of Violence in OZAH, MARIE AGATHA, “Moninkim: A Israel/Palestine,” by David A. McDonald, Symbiotic Performance of Ritual, Music, 53(1): 58– 85 and Dance by the Ejagham People of Poland: 51(2): 185– 204; see also diaspora Nigeria and Cameroon,” 59(3): 421– 49 politics and music: 58(2): 316– 21; in Nigeria: 53(2): 249– 76; in Zimbabwe: 54(3): 425– P 451 PACKMAN, JEFF, “Musicians’ Performances “Politics, Identity, and Nostalgia in Nige- and Performances of ‘Musician’ in Salva- rian Music: A Study of Victor Olaiya’s dor da Bahia, Brazil,” 55(3): 414– 44 Highlife,” by Bode Omojola, 53(2):249– 76 “Palang Conformity and Fulset Freedom: “Politics of Ethnomusicological Knowledge Encountering Pentecostalism’s ‘Sen- Production and Circulation,” by Jocelyne sational’ Liturgical Forms in the Post- Guilbault, 58(2): 316– 21 missionary Church in Lae, Papua New “Politics of Silence, The: Music, Violence and Guinea,” by Michael Webb, 55(3):445– 72 Protest in Guinea,” by Nomi Dave, 58(1): Palestine: 53(1): 58– 85 1– 29 Panama: 59(3): 450– 74 “Pop Song as Custom: Weddings, Ethnicity, Papua New Guinea: 55(3): 445– 72 and Entrepreneurs in West Sumatra,” by “Pedagogy, Practice, and Embodied Creativity Jennifer Fraser, 55(2): 200– 28 in Hindustani Music,” by Dard Neuman, popular music/culture: 51(3): 371– 401; 52(3): 56(3): 426– 49 378– 400; 55(3): 387– 413; 58(2): 223– 53; “Peircean Thought as Core Theory for a Phe- 60(2): 197– 232; 60(2): 279– 99; 60(3): nomenological Ethnomusicology,” by 383– 410; 411–433; in Indonesia: 52(1): Thomas Turino, 58(2): 185– 222 98– 116; 55(2): 200– 28; 60(3): 484–507; Articles 11

in the : 55(1): 1– 30; 58(1): China’s ‘Original Ecology Folksongs’ in 54– 82; 59(1): 61– 81 Theory and Practice,” 60(1): 53– 88 Portugal: 51(1): 106– 30 REES, HELEN, and AMY CATLIN- “Powwows, Intertribalism, and the Value of JAIRAZBHOY, “Nazir Ali Jairazbhoy: Competition,” by Christopher Scales, Bibliography, Discography, and Film- 51(1): 1– 29 ography,” 55(2): 306– 17 “Process of Musical Translation, The: Compos- REILY, SUZEL ANA, “Discipline or Dialogue? ing a Maltese Festa Band March from (A Response to Timothy Rice),” 54(2): Libyan Ma’lūf Music,” by Philip Ciantar, 331– 33 57(1): 1– 33 “Relocating the Tatras: Place and Music in protest/dissent: 54(3): 452– 483; 55(1): 112– 27; Górale Identity and Imagination,” by 56(2): 179– 205; 57(1): 57– 87; 58(1): 1– 29; Louise Wrazen, 51(2): 185– 204 60(2): 233– 62 “Remembering the Borderlands: Traditional PRUETT, DAVID B., “When the Tribe Goes Music and the Post-Frontier in Aisén, Triple Platinum: A Case Study Toward an Chile,” by Gregory J. Robinson, 57(3): Ethnomusicology of Mainstream Popular 455– 84 Music in the US,” 55(1): 1– 30 “Response to ‘Consilience Revisited’,” by Judith “Public and Intimate Sociability in First Becker, 56(1): 112– 17 Nations and Métis Fiddling,” by Byron “Response to Peter Cooke’s Response, A,” Dueck, 51(1): 30– 63 by Sylvia Nannyonga- Tamusuza and Andrew N. Weintraub, 59(3): 480– 82 R “Response to Rice,” by Kofi Agawu, 54(2): RACANELLI, DAVID, “Guitar Playing and 326– 29 Representation in the Changing Loca- “Response to Rice,” by Martin Stokes, 54(2): tions of New York City’s African Music 339– 41 Scene,” 58(2): 278– 309 “Response to Rice,” by T. M. Scruggs, 54(2): RACY, A. J., “Domesticating Otherness: The 333– 36 Snake Charmer in American Popular “Response to Rice: A Re-Call of Arms,” by Ellen Culture,” 60(2): 197– 232 Koskoff, 54(2): 329– 31 “Radical Tradition: Balinese Music Kontem- “Response to Sylvia Nannyonga- Tamusuza porer,” by Andrew Clay McGraw, 53(1): and Andrew N. Weintraub’s ‘The Audi- 115– 41 ble Future: Reimagining the Role of RAMNARINE, TINA K. “Acoustemology, Sound Archives and Sound Repatriation Indigeneity, and Joik in Valkeapää’s Sym- in Uganda,’ A,” by Peter Cooke, 59(3): phonic Activism: Views from Europe’s 475– 79 Arctic Fringes for Environmental Eth- “Reviving the Golden Age Again: ‘Classi- nomusicology,” 53(2): 187– 217 cization,’ Hindustani Music, and the RAMZY, CAROLYN, “Autotuned Belonging: Mughals,” by Katherine Butler Schofield, Coptic Popular Song and the Politics of 54(3): 484– 517 Neo-Pentecostal Pedagogies,” 60(3):434– REYES, ADELAIDA, “What Do Ethnomusi- 58 cologists Do? An Old Question for a New RANCIER, MEGAN, “The Musical Instrument Century,” 53(1): 1– 17 as National Archive: A Case Study of the “Rhythmic Transformations in Senegalese Kazakh Qyl-qobyz,” 58(3): 379– 404 Sabar,” by Patricia Tang, 52(1): 85– 97 “Rebellious Pedagogy, Ideological Transforma- RICE, TIMOTHY, “Disciplining Ethnomusicol- tion, and Creative Freedom in Finnish ogy: A Call for a New Approach,” 54(2): ,” by Juniper 318– 325 Hill, 53(1): 86– 114 RICE, TIMOTHY, and JESSE D. RUSKIN, REES, HELEN, “Environmental Crisis, Cul- “The Individual in Musical Ethnography,” ture Loss, and a New Musical Aesthetic: 56(2): 299– 327 12 Ethnomusicology, Index Volumes 51–60

“‘Rice’s ‘Crisis’,” by Mark Slobin, 54(2): 337– S 38 “Saga’s Sorrow: Femininities of Despair in the “Right Singing in Estonian Orthodox Chris- Music of Radical White Nationalism,” tianity: A Study of Music, Theology, and by Benjamin R. Teitelbaum, 58(3): 405– Religious Ideology,” by Jeffers Engelhardt, 30 53(1): 32– 57 SAKAKEENY, MATT, “‘Under the Bridge’: RIOS, FERNANDO, “Bolero Trios, Mestizo An Orientation to Soundscapes in New Panpipe Ensembles, and Bolivia’s 1952 Orleans,” 54(1): 1– 27 Revolution: Urban La Paz Musicians SANGA, IMANI, “Music and Nationalism in and the Nationalist Revolutionary Move- Tanzania: Dynamics of National Space in ment,” 54(2): 281– 317 Muziki wa Injili in Dar es Salaam,” 52(1): RISK, LAURA, “The Chop: The Diffusion of 52– 84 an Instrumental Technique across North SAVAGE, PATRICK E., and STEVEN BROWN, Atlantic Fiddling Traditions,” 57(3): 428– “Mapping Music: Cluster Analysis of 54 Song-Type Frequencies Within and “Rita(hhh): Placemaking and Country Music Between Cultures,” 58(1): 133– 55 on the Navajo Nation,” by Kristina Jacob- SBORGI LAWSON, FRANCESCA R., “Con- sen, 53(3): 449– 77 silience Revisited: Musical and Scientific ritual: 54(1): 28– 53; 56(1): 1– 30; 59(3): 421– 49 Approaches to Chinese Performance,” ROBINSON, GREGORY J., “Remembering 56(1): 86– 111 the Borderlands: Traditional Music and SCALES, CHRISTOPHER, “Powwows, Inter- the Post-Frontier in Aisén, Chile,” 57(3): tribalism, and the Value of Competition,” 455– 84 51(1): 1– 29 ROCKWELL, JOTI, “Time on the Crooked SCHELLENBERG, MURRAY, “Does Language Road: Isochrony, Meter, and Disruption Determine Music in Tone Languages?” in Old-Time Country and Bluegrass 56(2): 266– 78 Music,” 55(1): 55– 76 SCHOFIELD, KATHERINE BUTLER, RODA, P. ALLEN, “The Global Tabla Industry: “Reviving the Golden Age Again: ‘Clas- An Instrumental Ecology,” 59(2): 315– 16 sicization,’ Hindustani Music, and the ROGERS, VICTORIA, “John Blacking, Com- Mughals,” 54(3): 484– 517 poser,” 57(2): 311– 29 SCHULTZ, ANNA, “The Collision of Genres ROGERS, VICTORIA, “John Blacking: Social and Collusion of Participants: Marathi and Political Activist,” 56(1): 63– 85 Rastriya Kirtan and the Communication “Role-Playing toward a Virtual Musical Democ- of Hindu Nationalism,” 52(1): 31– 51 racy in The Lord of the Rings Online,” by SCHWEIG, MEREDITH, “‘Young Soldiers, William Cheng, 56(1): 31– 62 One Day We Will Change Taiwan’: Mas- ROMMEN, TIMOTHY, “‘Localize It’: Rock, culinity Politics in the Taiwan Rap Scene,” Cosmopolitanism, and the Nation in 60(3): 383–410 Trinidad,” 51(3): 371– 401 Scotland: 54(3): 369– 394; 54(3): 395– 424; see “Rumba in the city of Peace: Migration and the also diaspora Cultural Commodity of Congolese Music Senegal: 52(1): 85– 97; popular music: 60(2): in Dar es Salaam, 1968– 1985,” by Alex 279– 99 Perullo, 52(2): 296– 323 SERCOMBE, LAUREL, “Native Seattle in the RUSKIN, JESSE D., and TIMOTHY RICE, Concert Hall: An Ethnography of Two “The Individual in Musical Ethnography,” Symphonies,” 60(1): 148– 69 56(2): 299– 327 SCRUGGS, T. M., “Response to Rice,” 54(2): RYAN, JENNIFER, “Beale Street Blues? Tour- 333– 36 ism, Musical Labor, and the Fetishization SHERINIAN, ZOE C., “Musical Style and The of Poverty in Blues Discourse,” 55(3): Changing Social Identity of Tamil Chris- 473– 503 tians,” 51(2): 238– 80 Articles 13

SILVERS, MICHAEL, “Birdsong and a Song “‘Still Like That Old Time Rock and Roll’: Trib- about a Bird: Popular Music and the ute Bands and Historical Consciousness Mediation of Traditional Ecological in Popular Music,” by John Paul Meyers, Knowledge in Northeastern Brazil,” 59(3): 59(1): 61– 81 380– 97 STIRR, ANNA, “‘May I Elope’: Song Words, SIMONETT, HELENA, “Envisioned, Social Status, and Honor among Female Ensounded, Enacted: Sacred Ecology and Nepali Dohori Singers,” 54(2): 257– 80 Indigenous Musical Experience in Yor- STOCK, JONATHAN P. J., “Alexander J. Ellis eme Ceremonies of Northwest Mexico,” and His Place in the History of Ethnomu- 58(1): 110– 32 sicology,” 51(2): 306– 25 “Singing Heaven Down to Earth: Spiritual Jour- STOKES, MARTIN, “Response to Rice,” 54(2): neys, Eschatalogical Sounds, and Com- 339– 41 munity Formation in Evangelical Con- SUGARMAN, JANE, “Building and Teaching ference Worship,” by Monique Ingalls, Theory in Ethnomusicology: A Response 55(2): 255– 79 to Rice,” 54(2): 341– 44 SLOBIN, MARK, “Rice’s ‘Crisis’,” 54(2):337– 38 SUM, MAISIE, “Staging the Sacred: Musical “Social Life of Musical Instruments, The,” by Structure and Processes of the Gnawa Lila Eliot Bates, 56(3): 363– 95 in Morocco,” 55(1): 77– 111 SLOBIN, MARK, “Improvising a Musical Sumatra: 54(3): 452–483; popular music: 55(2): Metropolis: Detroit in the 1940s–1960s,” 200– 28 60(1): 1– 21 SUNARDI, CHRISTINA, “Negotiating Author- SOLIS, GABRIEL, “Thoughts on an Inter- ity and Arcticulating Gender: Performer discipline: Music Theory, Analysis, and Interaction in Malang, East Java,” 55(1): Social Theory in Ethnomusicolgy,” 56(3): 31– 54 530– 54 Sweden: popular music: 58(2): 254– 77; 58(3): “Sound, Silence, Music: Power,” by Deborah 405– 30 Wong, 58(2): 342– 8 SYKES, JIM, “Culture as Freedom: Musical “Sounding Against Nuclear Power in Post- ‘Liberation’ in Batticaloa, Sri Lanka,” 3.11 Japan: Resonances of Silence and 57(3): 485– 517 Chindon-ya,” by Marié Abe, 60(2):233– 62 : popular music: 57(2): 286– 310 T South Korea: 56(3): 396– 425; p’ungmul: 56(2): Taiwan: 58(1): 133– 55; popular music: 53(2): 179– 205; 59(1): 31– 60 218– 48; 60(3): 383–410 Spain: 57(3): 396– 427 TANG, PATRICIA, “Rhythmic Transforma- SPARLING, HEATHER, “Categorically Speak- tions in Senegalese Sabar,” 52(1): 85– 97 ing: Toward a Theory of (Musical) Genre,” Tanzania: 52(1): 52– 84; 52(2): 296– 323; 60(2): 52(3): 401– 25 300– 28 SPILLER, HENRY, “Interdisciplinarity and TATRO, KELLEY, “The Hard Work of Scream- Musical Exceptionalism,” 58(2): 336– 41 ing: Physical Exertion and Affective Sri Lanka: 57(3): 485– 517 Labor Among Mexico City’s Punk Vocal- “Staging the Sacred: Musical Structure and Pro- ists,” 58(3): 431– 53 cesses of the Gnawa Lila in Morocco,” by TAYLOR, TIMOTHY D., “The Commodifica- Maisie Sum, 55(1): 77– 111 tion of Music at the Dawn of the Era of “Standing Out While Fitting In: Genre, Style, ‘Mechanical Music’,” 51(2): 281– 305 and Critical Differentiation Among Pan- technology and media: 51(2): 281– 305; 53(3): amanian Conjunto Musicians,” by Sean 425–48; 57(1):34– 56; 58(1):54– 82; 60(3): Bellaviti, 59(3): 450– 74 411–33; 434–58 “Stepping Across the Divide: Hasidic Music TEITELBAUM, BENJAMIN R., “Saga’s Sorrow: in Today’s Yiddish Canon,” by Abigail Femininities of Despair in the Music of Wood, 51(2): 205– 37 Radical White Nationalism,” 58(3):405– 30 14 Ethnomusicology, Index Volumes 51–60

TENZER, MICHAEL, “Generalized Repre- “Transnational Migrations and YouTube Sensa- sentations of Musical Time and Periodic tions: Korean Americans, Popular Music, Structures,” 55(3): 369– 86 and Social Media,” by Eun-Young Jung, TENZER, MICHAEL, “Meditations on ‘Objec- 58(1): 54– 82 tive Aesthetics’ in World Music,” 59(1): Trinidad: popular music: 51(3): 371– 401 1– 30 TUCKER, JOSHUA, “Permitted Indians and TERPENNING, STEVEN SPINNER, “African Popular Music in Contemporary Peru,” Musical Hybridity in the Colonial Con- 55(3): 387– 413 text: An Analysis of Ephraim Amu’s ‘Yɛn TURINO, THOMAS, “Peircean Thought as Ara Asase Ni’,” 60(3): 459–83 Core Theory for a Phenomenological “Terrains of Bollywood Dance: (Neoliberal) Ethnomusicology,” 58(2): 185– 222 Capitalism and the Transformation of Turkey: 54(1): 81– 105 Cultural Economies,” by Anna Morcom, Turkmenistan: 59(2): 202– 26 59(2): 288– 314 “‘Text Must Remain the Same, The’: History, U Collective Memory, and Sung Poetry in Uganda: 56(2): 206– 33; 59(3): 475– 79; 59(3): Morocco,” by Alessandra Ciucci, 56(3): 480– 82 476– 504 “‘Under the Bridge’: An Orientation to Sound- “Thoughts on an Interdiscipline: Music Theory, scapes in ,” by Matt Saka- Analysis, and Social Theory in Ethnomu- keeny, 54(1): 1– 27 sicology,” by Gabriel Solis, 56(3): 530– 54 United Kingdom: 54(3): 369– 394; 55(2): 280– TILLEY, LESLIE, “Dialect, Diffusion, and Bali- 305; see also specific countries nese Drumming: Using Sociolinguistic United States of America: 55(2): 185– 99; 58(3): Models for the Analysis of Regional Vari- 454– 80; 60(1): 1– 20; bluegrass: 55(1): 55– ation in Kendang Arja,” 58(3): 481– 505 76; Evangelical: 55(2): 255– 79; Hawaii: “Time on the Crooked Road: Isochrony, Meter, 54(2): 185– 201; : 58(2): 278– 309; and Disruption in Old-Time Country Memphis blues: 55(3): 473– 503; Navajo: and ,” by Joti Rockwell, 53(3): 449– 77; New Orleans jazz and 55(1): 55– 76 blues: 54(1): 1– 27; north Atlantic: 57(3): TITON, JEFF TODD, “Ecology, Phenom- 428–54; Pentacostal: 53(3):478– 501; pop- enology, and Biocultural Thinking: A ular music and media: 55(1): 1– 30; 58(1): Response to Judith Becker,” 53(3):502– 09 54– 82; 60(2): 197– 232 TITUS, BARBARA, “‘Walking Like a Crab’: Analyzing Maskanda Music in Post- Apartheid South Africa,” 57(2): 286– 310 V VAN BUREN, KATHLEEN J., “Applied Ethno- TOCHKA, NICHOLAS, “To ‘Enlighten and musicology and HIV and AIDS: Respon- Beautify’: Western Music and the Mod- sibility, Ability, and Action,” 54(2):202– 23 ern Project of Personhood in Albania, c. Vietnam: 57(1): 88– 115 1906– 1924,” 59(3): 398– 420 “Visual Excess: The Visuality of Traditional “To ‘Enlighten and Beautify’: Western Music Music Performance in South Korea,” by and the Modern Project of Personhood Hilary Vanessa Finchum-Sung, 56(3): in Albania, c. 1906– 1924,” by Nicholas 396– 425 Tochka, 59(3): 398– 420 tourism: 59(2):227– 61; in Bulgaria: 55(3):473– 503; in the Caribbean: 60(2): 263– 78 W “Toward a Methodology of War and Peace “‘Walking Like a Crab’: Analyzing Maskanda Studies in Ethnomusicology: The Case of Music in Post-Apartheid South Africa,” Aceh, 1976– 2009,” by Margaret Kartomi, by Barbara Titus, 57(2): 286– 310 54(3): 452– 483 WALLACH, JEREMY, “Living the Punk Life- “Tracks: Temporal Shifts and Transnational style in Jakarta,” 52(1): 98– 116 Networks of Sentiment in Uyghur Song,” WEBB, MICHAEL, “Palang Conformity and by Rachel Harris, 56(3): 450– 75 Fulset Freedom: Encountering Pentecos- Articles 15

talism’s ‘Sensational’ Liturgical Forms in WHITMORE, ALEYSIA K., “The Art of Repre- the Postmissionary Church in Lae, Papua senting the Other: Industry Personnel in New Guinea,” 55(3): 445– 72 the World Music Industry,” 60(2):329– 55 WEINTRAUB, ANDREW N., and SYLVIA “Who Owns an Interpretation? Legal and NANNYONGA- TAMUSUZA, “A Symbolic Ownership of Norwegian Folk Response to Peter Cooke’s Response,” Music,” by Ola K. Berge and Mats Johans- 59(3): 480– 82 son, 58(1): 30– 53 WEINTRAUB, ANDREW, and SYLVIA WONG, DEBORAH, “Sound, Silence, Music: NANNYONGA- TAMUSUZA, “The Power,” 58(2): 342– 8 Audible Future: Reimagining the Role of WOOD, ABIGAIL, “Stepping Across the Sound Archives and Sound Repatriation Divide: Hasidic Music in Today’s Yiddish in Uganda,” 56(2): 206– 33 Canon,” 51(2): 205– 37 WEISS, SARAH, “Listening to the World but “Worlding Music in Jogjakarta: Tales of the Hearing Ourselves: Hybridity and Per- Global Postmodern,” by René Lysloff, ceptions of Authenticity in World Music,” 60(3): 484–507 58(3): 506– 25 WRAZEN, LOUISE, “Relocating the Tatras: WEISS, SARAH, “Permeable Boundaries: Place and Music in Górale Identity and Hybridity, Music, and the Reception Imagination,” 51(2): 185– 204 of Robert Wilson’s I La Galigo,” 52(2): 203– 38 Y “Westernizing Reform and Indigenous Prec- YANG MU, “Music and Dance for Interment edent in Traditional Music: Insights from Rituals in a Chinese Village,” 56(1): 1– 30 Turkmenistan,” by David Fossum, 59(2): “‘You’ll Break Your Heart Trying to Play It Like 206– 26 You Sing It’: Intermodal Imagery and the “What Do Ethnomusicologistsn Do? An Old Transmission of Scottish Classical Bag- Question for a New Century,” by Adelaida piping,” by Gina Fatone, 54(3): 395– 424 Reyes, 53(1): 1– 17 “‘Young Soldiers, One Day We Will Change “What Happened to Indian Music Theory? Taiwan’: Masculinity Politics in the Tai- Indo-Occidentalism?” by Nazir Ali Jai- wan Rap Scene,” by Meredith Schweig, razbhoy, 52(3): 349– 77 60(3): 383–410 “When Charisma Sustains Tradition: Deploy- ing Musical Competence in Southern Z Vietnam,” by Alexander M. Cannon, ZBIKOWSKI, LAWRENCE M., “Music, Lan- 57(1): 88– 115 guage, and What Falls in Between,” 56(1): “When the Tribe Goes Triple Platinum: A 125– 31 Case Study Toward an Ethnomusicology Zimbabwe: 54(3): 425– 451 of Mainstream Popular Music in the US,” by David B. Pruett, 55(1): 1– 30 Index to Authors and Titles of Books Reviewed and Reviewers of Books

A ALBURGER, MARY ANNE, and IAN RUS- Aboriginal Music in Contemporary Canada: SELL, eds., Play It Like It Is: and Echoes and Exchanges, Anna Hoefna- Dance Studies from around the North gels and Beverley Diamond, eds., rev. by Atlantic; Driving the Bow: Fiddle and Charlotte J. Frisbie, 57(2): 338– 47 Dance Studies from Around the North ADAMS, MARGARETHE, rev. of Beyond the Atlantic 2, rev. by Cinzia Yates, 54(3): Roof the World: Music, Prayer, and Heal- 530– 36 ing in the Pamir Mountains, by Benjamin ALLEN, MATTHEW HARP, and T. VISWA- D. Koen, 58(1): 156– 58 NATHAN, Music in South India: Experi- ADLINGTON, RICHARD, ed., Red Strains: encing Music, Expressing Culture, rev. by Music and Communism Outside the Com- Peter Manuel, 52(1): 117– 20 munist Bloc, rev. by Ian MacMillen, 59(3): ALLISON, THERESA A., rev. of The Culture of 491– 93 AIDS in Africa: Hope and Healing through Afghanistan Encounters with Music and Friends, Music and the Arts, Gregory Barz and by Hiromi Lorraine Sakata, rev. by Evan Judah M. Cohen, eds., 57(1): 138– 42 Rapport, 59(2): 346– 48 Among the Jasmine Trees: Music and Modernity AGAWU, KOFI, “Trends in African Musicol- in Contemporary Syria, by Jonathan Holt ogy: A Review Article,” rev. of Female Shannon, rev. by Anne Elise Thomas, Voices from an Ewe Dance Drumming 52(1): 139– 41 Community in Ghana, by James Burns; AMPENE, KWASI, rev. of Music in West Africa: Fiddling in West Africa, by Jacqueline Experiencing Music, Expressing Culture, Cogdell DjeDje; du Nord- by Ruth M. Stone, 51(1): 146– 48 Cameroun [ of North Cam- Analytical Studies in World Music, Michael eroon], by Nathalie Fernando; Moderne Tenzer, ed., rev. by Edward Green, 51(2): Traditionen: Studien zur postkolonialen 345– 47 Musikgeschichte Ghanas [Modern tra- Ancient Text Messages of the Yor ùbá Bàtá ditions: Studies of the of Drum: Cracking the Code, by Amanda postcolonial Ghana], by Tobias Robert Villepastour, rev. by Akin Euba, 55(3): Klein; Theory of African Music, Volume ,2 516– 20 by Gerhard Kubik; and Musical Sense and ANDERSON, IAIN, This Is Our Music: Free Musical Meaning: An Indigenous African Jazz, the Sixties, and American Culture, Perspective, by Meki Nzewi, Israel Anya- rev. by Monica Hairston, 52(3): 462– 66 huru, and Tom Ohiaraumunna, 56(1): Anglo-German Concertina, The: A Social His- 133– 40 tory (Volumes I and II), by Dan M. Wor- AKE, DAVID, Jazz Matters: Sound, Place, and rall, rev. by Gage Averill, 55(1): 151– 54 Time Since Bebob, rev. by Michael Dono- ANYAHURU, ISRAEL, MEKI NZEWI, and van, 55(3): 504– 8 TOM OHIARAUMUNNA, Musical Sense ALAJAJI, SYLVIA, rev. of Paroles mélodisées: and Musical Meaning: An Indigenous Afri- Récits épiques et lamentations chez les can Perspective, rev. by Kofi Agawu, 56(1): Yézidis d’Arménie [Melodized speech: 133– 40 Heroic songs and laments by the Yezi- Arab Avant-Garde, The, Thomas Burkhalter, dis of Armenia], by Estelle Amy de la et al., eds., rev. by Kathleen Hood, 60(2): Bretèque, 59(2): 337– 39 365– 67 Alaturka: Style in Turkish Music (1923–1938) , AROM, SIMHA, and DENIS-CONSTANT by John Morgan O’Connell, rev. by Mau- MARTIN, L’Enquête en ethnomusicolo- reen Jackson, 59(3): 488– 91 gie: Préparation, terrain, analyse [Inquiry Book Reviews 17

in ethnomusicology: Preparation, field, Ballads and Broadsides in Britain, 1500– 1800, analysis], rev. by Michael Tenzer, 60(2): Patricia Fumerton, Anita Guerrini, and 371– 75 Kris McAbee, eds., rev. by Elizabeth Around and About Marius Barbeau: Model- Neale, 55(2): 329– 36 ing Twentieth-Century Culture, Lynda BARLOW, RACHELLE, rev. of Music in Welsh Jessup, Andrew Nurse, and Gordon E. Culture before 1650: A Study of the Princi- Smith, eds., rev. by Brian C. Thompson, pal Sources, by Sally Harper, 55(3):511– 16 54(1): 152– 57 BARZ, GREGORY, Music in : Expe- Art of Making Do in Naples, The, by Jason Pine, riencing Music, Expressing Culture, rev. by rev. by Nicholas Tochka, 59(1): 161– 64 David Locke, 51(2): 351– 52 AUSTERLITZ, PAUL, Jazz Consciousness: BARZ, GREGORY, and JUDAH M. COHEN, Music, Race, and Humanity, rev. by A. eds., The Culture of AIDS in Africa: Hope Scott Currie, 51(1): 149– 51 and Healing through Music and the Arts, AVERILL, GAGE, rev. of The Anglo-German rev. by Theresa A. Allison, 57(1): 138– 42 Concertina: A Social History (Volumes I BARZ, GREGORY, and TIMOTHY J. COOLEY, and II), by Dan M. Worrall, 55(1):151– 54 eds., Shadows in the Field: New Perspec- Azerbaijani Women Poet-Minstrels: Women tives for Fieldwork in Ethnomusicology, Ashiqs from the Eighteenth Century to the Second Edition, rev. by Peter Manuel, Present, by Anna Oldfield, rev. by Peter 57(1): 124– 30 McMurray, 55(1): 143– 48 BAȘGÖZ, İLHAN, Hikâye: Turkish Folk Romance as Performance Art, rev. by Peter B McMurray, 55(1): 143– 48 Bagpipes: A National Collection of a National BATES, ELIOT, Music in Turkey: Experiencing Instrument, by Hugh Cheape, rev. by Music, Expressing Culture, rev. by Sonia Simon McKerrell, 55(3): 508– 11 Tamar Seeman, 56(3): 558– 62 BAK, KIRSTEN SASS, and SVEND NIELSEN, BECKER, JUDITH, Deep Listeners: Music, eds., Spiritual Folk Singing: Nordic and Emotion, and Trancing, rev. by Tony Per- Baltic Protestant Traditions, rev. by Juni- man, 57(2): 330– 38 per Hill, 52(1): 132– 36 Beyond the Roof the World: Music, Prayer, BAKAN, MICHAEL, rev. of The Cambridge and Healing in the Pamir Mountains, by History of World Music, Philip Bohlman, Benjamin D. Koen, rev. by Margarethe ed., 60(2): 358– 64 Adams, 58(1): 156– 58 BAKAN, MICHAEL B., rev. of Women, the Bhangra and Asian Underground: South Asian Recited Qur’an, and in Music and the Politics of Belonging in Brit- Indonesia, by Anne K. Rasmussen, 56(1): ain, by Falu Bakrania, rev. by Stefan Fiol, 140– 44 59(1): 153– 55 BAKHLE, JANAKI, Two Men and Music: BILBY, KENNETH, PETER MANUEL, and Nationalism in the Making of an Indian MICHAEL LARGEY, Caribbean Cur- Classical Tradition, rev. by Stephen rents: Caribbean Music from Rumba to Slawek, 51(3): 506– 12 , Revised and Expanded Edition, BAKRANIA, FALU, Bhangra and Asian Under- rev. by Hope Munro Smith, 51(2):355– 57 ground: South Asian Music and the Politics BLUM, STEPHEN, rev. of Touraj Kiaras and of Belonging in Britain, rev. by Stefan Fiol, Persian Classical Music: An Analyti- 59(1): 153– 55 cal Perspective, by Owen Wright, 55(1): BALANDINA, ALEXANDRA, rev. of Para- 149– 51 dosiaká: Music, Meaning and Identity in BOHLMAN PHILIP, ed., The Cambridge His- Modern Greece, by Eleni Kallimopoulou, tory of World Music, rev. by Michael 54(3): 522– 25 Bakan, 60(2): 358– 64 Balkan Popular Culture and the Ottoman BOOTH, GREGORY D., Brass Baja, rev. by Ecumene: Music, Image and Regional Peter Manuel, 52(1): 117– 20 Political Discourse, Donna A. Buchanan, BORN, GEORGINA, ed., Music, Sound and ed., rev. by Irene Markoff, 53(2): 336– 43 Space: Transformations of Public and Pri- 18 Ethnomusicology, Index Volumes 51–60

vate Experience, rev. by David Samuels, BUCHANAN, DONNA A., Performing Democ- 59(3): 499– 502 racy: Bulgarian Music and Musicians in BOURDAGHS, MICHAEL, Sayonara Amerika, Transition, rev. by Claire Levy, 51(3): Sayonara Nippon: A Geopolitical Prehis- 503– 6 tory of J-Pop, rev. by Christine R. Yano, BUCKLAND, THERESA JILL, ed., Dancing 60(1): 187– 90 from Past to Present: Nation, Culture, Brass Baja, by Gregory D. Booth, rev. by Peter Identities, rev. by Colin Quigley, 53(3): Manuel, 52(1): 117– 20 522– 25 Brazilian Music: Northeastern Traditions and the BURKHALTER, THOMAS, et al., eds., The Heartbeat of a Modern Nation, by Larry Arab Avant-Garde, rev. by Kathleen Crook, rev. by Suzel Ana Reily, 51(3): Hood, 60(2): 365– 67 486– 92 BURNS, JAMES, Female Voices from an Ewe Brazilian Popular Music: Caetano Veloso and Dance Drumming Community in Ghana, the Regeneration of Tradition, by Lor- rev. by Kofi Agawu, 56(1): 133– 40 raine Leu, rev. by Suzel Ana Reily, 51(3): BUTLER, MELVIN L., rev. of The Holy Pro- 486– 92 fane: Religion in Black Popular Music, by BRETÈQUE, ESTELLE AMY DE LA, Paroles Teresa L. Reed; Singing in My Soul: Black mélodisées: Récits épiques et lamentations Gospel Music in a Secular Age, by Jerma chez les Yézidis d’Arménie [Melodized A. Jackson; “Let the Church Sing!”: Music speech: Heroic songs and laments by the and Worship in a Black Mississippi Com- Yezidis of Armenia], rev. by Sylvia Alajaji, munity, by Thérèse Smith; Lining Out 59(2): 337– 39 the Word: Dr. Watts Hymn Singing in the Bridges to the Ancestors: Music, Myth, and Cul- Music of Black Americans, by William T. tural Politics at an Indonesian Festival, by Dargan, 51(3): 492– 98 David Harnish, rev. by Jim Sykes, 58(3): 454– 80 C Bright Star of the West: Joe Heaney, Irish Song- CAIN, M. CELIA, rev. of Native American Man, by Sean Williams and Lillis Ó Lao- Music in Eastern North America: Expe- ire, rev. by Aileen Dillane, 57(3): 542– 46 riencing Music, Expressing Culture, by BRINNER, BENJAMIN, Music in Central Java: Beverley Diamond; Essential Song: Three Experiencing Music, Expressing Culture, Decades of Northern Cree Music, by Lynn rev. by Henry Spiller, 52(1): 121– 25 Whidden, 52(3): 458– 62 BRINNER, BENJAMIN, Playing Across a CAIXETA DE QUEIROZ, RUBEN, and Divide: Israeli-Palestinian Musical Encoun- ROSÂNGELA PEREIRA DE TUGNY, ters, rev. by Michael A. Figueroa, 54(3): eds., Músicas africanas e indígenas no 518– 22 Brasil [African and indigenous BROWNER, TARA, rev. of Recording Cul- in Brazil], rev. by Suzel Ana Reily, 51(3): ture: Powwow Music and the Aborigi- 486– 92 nal Recording Industry on the Northern Calling Back the Spirit: Music, Dance, and Cul- Plains, by Christopher A. Scales, 60(3): tural Politics in Lowland South Sulawesi, 517–19 by R. Anderson Sutton, rev. by Sarah Bruit Pieu, Un: Bandas, Musique et Fête dans un Weiss, 51(1): 131– 42 Village Maltais (Zabbar) [A pious noise: Cambridge History of World Music, The, Philip Bandas, music and festival in a Maltese Bohlman, ed., rev. by Michael Bakan, village (Zabbar)], by Giovanna Iacovazzi, 60(2): 358– 64 rev. by Angela Glaros, 58(3): 529– 32 Caribbean and Atlantic Diaspora Dance: Ignit- BUCHANAN, DONNA A., ed., Balkan Popu- ing Citizenship, by Yvonne Daniel, rev. by lar Culture and the Ottoman Ecumene: Lois Wilcken, 57(2): 351– 54 Music, Image and Regional Political Caribbean Currents: Caribbean Music from Discourse, rev. by Irene Markoff, 53(2): Rumba to Reggae, Revised and Expanded 336– 43 Edition, by Peter Manuel with Kenneth Book Reviews 19

Bilby and Michael Largey, rev. by Hope García, rev. by Martha Tupinambá de Munro Smith, 51(2): 355– 57 Ulhôa, 52(1): 129– 32 Carnival Music in Trinidad: Experiencing Music, COHEN, JUDAH M., and GREGORY BARZ, Expressing Culture, by Shannon Dudley, eds., The Culture of AIDS in Africa: Hope rev. by Hope Munro Smith, 51(2):355– 57 and Healing through Music and the Arts, Carriacou String Band Serenade: Performing rev. by Theresa A. Allison, 57(1): 138– 42 Identity in the Eastern Caribbean, by COHEN, JUDAH M., rev. of A Fusion of Tradi- Rebecca S. Miller, rev. by Tine K. Ram- tions: Liturgical Music in the Copenhagen narine, 54(1): 157– 60 Synagogue, by Jane Mink Rossen and Uri CASTELO-BRANCO, SALWA EL-SHAWAN, Sharvit, 52(2): 327– 28 ed., Enciclopédia da Música em Portugal Companion to North Indian Classical Music, no Século XX [Encyclopedia of music by Satyendra K. Sen Chib, rev. by Peter in Portugal in the XX century], rev. by Manuel, 52(1): 117– 20 Michael B. Silvers, 60(1): 181– 82 Contemporary Carioca: Technologies of Mixing CASTELO-BRANCO, SALWA EL-SHAWAN, in a Brazilian Musical Scene, by Freder- rev. of Music in Egypt: Experiencing ick Moehn, rev. by Joshua Tucker, 58(3): Music, Expressing Culture, by Scott L. 551– 55 Marcus, 53(2): 343– 45 COOLEY, TIMOTHY J., Making Music in the CASTRO BUENDÍA, GUILLERMO, Génesis Polish Tatras: Tourists, Ethnographers, musical del cante flamenco: De lo remoto a and Mountain Musicians, rev. by Ursula lo tangible en la música flamenca hasta la Hemetek, 51(2): 349– 51 muerte de Silverio Franconetti [The musi- COOLEY, TIMOTHY J., and GREGORY cal genesis of flamenco song: From the BARZ, eds., Shadows in the Field: New remote to the tangible in flamenco music Perspectives for Fieldwork in Ethnomu- up to the death of Silverio Franconetti], sicology, Second Edition, rev. by Peter rev. by Peter Manuel, 60(3): 526–31 Manuel, 57(1): 124– 30 CASTRO, CHRISTI-ANNE, Musical Ren- COOPER, DAVID, rev. of Tuned Out: Tra- derings of the Philippine Nation, rev. by ditional Music and Identity in Northern Ricardo D. Trimillos, 57(1): 130– 33 Ireland, by Fintan Vallely, 54(1): 136– 40 CERIBAŠIC, NAILA, and ERICA HASKELL, Country Music Records: A Discography, 1921– eds., Shared Musics and Minority Identi- 1942, by Tony Russell, rev. by Clifford R. ties, rev. by Carol Silverman, 52(1):141– 44 Murphy, 51(3): 498– 500 CHANG, PETER, rev. of Ritual Music in a CROOK, LARRY, Brazilian Music: Northeast- North China Village: The Continuing Con- ern Traditions and the Heartbeat of a fucian and Buddhist Heritage, by Yaxiong Modern Nation, rev. by Suzel Ana Reily, Du, 52(2): 330– 32 51(3): 486– 92 CHAVEZ, ALEX, rev. of Music in Mexico: CROWDY, DENIS, Guitar Style, Open Tunings, Experiencing Music, Expressing Culture, and Stringband Music in Papua New by Alejandro Madrid, 60(2): 356– 58 Guinea, rev. by Kirsty Gillespie, 52(1): CHEAPE, HUGH, Bagpipes: A National Col- 125– 29 lection of a National Instrument, rev. by Cuba Represent! Cuban Arts, State Power, and Simon McKerrell, 55(3): 508– 11 the Making of New Revolutionary Cul- CHIB, SATYENDRA K. SEN, Companion to tures, by Sujatha Fernandes, rev. by David North Indian Classical Music, rev. by Peter F. García, 52(3): 471– 74 Manuel, 52(1): 117– 20 Culture of AIDS in Africa, The: Hope and Heal- CHOI, YOONJAH, P’ungmul: South Korean ing through Music and the Arts, Gregory Drumming and Dance, rev. by Nathan Barz and Judah M. Cohen, eds., rev. by Hesselink, 52(1): 136– 39 Theresa A. Allison, 57(1): 138– 42 Choro: A Social History of a Brazilian Popu- CURRIE, A. SCOTT, rev. of Jazz Conscious- lar Music, by Tamara Elena Livingston- ness: Music, Race, and Humanity, by Paul Isenhour and Thomas George Caracas Austerlitz, 51(1): 149– 51 20 Ethnomusicology, Index Volumes 51–60

CURRIE, A. SCOTT, rev. of Lying Up a Nation: DIAMOND, BEVERLEY, and ANNA HOEF- Race and Black Music, by Ronald Radano, NAGELS, eds., Aboriginal Music in Con- 51(3): 501– 3 temporary Canada: Echoes and Exchanges, rev. by Charlotte J. Frisbie, 57(2): 338– 47 D Diasporas and Interculturalism in Asian Per- Dancing from Past to Present: Nation, Culture, forming Arts: Translating Traditions, Identities, Theresa Jill Buckland, ed., rev. Hae-Kyung Um, ed., rev. by J. Lawrence by Colin Quigley, 53(3): 522– 25 Witzleben, 57(3): 525– 32 Dangdut Stories: A Social and Musical History DIETTRICH, BRIAN, JANE FREEMAN of Indonesia’s Most Popular Music, by MOULIN, and MICHAEL WEBB, Music Andrew Weintraub, rev. by David Har- in Pacific Island Cultures: Experiencing nish, 57(3): 532– 36 Music, Expressing Culture, rev. by Paul DANIEL, YVONNE, Caribbean and Atlantic Wolffram, 57(1): 136– 38 Diaspora Dance: Igniting Citizenship, rev. DILLANE, AILEEN, rev. of Bright Star of the by Lois Wilcken, 57(2): 351– 54 West: Joe Heaney, Irish Song-Man, by DARGAN, WILLIAM T., Lining Out the Word: Sean Williams and Lillis Ó Laoire, 57(3): Dr. Watts Hymn Singing in the Music of 542– 46 Black Americans, rev. by Melvin L. Butler, Divine Inspirations: Music and Islam in Indone- 51(3): 492– 98 sia, David Harnish and Anne K. Rasmus- Dark Tree, The: Jazz and the Community Arts in sen, eds., rev. by Jennifer Fraser, 57(3): Los Angeles, by Steven L. Isoardi, rev. by 539– 42 Monica Hairston, 52(3): 462– 66 DJEDJE, JACQUELINE COGDELL, Fiddling DAVIS, MARTHA ELLEN, rev. of La Música in West Africa, rev. by Kofi Agawu, 56(1): Tradicional en Icod de los Trigos [Tener- 133– 40 ife, Canary Islands] [Traditional music DONOVAN, MICHAEL, rev. of Jazz Matters: in Icod de los Trigos (Tenerife, Canary Sound, Place, and Time Since Bebop, by Islands)], Carmen Nieves Luis García, David Ake, 55(3): 504– 8 compiler, 59(1): 145– 49 DOUGLAS, GAVIN, Music in Mainland South- DAVIS, RUTH F., Maluf: Reflections on the east Asia: Experiencing Music, Expressing Arab Andalusian Music of Tunisia, rev. Culture, rev. by Terry Miller, 56(2):328– 31 by Jonathan Glasser, 54(1): 160– 62 DOUGLAS, GAVIN, rev. of Music, Politics, and DE GANDARIAS, IGOR, rev. of Maya Achi Violence, Susan Fast and Kip Pegley, eds., Marimba Music in Guatemala, by Sergio 59(1): 149– 52 Navarrete Pellicer, 52(2): 324– 26 Driving the Bow: Fiddle and Dance Studies from Deep Listeners: Music, Emotion, and Trancing, Around the North Atlantic 2, Ian Russell by Judith Becker, rev. by Tony Perman, and Mary Anne Alburger, eds., rev. by 57(2): 330– 38 Cinzia Yates, 54(3): 530– 36 DIAMOND, BEVERLEY, rev. of Imagining Dub: Soundscapes and Shattered Songs in Native America in Music, by Michael V. Jamaican Reggae, by Michael E. Veal, rev. Pisani; Powwow, Clyde Ellis, Luke Eric by Jeff Miles, 52(2): 328– 30 Lassiter, and Gary H. Dunham, eds.; Put- DUDLEY, SHANNON, Carnival Music in ting a Song on Top of It: Expression and Trinidad: Experiencing Music, Express- Identity on the San Carlos Apache Reserva- ing Culture, rev. by Hope Munro Smith, tion, by David W. Samuels; The Encyclope- 51(2): 355– 57 dia of Native Music: More Than a Century DUDLEY, SHANNON, rev. of Funky Nas- of Recordings from Wax Cylinder to the sau: Roots, Routes, and Representation Internet, by Brian Wright-McLeod, 51(3): in Bahamian Popular Music, by Timothy 477– 86 Rommen, 60(3): 508–10 DIAMOND, BEVERLEY, Native American DUECK, BYRON, Musical Intimacies and Music in Eastern North America: Experi- Indigenous Imaginaries: Aboriginal Music encing Music, Expressing Culture, rev. by and Dance in Public Performance, rev. by M. Celia Cain, 52(3): 458– 62 Sarah Quick, 60(1): 178– 81 Book Reviews 21

DUECK, BYRON, and JASON TOYNBEE, eds., Essential Song: Three Decades of Northern Cree Migrating Music, rev. by Ilana Webster- Music, by Lynn Whidden, rev. by M. Celia Kogen, 56(2): 331– 34 Cain, 52(3): 458– 62 DUJUNCO, MERCEDES M., rev. of Plucking EUBA, AKIN, rev. of Ancient Text Messages the Winds: Lives of Village Musicians in of the Yor ùbá Bàtá Drum: Cracking the Old and New China, by Stephen Jones, Code, by Amanda Villepastour, 55(3): 53(2): 346– 50 516– 20 DUNHAM, GARY H., LUKE ERIC LASSITER, and CLYDE ELLIS, eds., Powwow, rev. by F Beverley Diamond, 51(3): 477– 86 FAST, SUSAN, and KIP PEGLEY, eds., Music, DUTIRO, CHARTWELL, and KEITH HOW- Politics, and Violence, rev. by Gavin ARD, eds., Zimbabwean Mbira Music on Douglas, 59(1): 149– 52 an International Stage: Chartwell Dutiro’s Female Voices from an Ewe Dance Drumming Life in Music, rev. by Noel Lobley, 55(3): Community in Ghana, by James Burns, 521– 24 rev. by Kofi Agawu, 56(1): 133– 40 FERNANDES, SUJATHA, Cuba Represent! E Cuban Arts, State Power, and the Mak- ELAVSKY, C. MICHAEL, rev. of The Sounds ing of New Revolutionary Cultures, rev. by of Capitalism: Advertising, Music, and David F. García, 52(3): 471– 74 the Conquest of Culture, by Timothy D. FERNANDO, NATHALIE, Polyphonies du Taylor, 58(3): 526– 29 Nord-Cameroun [Polyphony of North Electric Folk: The Changing Face of English Tra- Cameroon], rev. by Kofi Agawu, 56(1): ditional Music, by Britta Sweers, rev. by 133– 40 Eoghan Neff, 53(2): 326– 29 FEYEN, JESSE, rev. of Popular World Music, by ELLIS, CLYDE, LUKE ERIC LASSITER, and Andrew Shahriari, 55(2): 336– 39 GARY H. DUNHAM, eds., Powwow, rev. Fiddling in West Africa, by Jacqueline Cogdell by Beverley Diamond, 51(3): 477– 86 Djedje, rev. by Kofi Agawu, 56(1):133– 40 Embodying Mexico: Tourism, Nationalism, and FIGUEROA, MICHAEL A., rev. of Playing Performance, by Ruth Hellier-Tinoco, rev. Across a Divide: Israeli-Palestinian Musi- by Janet Sturman, 57(1): 116– 24 cal Encounters, by Benjamin Brinner, Empire of Song: Europe and Nation in the Euro- 54(3): 518– 522 vision Song Contest, Dafni Tragaki, ed., FIOL, STEFAN, rev. of Bhangra and Asian rev. by Nino Tsitsishvili, 58(3): 545– 48 Underground: South Asian Music and Enciclopédia da Música em Portugal no Século the Politics of Belonging in Britain, by Falu XX [Encyclopedia of music in Portugal Bakrania, 59(1): 153– 55 in the XX century], Salwa El-Shawan Footsteps in the Dark: The Hidden Histories of Castelo-Branco, ed., rev. by Michael B. Popular Music, by George Lipsitz, rev. by Silvers, 60(1): 181– 82 Darien Lamen, 52(3): 474– 77 Encyclopedia of Native Music, The: More Than FOREMAN, KELLY M., The Gei of Geisha: a Century of Recordings from Wax Cyl- Music, Identity, and Meaning, rev. by inder to the Internet, by Brian Wright- Henry Johnson, 55(1): 135– 40 McLeod, rev. by Beverley Diamond, FOX, AARON A., Real Country: Music and 51(3): 477– 86 Language in Working-Class Culture, rev. Erotic Triangles: Sundanese Dance and Mascu- by Clifford R. Murphy, 51(3): 498– 500 linity in West Java, by Henry Spiller, rev. FRASER, JENNIFER, rev. of Divine Inspira- by Anna Morcom, 57(3): 536– 39 tions: Music and Islam in Indonesia, David Enquête en ethnomusicology, La: Préparation, Harnish and Anne K. Rasmussen, eds., terrain, analyse [Inquiry in ethnomusi- 57(3): 539– 42 cology: Preparation, field, analysis], by Freedom Sounds: Civil Rights Call Out to Jazz Simha Arom and Denis-Constant Mar- and Africa, by Ingrid Monson, rev. by tin, rev. by Michael Tenzer, 60(2): 371–75 Monica Hairston, 52(3): 462– 66 22 Ethnomusicology, Index Volumes 51–60

FRIEDSON, STEVEN M., Remains of Ritual: GARCIA, THOMAS GEORGE CARACAS, Northern Gods in a Southern Land, rev. and TAMARA ELENA LIVINGSTON- by Tony Perman, 57(2): 330– 38 ISENHOUR, Choro: A Social History of FRISBIE, CHARLOTTE J., rev. of Aboriginal a Brazilian Popular Music, rev. by Martha Music in Contemporary Canada: Echoes Tupinambá de Ulhôa, 52(1): 129– 32 and Exchanges, Anna Hoefnagels and GAUNT, KYRA, The Games Black Girls Play: Beverley Diamond, eds., 57(2): 338– 47 Learning the Ropes from Double-Dutch to From Vodou to : A Bibliographic Guide to Hip-Hop, rev. by Jennifer A. Woodruff, Music of the French-speaking Caribbean 51(2): 347– 49 and its Diaspora, by Rebecca D. Sager, rev. GAY, LESLIE C., JR., rev. of MP3: The Meaning by John Gray, 59(1): 155– 58 of a Format, by Jonathan Sterne, 58(3): FUMERTON, PATRICIA, ANITA GUERRINI, 548– 51 and KRIS McABEE, eds., Ballads and GAY, LESLIE, and RENÉ LYSLOFF, Music and Broadsides in Britain, 1500–1800 , rev. by Technoculture, rev. by Wayne Marshall, Elizabeth Neale, 55(2): 329– 36 52(3): 490– 92 Funky Nassau: Roots, Routes, and Representa- Gei of Geisha, The: Music, Identity, and Mean- tion in Bahamian Popular Music, by Tim- ing, by Kelly M. Foreman, rev. by Henry othy Rommen, rev. by Shannon Dudley, Johnson, 55(1): 135– 40 60(3): 508–10 Génesis musical del cante flamenco: De lo remoto Fusion of Traditions, A: Liturgical Music in the a lo tangible en la música flamenca hasta Copenhagen Synagogue, by Jane Mink la muerte de Silverio Franconetti [The Rossen and Uri Sharvit, rev. by Judah M. musical genesis of flamenco song: From Cohen, 52(2): 327– 28 the remote to the tangible in flamenco music up to the death of Silverio Franco- G netti], by Guillermo Castro Buendía, rev. Gamelan Manual, A: A Player’s Guide to the by Peter Manuel, 60(3): 526–31 Central Javanese Gamelan, by Richard Gentleman Troubadours and Andean Pop Stars: Pickvance, rev. by Andrew McGraw, Huayno Music, Media Work, and Ethnic 51(1): 142– 46 Imaginaries in Urban Peru, by Joshua Gamelan: The Traditional Sounds of Indone- Tucker, rev. by Thomas Solomon, 59(1): sia, by Henry Spiller, rev. by Andrew 158– 61 McGraw, 51(1): 142– 46 GILL, DENISE ELIF, rev. of The Republic of Games Black Girls Play, The: Learning the Ropes Love: Cultural Intimacy in Turkish Popu- from Double-Dutch to Hip-Hop, by Kyra lar Music, by Martin Stokes, 58(2):349– 55 D. Gaunt, rev. by Jennifer A. Woodruff, GILLESPIE, KIRSTY, rev. of Kkai Taku: Taku’s 51(2): 347– 49 Musical Fables, collected by Richard GARCÍA, CARMEN NIEVES LUIS, La Música Moyle; Guitar Style, Open Tunings, and Tradicional en Icod de los Trigos [Tener- Stringband Music in Papua New Guinea, ife, Canary Islands] [Traditional music by Denis Crowdy, 52(1): 125– 29 in Icod de los Trigos (Tenerife, Canary GILLESPIE, KIRSTY, Steep Slopes: Music and Islands)], rev. by Martha Ellen Davis, Change in the Highlands of Papua New 59(1): 145– 49 Guinea, rev. by Gabriel Solis, 57(3): 518– GARCÍA, DAVID F., rev. of Music and Revolu- 24 tion: Cultural Change in Socialist Cuba, by GILMAN, DANIEL J., rev. of Umm Kulthūm: Robin D. Moore; Cuba Represent! Cuban Artistic Agency and the Shaping of an Arab Arts, State Power, and the Making of New Legend, 1967– 2007, by Laura Lohman, Revolutionary Cultures, by Sujatha Fer- 56(3): 555– 58 nandes, 52(3): 471– 74 Giuseppe Donizetti Pascià: Traiettoire Musicali GARCÍA, DAVID, rev. of Salsa World: A Global e Storiche tra Italia et Turchia [Giuseppe Dance in Local Contexts, Sydney Hutchin- Donizetti Pascià: Musical and historical son, ed., 60(3): 520–22 trajectories between Italy and Turkey], Book Reviews 23

Federico Spinetti, ed., rev. by Martin H Stokes, 56(1): 144– 46 HAIRSTON, MONICA, rev. of This Is Our GLAROS, ANGELA, rev. of Un Bruit Pieu: Music: Free Jazz, the Sixties, and Ameri- Bandas, Musique et Fête dans un Vil- can Culture, by Iain Anderson; Freedom lage Maltais (Zabbar) [A pious noise: Sounds: Civil Rights Call Out to Jazz and Bandas, music and festival in a Maltese Africa, by Ingrid Monson; The Dark Tree: village (Zabbar)], by Giovanna Iacovazzi, Jazz and the Community Arts in Los Ange- 58(3): 529– 32 les, by Steven L. Isoardi, 52(3): 462– 66 GLASSER, JONATHAN, rev. of Maluf: Reflec- HARNISH, DAVID, Bridges to the Ancestors: tions on the Arab Andalusian Music of Music, Myth, and Cultural Politics at an Tunisia, by Ruth F. Davis, 54(1): 160– 162 Indonesian Festival, rev. by Jim Sykes, Global Minstrels: Voices of World Music, by Eli- 58(3): 537– 44 jah Wald, rev. by Darien Lamen, 52(3): HARNISH, DAVID, rev. of Dangdut Stories: A 474– 77 Social and Musical History of Indonesia’s GOLD, LISA, Music in Bali: Experiencing Most Popular Music, by Andrew Wein- Music, Expressing Culture, rev. by Andrew traub, 57(3): 532– 36 McGraw, 51(1): 142– 46 HARNISH, DAVID, and ANNE K. RASMUS- GOLDMAN, JONATHAN, rev. of Musical SEN, eds., Divine Inspirations: Music and Improvisation: Art, Education, and Soci- Islam in Indonesia, rev. by Jennifer Fraser, ety, Gabriel Solis and Bruno Nettl, eds., 57(3): 539– 42 54(2): 354– 57 HARPER, SALLY, Music in Welsh Culture GORDON, LILLIE, rev. of Performing Gen- before 1650: A Study of the Principal der, Place, and Emotion in Music: Global Sources, rev. by Rachelle Barlow, 55(3): Perspectives, Fiona Magowan and Louise 511– 16 Wrazen, eds., 59(3): 483– 88 HARRIS, RACHEL, The Making of a Musi- GORDON, LILLIE, rev. of Women Singers cal Canon in Chinese Central Asia: The in Global Contexts: Music, Biography, Uyghur Twelve Muqam, rev. by Federico Identity, Ruth Hellier-Tinoco, ed., 59(3): Spinetti, 54(1): 147– 52 483– 88 HARRIS, RACHEL, rev. of Where Rivers GRAY, JOHN, From Vodou to Zouk: A Bib- and Mountains Sing: Sound, Music, and liographic Guide to Music of the French- Nomadism in Tuva and Beyond, by Theo- speaking Caribbean and its Diaspora, rev. dore Levin, 53(1): 142– 44 by Rebecca D. Sager 59(1): 155– 58 HASKELL, ERICA, and NAILA CERIBAŠIC, GREEN, EDWARD, rev. of Analytical Studies in eds., Shared Musics and Minority Iden- World Music, Michael Tenzer, ed., 51(2): tities, rev. by Carol Silverman, 52(1): 345– 47 141– 44 GREENLAND, TOM, rev. of Making the Scene: HAST, DOROTHEA E., and STANLEY Contemporary New York City SCOTT, Music in Ireland: Experiencing Jazz, by Alex Stewart, 52(3): 468– 70 Music, Expressing Culture, rev. by John GROESBECK, ROLF, rev. of Singing the Clas- Nagle, 51(1): 153– 55 sical, Voicing the Modern: The Postcolo- HAYNES RYAN S., rev. of Staging Socialist nial Politics of Music in South India, by Femininity: Gender Politics and Folklore Amanda J. Weidman, 52(3): 487– 90 Performance in Serbia, by Ana Hofman, GUERRINI, ANITA, PATRICIA FUMERTON, 58(3): 532– 37 and KRIS McABEE, eds., Ballads and Hearts of Pine: Songs in the Lives of Three Broadsides in Britain, 1500–1800 , rev. by Korean Survivors of the Japanese “Com- Elizabeth Neale, 55(2): 329– 36 fort Women,” by Joshua D. Pilzer, rev. by Guitar Style, Open Tunings, and Stringband Donna Lee Kwon, 58(1): 159– 62 Music in Papua New Guinea, by Denis HELBIG, ADRIANA, rev. of Romani Routes: Crowdy, rev. by Kirsty Gillespie, 52(1): Cultural Politics and in Dias- 125– 29 pora, by Carol Silverman, 58(1): 163– 65 24 Ethnomusicology, Index Volumes 51–60

HELLIER-TINOCO, RUTH, Embodying HOWARD, KEITH, and CHARTWELL Mexico: Tourism, Nationalism, and Per- DUTIRO, eds., Zimbabwean Mbira formance, rev. by Janet Sturman, 57(1): Music on an International Stage: Chart- 116– 24 well Dutiro’s Life in Music, rev. by Noel HELLIER-TINOCO, RUTH, rev. of Sounds of Lobley, 55(3): 521– 24 the Modern Nation: Music, Culture, and HUTCHINSON, SYDNEY, ed., Salsa World: Ideas in Post-Revolutionary Mexico, by A Global Dance in Local Contexts, rev. by Alejandro L. Madrid, 54(1): 141– 46 David García, 60(3): 520–22 HELLIER, RUTH, ed., Women Singers in Hwang Byungki: Traditional Music and the Global Contexts: Music, Biography, Iden- Contemporary Composer in the Republic tity, rev. by Lillie Gordon, 59(3): 483– 88 of Korea, by Andrew Killick, rev. by Rob- HEMETEK, URSULA, rev. of Making Music in ert C. Provine, 60(1): 175– 77 the Polish Tatras: Tourists, Ethnographers, and Mountain Musicians, by Timothy J. I Cooley, 51(2): 349– 51 IACOVAZZI, GIOVANNA, Un Bruit Pieu: HESSELINK, NATHAN, P’ungmul: South Bandas, Musique et Fête dans un Village Korean Drumming and Dance, rev. by Maltais (Zabbar) [A pious noise: Bandas, Yoonjah Choi, 52(1): 136– 39 music and festival in a Maltese village HESSELINK, NATHAN, SamulNori: Contem- (Zabbar)], rev. by Angela Glaros, 58(3): porary Korean Drumming and the Rebirth 529– 32 of Itinerant Performance Culture, rev. by Identity and the Arts in Diaspora Communities, Andrew Killick, 57(2): 354– 57 Thomas Turino and James Lea, eds., rev. Hikâye: Turkish Folk Romance as Perfor- by J. Lawrence Witzleben, 57(3): 525– 32 mance Art, by İlhan Bașgöz, rev. by Peter IGNATOWSKI, CLARE A., Journey of Song: McMurray, 55(1): 143– 48 Public Life and Morality in Cameroon, rev. HILL, JUNIPER, rev. of The Polish Dance in by Angela Impey, 55(1): 140– 43 Scandinavia and Poland, Märta Ramsten, Illicit Worlds of Indian Dance: Cultures of Exclu- ed.; Spiritual Folk Singing: Nordic and Bal- sion, by Anna Morcom, rev. by Henry tic Protestant Traditions, Kirsten Sass Bak Spiller, 59(3): 494– 98 and Svend Nielsen, eds., 52(1): 132– 36 Imagining Native America in Music, by Michael HILL, SARAH, rev. of Sgt. Pepper and the Bea- V. Pisani, rev. by Beverley Diamond, tles: It Was Forty Years Ago Today, Olivier 51(3): 477– 86 Julien, ed., 53(2): 329– 32 IMPEY, ANGELA, rev. of Journey of Song: HOEFNAGELS, ANNA, and BEVERLEY Public Life and Morality in Cameroon, by DIAMOND, eds., Aboriginal Music Clare A. Ignatowski, 55(1): 140– 43 in Contemporary Canada: Echoes and ISOARDI, STEVEN L., The Dark Tree: Jazz and Exchanges, rev. by Charlotte J. Frisbie, the Community Arts in Los Angeles, rev. by 57(2): 338– 47 Monica Hairston, 52(3): 462– 66 HOFMAN, ANA, Staging Socialist Femininity: Gender Politics and Folklore Performance J in Serbia, rev. by Ryan S. Haynes 58(3): JACKSON, JERMA A., Singing in My Soul: 532– 37 Black Gospel Music in a Secular Age, rev. Holy Brotherhood: Romani Music in a Hungar- by Melvin L. Butler, 51(3): 492– 98 ian Pentecostal Church, by Barbara Rose JACKSON, MAUREEN, rev. of Alaturka: Style Lange, rev. by Iren Kertesz-Wilkinson, in Turkish Music (1923– 1938), by John 53(2): 332– 36 Morgan O’Connell, 59(3): 488– 90 Holy Profane, The: Religion in Black Popular JACOBSON, MARION, Squeeze This! A Cul- Music, by Teresa L. Reed, rev. by Melvin tural History of the in America, L. Butler, 51(3): 492– 98 rev. by Thomas Turino, 57(3): 547– 51 HOOD, KATHLEEN, rev. of The Arab Avant- JANKOWSKI, RICHARD C., Stambeli: Music, Garde, Thomas Burkhalter, et al., eds., , and Alterity in Tunisia, rev. by 60(2): 365– 67 Tony Perman, 57(2): 330– 38 Book Reviews 25

Japanoise: Music at the Edge of Circulation, by KAMINSKY, DAVID, Swedish Folk Music in David Novak, rev. by Christine R. Yano, the Twenty -First Century: On the Nature 60(1): 187– 90 of Tradition in a Folkless Society, rev. by Jazz Consciousness: Music, Race, and Humanity, Jill Ann Johnson, 59(1): 340– 42 by Paul Austerlitz, rev. by A. Scott Currie, KERTESZ-WILKINSON, IREN, rev. of Holy 51(1): 149– 51 Brotherhood: Romani Music in a Hungar- Jazz Matters: Sound, Place, and Time Since ian Pentecostal Church, by Barbara Rose Bebop, by David Ake, rev. by Michael Lange, 53(2): 332– 36 Donovan, 55(3): 504– 8 KILLICK, ANDREW, Hwang Byungki: Tra- JESSUP, LYNDA, ANDREW NURSE, and ditional Music and the Contemporary GORDON E. SMITH, eds., Around Composer in the Republic of Korea, rev. and About Marius Barbeau: Modeling by Robert C. Provine, 60(1): 175– 77 Twentieth- Century Culture, rev. by Brian KILLICK, ANDREW, rev. of SamulNori: Con- C. Thompson, 54(1): 152– 57 temporary Korean Drumming and the JIMÉNEZ DE CISNEROS PUIG, BERNAT, Rebirth of Itinerant Performance Culture, Ritmo y compás: Análisis musical del by Nathan Hesselink, 57(2): 354– 57 flamenco: Estructura métrica y articu- Kkai Taku: Taku’s Musical Fables, collected by lación rítmico-armónica de los géneros Richard Moyle, rev. by Kirsty Gillespie, flamencos acompasados, a través de la 52(1): 125– 29 fonografía [Rhythm and compás: Musi- KLEIN, TOBIAS ROBERT, Moderne Tra- cal analysis of flamenco: Metrical struc- ditionen: Studien zur postkolonialen ture and rhythmic- articulation Musikgeschichte Ghanas [Modern tra- in the metered genres of flamenco, as ditions: Studies of the music history of approached through recordings], rev. by postcolonial Ghana], rev. by Kofi Agawu, Peter Manuel, 60(3): 526–31 56(1): 133– 40 JOHNSON, HENRY, rev. of The Gei of Geisha: Klezmer’s Afterlife: An Ethnography of the , Identity, and Meaning, by Kelly M. Music Revival in Poland and Germany, Foreman, 55(1): 135– 40 by Magdalena Waligorska, rev. by Joel E. JOHNSON, HENRY, The Shamisen: Tradi- Rubin, 60(3):534–37 tion and Diversity, rev. by Anne Prescott, KNOPOFF, STEVEN, rev. of Landscapes of 57(1): 133– 35 Indigenous Performance: Music, Song JOHNSON, JILL ANN, rev. of Swedish Folk and Dance of the Torres Strait and Arn- Music in the Twenty-First Century: On the hem Land, by Fiona Magowan and Karl Nature of Tradition in a Folkless Society, Neuenfeldt, 52(3): 481– 84 by David Kaminsky, 59(2): 340– 42 KOCH, GRACE, rev. of Oceanic Music Encoun- JONES, STEPHEN, Plucking the Winds: Lives of ters: The Print Resource and the Human Village Musicians in Old and New China, Resource: Essays in Honour of Mervyn rev. by Mercedes M. DuJunco, 53(2): McLean, Richard Moyle, ed., 54(2):351– 54 346– 50 KOEN, BENJAMIN D., Beyond the Roof the Journey of Song: Public Life and Morality in World: Music, Prayer, and Healing in the Cameroon, by Clare A. Ignatowski, rev. Pamir Mountains, rev. by Margarethe by Angela Impey, 55(1): 140– 43 Adams, 58(1): 156– 58 JULIEN, OLIVIER, ed., Sgt. Pepper and the KRÜGER, SIMONE, rev. of The New (Ethno) Beatles: It Was Forty Years Ago Today, musicologies, Henry Stobart, ed., 55(1): rev. by Sarah Hill, 53(2): 329– 32 128– 35 KUBIK, GERHARD, Theory of African Music, K Volumes 1 and 2, rev. by Amanda Vil- KALLIMOPOULOU, ELENI, Paradosiaká: lepastour, 56(2): 334– 40 Music, Meaning and Identity in Modern KUBIK, GERHARD, Theory of African Music, Greece, rev. by Alexandra Balandina, Volume 2, rev. by Kofi Agawu, 56(1): 54(3): 522– 525 133– 40 26 Ethnomusicology, Index Volumes 51–60

KWON, DONNA LEE, rev. of Hearts of Pine: liam T. Dargan, rev. by Melvin L. Butler, Songs in the Lives of Three Korean Survi- 51(3): 492– 98 vors of the Japanese “Comfort Women,” by LIPSITZ, GEORGE, Footsteps in the Dark: The Joshua D. Pilzer, 58(1): 159– 62 Hidden Histories of Popular Music, rev. by Darien Lamen, 52(3): 474– 77 L Listening to an Earlier Java: Aesthetics, Gender, LAMEN, DARIEN, rev. of Footsteps in the and the Music of Wayang in Central Java, Dark: The Hidden Histories of Popular by Sarah Weiss, rev. by Henry Spiller, Music, by George Lipsitz; Global Min- 52(1): 121– 25 strels: Voices of World Music, by Elijah LIVINGSTON-ISENHOUR, TAMARA Wald, 52(3): 474– 77 ELENA, and THOMAS GEORGE Landscapes of Indigenous Performance: Music, CARACAS GARCIA, Choro: A Social Song and Dance of the Torres Strait and History of a Brazilian Popular Music, rev. Arnhem Land, by Fiona Magowan and by Martha Tupinambá de Ulhôa, 52(1): Karl Neuenfeldt, rev. by Steven Knopoff, 129– 32 52(3): 481– 84 LOBLEY, NOEL, rev. of Zimbabwean Mbira LANGE, BARBARA ROSE, Holy Brotherhood: Music on an International Stage: Chartwell Romani Music in a Hungarian Pentecostal Dutiro’s Life in Music, Chartwell Dutiro Church, rev. by Iren Kertesz-Wilkinson, and Keith Howard, eds., 55(3): 521– 24 53(2): 332– 36 LOCKE, DAVID, rev. of Music in East Africa: LARGEY, MICHAEL, KENNETH BILBY, and Experiencing Music, Expressing Cultures, PETER MANUEL, Caribbean Currents: by Gregory Barz, 51(2): 351– 52 Caribbean Music from Rumba to Reggae, LOHMAN, LAURA, Umm Kulthūm: Artistic Revised and Expanded Edition, rev. by Agency and the Shaping of an Arab Leg- Hope Munro Smith, 51(2): 355– 57 end, 1967–2007 , rev. by Daniel J. Gilman, LASSITER, LUKE ERIC, CLYDE ELLIS, and 56(3): 555– 58 GARY H. DUNHAM, eds., Powwow, rev. Lying Up a Nation: Race and Black Music, by by Beverley Diamond, 51(3): 477– 86 Ronald Radano, rev. by A. Scott Currie, LAU, FREDERICK, Music in China: Experi- 51(3): 501– 3 encing Music, Expressing Culture, rev. by LYSLOFF, RENÉ T. A., and LESLIE GAY, Music Jonathan P. J. Stock, 53(1): 156– 58 and Technoculture, rev. by Wayne Mar- LEA, JAMES, and THOMAS TURINO, eds., shall, 52(3): 490– 92 Identity and the Arts in Diaspora Com- LYSLOFF, RENÉ, rev. of Playing Along: Digi- munities, rev. by J. Lawrence Witzleben, tal Games, YouTube, and Virtual Perfor- 57(3): 525– 32 mance, by Kiri Miller, 60(1): 170– 74 “Let the Church Sing!”: Music and Worship in a Black Mississippi Community, by Thérèse M Smith, rev. by Melvin L. Butler, 51(3): MACHIN, MATTHEW, rev. of Music and 492– 98 Marx: Ideas, Practice, Politics, Regula LEU, LORRAINE, Brazilian Popular Music: Burckhardt Qureshi, ed., 53(3): 519– 22 Caetano Veloso and the Regeneration of MACMILLEN, IAN, rev. of Red Strains: Music Tradition, rev. by Suzel Ana Reily, 51(3): and Communism Outside the Communist 486– 92 Bloc, Richard Adlington, ed., 59(3):491– 93 LEVIN, THEODORE, Where Rivers and Moun- MADRID, ALEJANDRO, Music in Mexico: tains Sing: Sound, Music, and Nomadism Experiencing Music, Expressing Culture, in Tuva and Beyond, rev. by Rachel Har- rev. by Alex Chavez, 60(2): 356– 58 ris, 53(1): 142– 44 MADRID, ALEJANDRO L., Sounds of the Mod- LEVY, CLAIRE, rev. of Performing Democracy: ern Nation: Music, Culture, and Ideas in Bulgarian Music and Musicians in Transi- Post-Revolutionary Mexico, rev. by Ruth tion, by Donna A. Buchanan, 51(3):503– 6 Hellier-Tinoco, 54(1): 141– 46 Lining Out the Word: Dr. Watts Hymn Singing MADRID, ALEJANDRO L., ed., Transnational in the Music of Black Americans, by Wil- Encounters: Music and Performance at the Book Reviews 27

US-Mexico Border, rev. by Janet Sturman, métrica y articulación rítmico-armónica 57(1): 116– 24 de los géneros flamencos acompasados, MADRID, ALEJANDRO, and LILIANA a través de la fonografía [Rhythm and GONZÁLEZ MORENO, rev. of Timba: compás: Musical analysis of flamenco: The Sound of the Cuban Crisis, by Vin- Metrical structure and rhythmic- cenzo Perna, 51(2): 353– 55 harmonic articulation in the metered MAGALDI, CHRISTINA, Music in Impe- genres of flamenco, as approached rial Rio de Janeiro: European Culture through recordings], by Bernat Jiménez in a Tropical Milieu, rev. by Martha De Cisneros Puig; Génesis musical del Tupinambá de Ulhôa, 52(1): 129– 32 cante flamenco: De lo remoto a lo tangible MAGOWAN, FIONA, and KARL NEUEN- en la música flamenca hasta la muerte de FELDT, Landscapes of Indigenous Per- Silverio Franconetti [The musical genesis formance: Music, Song and Dance of the of flamenco song: From the remote to Torres Strait and Arnhem Land, rev. by the tangible in flamenco music up to the Steven Knopoff, 52(3): 481– 84 death of Silverio Franconetti], by Guill- MAGOWAN, FIONA, and LOUISE WRA- ermo Castro Buendía, 60(3): 526–31 ZEN, eds., Performing Gender, Place, and MANUEL, PETER, rev. of Shadows in the Field: Emotion in Music: Global Perspectives, rev. New Perspectives for Fieldwork in Ethno- by Lillie Gordon, 59(3): 483– 88 musicology, Second Edition, Gregory Making Music in the Polish Tatras: Tourists, Eth- Barz and Timothy J. Cooley, eds.; Music nographers, and Mountain Musicians, by as Social Life: The Politics of Participation, Timothy J. Cooley, rev. by Ursula Heme- by Thomas Turino, 57(1): 124– 30 tek, 51(2): 349– 51 MANUEL, PETER, with KENNETH BILBY Making of a Musical Canon in Chinese Central and MICHAEL LARGEY, Caribbean Cur- Asia, The: The Uyghur Twelve Muqam, by rents: Caribbean Music from Rumba to Rachel Harris, rev. by Federico Spinetti, Reggae, Revised and Expanded Edition, 54(1): 147– 52 rev. by Hope Munro Smith, 51(2):355– 57 Making of Irish Traditional Music, The, by MARCH, RICHARD, The Tamburitza Tradi- Helen O’Shea, rev. by Susan Motherway, tion: From the Balkans to the American 54(3): 525– 29 Midwest, rev. by Karen A. Peters, 59(2): Making the Scene: Contemporary New York City 342– 45 Big Band Jazz, by Alex Stewart, rev. by MARCUS, SCOTT L., Music in Egypt: Experi- Tom Greenland, 52(3): 468– 70 encing Music, Expressing Culture, rev. by Maluf: Reflections on the Arab Andalusian Salwa El-Shawan Castelo-Branco, 53(2): Music of Tunisia, by Ruth E. Davis, rev. 343– 45 by Jonathan Glasser, 54(1): 160– 62 MARCUS, SCOTT, rev. of Music Theory in MANUEL, PETER, rev. of Brass Baja, by Greg- Mamluk Cairo, by Owen Wright, 60(2): ory D. Booth; Companion to North Indian 368– 71 Classical Music, by Satyendra K. Sen Chib; MARETT, ALLAN, Songs, Dreamings, and Music in North India: Experiencing Music, Ghosts: The Wangga of North Australia, Expressing Culture, by George E. Ruckert; rev. by Sally Treloyn, 52(3): 484– 87 Music in South India, by T. Viswanathan Mariachi Music in America, by Daniel Sheehy, and Matthew Harp Allen, 52(1): 117– 20 rev. by Cathy Ragland, 51(1): 151– 53 MANUEL, PETER, rev. of Mobilizing India: MARKOFF, IRENE, rev. of Balkan Popular Cul- Women, Music, and Migration between ture and the Ottoman Ecumene: Music, India and Trinidad, by Tejaswini Niran- Image and Regional Political Discourse, jana, 53(1): 144– 46 Donna A. Buchanan, ed., 53(2): 336– 43 MANUEL, PETER, rev. of “My Name is Gauhar MARSHALL, WAYNE, rev. of Music and Tech- Jan!”: The Life and Times of a Musician, by noculture, by René Lysloff and Leslie Gay, Vikram Sampath, 56(1): 146– 50 52(3): 490– 92 MANUEL, PETER, rev. of Ritmo y compás: MARTIN, DENIS-CONSTANT, and SIMHA Análisis musical del flamenco: Estructura AROM, L’Enquête en ethnomusicologie: 28 Ethnomusicology, Index Volumes 51–60

Préparation, terrain, analyse [Inquiry MILLER, REBECCA S., Carriacou String in ethnomusicology: Preparation, field, Band Serenade: Performing Identity in analysis], rev. by Michael Tenzer, 60(2): the Eastern Caribbean, rev. by Tina K. 371– 75 Ramnarine, 54(1): 157– 60 MARTIN-FROST, LADONA, rev. of Whose MILLER, TERRY, rev. of Music in Mainland National Music? Identity, Mestizaje, and Southeast Asia: Experiencing Music, Migration in Ecuador, by Ketty Wong, Expressing Culture, by Gavin Douglas, 57(3): 552– 55 56(2): 328– 31 Maya Achi Marimba Music in Guatemala, by Mobilizing India: Women, Music, and Migration Sergio Navarrete Pellicer, rev. by Igor de between India and Trinidad, by Tejaswini Gandarias, 52(2): 324– 26 Niranjana, rev. by Peter Manuel, 53(1): McABEE, KRIS, PATRICIA FUMERTON, and 144– 46 ANITA GUERRINI, eds., Ballads and Moderne Traditionen: Studien zur postkolo- Broadsides in Britain, 1500–1800 , rev. by nialen Musikgeschichte Ghanas [Modern Elizabeth Neale, 55(2): 329– 36 traditions: Studies of the music history McDONALD, DAVID A., My Voice is My of postcolonial Ghana], by Tobias Robert Weapon: Music, Nationalism, and the Klein, rev. by Kofi Agawu, 56(1): 133– 40 Poetics of Palestinian Resistance, rev. by MOEHN, FREDERICK, Contemporary Cari- Jonathan Shannon, 60(3): 510–13 oca: Technologies of Mixing in a Brazil- McGRAW, ANDREW CLAY, rev. of Music ian Musical Scene, rev. by Joshua Tucker, in Bali: Experiencing Music, Expressing 58(3): 551– 55 Culture, by Lisa Gold; Gamelan: The Monk’s Music: Thelonious Monk and Jazz His- Traditional Sounds of Indonesia, by Henry tory in the Making, by Gabriel Solis, rev. Spiller; A Gamelan Manual: A Player’s by Matthew A. Somoroff, 52(3): 466– 68 Guide to the Central Javanese Gamelan, MONSON, INGRID, Freedom Sounds: Civil by Richard Pickvance, 51(1): 142– 46 Rights Call Out to Jazz and Africa, rev. McKERRELL, SIMON, rev. of Bagpipes: A by Monica Hairston, 52(3): 462– 66 National Collection of a National Instru- MOORE, ROBIN D., Music and Revolution: ment, by Hugh Cheape, 55(3): 508– 11 Cultural Change in Socialist Cuba, rev. McMURRAY, PETER, rev. of Azerbaijani by David F. García, 52(3): 471– 74 Women Poet-Minstrels: Women Ashiqs MORCOM, ANNA, Illicit Worlds of Indian from the Eighteenth Century to the Pres- Dance: Cultures of Exclusion, rev. by ent, by Anna Oldfield, 55(1): 143– 48 Henry Spiller, 59(3): 494– 98 McMURRAY, PETER, rev. of Hikâye: Turkish MORCOM, ANNA, rev. of Erotic Triangles: Folk Romance as Performance Art, by Sundanese Dance and Masculinity in West İlhan Bașgöz, 55(1): 143– 48 Java, by Henry Spiller, 57(3): 536– 39 McRAE, JANE, Ngā Mōteatea: An Introduction, MORENO, LILIANA GONZÁLEZ, and ALE- rev. by Gabriel Solis, 57(3): 518– 24 JANDRO MADRID, rev. of Timba: The “Mek Some Noise”: Gospel Music and the Eth- Sound of the Cuban Crisis, by Vincenzo ics of Style in Trinidad, by Timothy Rom- Perna, 51(2): 353– 55 men, rev. by Gillian Richards-Greaves, MOTHERWAY, SUSAN, rev. of The Making of 52(3): 477– 80 Irish Traditional Music, by Helen O’Shea, Migrating Music, Jason Toynbee and Byron 54(3): 525– 29 Dueck, eds., rev. by Ilana Webster-Kogen, MOULIN, JANE FREEMAN, BRIAN 56(2): 331– 34 DIETTRICH, and MICHAEL WEBB, MILES, JEFF, rev. of Dub: Soundscapes and Music in Pacific Island Cultures: Experi- Shattered Songs in Jamaican Reggae, by encing Music, Expressing Culture, rev. by Michael E. Veal, 52(2): 328– 30 Paul Wolffram, 57(1): 136– 38 MILLER, KIRI, Playing Along: Digital Games, MOYLE, RICHARD, collector, Kkai Taku: YouTube, and Virtual Performance, rev. by Taku’s Musical Fables, rev. by Kirsty René T. A. Lysloff, 60(1): 170– 74 Gillespie, 52(1): 125– 29 Book Reviews 29

MOYLE, RICHARD, ed., Oceanic Music Music in Imperial Rio de Janeiro: European Encounters: The Print Resource and the Culture in a Tropical Milieu, by Christina Human Resource: Essays in Honour of Magaldi, rev. by Martha Tupinambá de Mervyn McLean, rev. by Grace Koch, Ulhôa, 52(1): 129– 32 54(2): 351– 54 Music in Ireland: Experiencing Music, Express- MP3: The Meaning of a Format, by Jonathan ing Culture, by Dorothea E. Hast and Sterne, rev. by Leslie C. Gay, Jr., 58(3): Stanley Scott, rev. by John Nagle, 51(1): 548– 51 153– 55 MURPHY, CLIFFORD R., rev. of Real Coun- Music in Mainland Southeast Asia: Experiencing try: Music and Language in Working-Class Music, Expressing Culture, by Gavin Doug- Culture, by Aaron A. Fox; Country Music las, rev. by Terry Miller, 56(2): 328– 31 Records: A Discography, 1921– 1942, by Music in Mexico: Experiencing Music, Express- Tony Russell, 51(3): 498– 500 ing Culture, by Alejandro Madrid, rev. by MURPHY, JOHN, Music in Brazil: Experienc- Alex Chavez, 60(2): 356– 58 ing Music, Expressing Culture, rev. by Music in North India: Experiencing Music, Suzel Ana Reily, 51(3): 486– 92 Expressing Culture, by George E. Ruckert, Music and Marx: Ideas, Practice, Politics, Regula rev. by Peter Manuel, 52(1): 117– 20 Burckhardt Qureshi, ed., rev. by Matthew Music in Pacific Island Cultures: Experienc- Machin, 53(3): 519– 22 ing Music, Expressing Culture, by Brian Music and Revolution: Cultural Change in Diettrich, Jane Freeman Moulin, and Socialist Cuba, by Robin D. Moore, rev. Michael Webb, rev. by Paul Wolffram, by David F. García, 52(3): 471– 74 57(1): 136– 38 Music and Technoculture, by René Lysloff and Music in South India: Experiencing Music, Leslie Gay, rev. by Wayne Marshall, 52(3): Expressing Culture, by T. Viswanathan 490– 92 and Matthew Harp Allen, rev. by Peter Music and the Play of Power in the Middle Manuel, 52(1): 117– 20 East, North Africa and Central Asia, Lau- Music in Turkey: Experiencing Music, Express- din Nooshin, ed., rev. by John Morgan ing Culture, by Eliot Bates, rev. by Sonia O’Connell, 54(2): 347– 51 Tamar Seeman, 56(3): 558– 62 Music as Social Life: The Politics of Participation, “Music in War, Music for Peace: A Review by Thomas Turino, rev. by Peter Manuel, Article,” John Morgan O’Connell, 55(1): 57(1): 124– 30 112– 27 Music in Bali: Experiencing Music, Expressing Music in Welsh Culture before 1650: A Study of Culture, by Lisa Gold, rev. by Andrew the Principal Sources, by Sally Harper, rev. Clay McGraw, 51(1): 142– 46 by Rachelle Barlow, 55(3): 511– 16 Music in Brazil: Experiencing Music, Expressing Music in West Africa: Experiencing Music, Culture, by John Murphy, rev. by Suzel Expressing Culture, by Ruth M. Stone, rev. Ana Reily, 51(3): 486– 92 by Kwasi Ampene, 51(1): 146– 48 Music in Central Java: Experiencing Music, Music Making in the Arab World: The Culture Expressing Culture, by Benjamin Brin- and Artistry of Tarab, by Ali Jihad Racy, ner, rev. by Henry Spiller, 52(1): 121– 25 rev. by Anne K. Rasmussen, 53(1):152– 55 Music in China: Experiencing Music, Expressing Music Theory in Mamluk Cairo, by Owen Culture, by Frederick Lau, rev. by Jona- Wright, rev. by Scott Marcus, 60(2): than P. J. Stock, 53(1): 156– 58 368– 71 Music in East Africa: Experiencing Music, Music, Politics, and Violence, Susan Fast and Expressing Culture, by Gregory Barz, rev. Kip Pegley, eds., rev. by Gavin Douglas, by David Locke, 51(2): 351– 52 59(1): 149– 52 Music in Egypt: Experiencing Music, Express- Music, Sound and Space: Transformations of ing Culture, by Scott L. Marcus, rev. by Public and Private Experience, Georgina Salwa El-Shawan Castelo-Branco, 53(2): Born, ed., rev. by David Samuels, 59(3): 343– 45 499– 502 30 Ethnomusicology, Index Volumes 51–60

Música popular na América Latina: pontos de N escuta [Popular music in Latin America: NAGLE, JOHN, rev. of Music in Ireland: Listening points], Martha Ulhôa and Experiencing Music, Expressing Culture, Ana Maria Ochoa, eds., rev. by Suzel Ana by Dorothea E. Hast and Stanley Scott, Reily, 51(3): 486– 92 51(1): 153– 55 Música tradicional en Icod de los Trigos, La, Native American Music in Eastern North [Tenerife, Canary Islands] [Traditional America: Experiencing Music, Expressing music in Icod de los Trigos (Tenerife, Culture, by Beverley Diamond, rev. by M. Canary Islands)], Carmen Nieves Luis Celia Cain, 52(3): 458– 62 García, compiler, rev. by Martha Ellen NAVARRETE PELLICER, SERGIO, Maya Achi Davis, 59(1): 145– 49 Marimba Music in Guatemala, rev. by Musical Human, The: Rethinking John Blacking’s Igor de Gandarias, 52(2): 324– 26 Ethnomusicology in the Twenty-First Cen- NEALE, ELIZABETH, rev. of Ballads and tury, Suzel Ana Reily, ed., rev. by Christo- Broadsides in Britain, 1500– 1800, Patri- pher Waterman, 55(2): 325– 29 cia Fumerton, Anita Guerrini, and Kris : Art, Education, and McAbee, eds., 55(2): 329– 35 Society, Gabriel Solis and Bruno Nettl, NEFF, EOGHAN, rev. of Electric Folk: The eds., rev. by Jonathan Goldman, 54(2): Changing Face of English Traditional 354– 57 Music, by Britta Sweers, 53(2): 326– 29 Musical Intimacies and Indigenous Imaginaries: NETTL, BRUNO, and GABRIEL SOLIS, eds., Aboriginal Music and Dance in Public Per- Musical Improvisation: Art, Education, formance, by Byron Dueck, rev. by Sarah and Society, rev. by Jonathan Goldman, Quick, 60(1): 178– 81 54(2): 354– 57 Musical Performance in the Diaspora, Tina NEUENFELDT, KARL, and FIONA K. Ramnarine, ed., rev. by J. Lawrence MAGOWAN, Landscapes of Indigenous Witzleben, 57(3): 525– 32 Performance: Music, Song and Dance of Musical Renderings of the Philippine Nation, by the Torres Strait and Arnhem Land, rev. Christi-Anne Castro, rev. by Ricardo D. by Steven Knopoff, 52(3): 481– 84 Trimillos, 57(1): 130– 33 New (Ethno)musicologies, The, Henry Stobart, Musical Sense and Musical Meaning: An Indig- ed., rev. by Simone Krüger, 55(1): 128– 35 enous African Perspective, by Meki Nzewi, Ngā Mōteatea: An Introduction, by Jane McRae, Israel Anyahuru, and Tom Ohiarau- rev. by Gabriel Solis, 57(3): 518– 24 munna, rev. by Kofi Agawu, 56(1):133– 40 Ngā Mōteatea: The Songs, Parts I–IV, by A. T. Músicas africanas e indígenas no Brasil [African Ngata, rev. by Gabriel Solis, 57(3):518– 24 and indigenous musics in Brazil], Rosân- NGATA, A. T., Ngā Mōteatea: The Songs, Parts gela Pereira de Tugny and Ruben Caixeta I–IV, rev. by Gabriel Solis, 57(3): 518– 24 de Queiroz, eds., rev. by Suzel Ana Reily, NIELSEN, SVEND, and KIRSTEN SASS BAK, 51(3): 486– 92 eds., Spiritual Folk Singing: Nordic and Musicking Bodies: Gesture and Voice in Hindu- Baltic Protestant Traditions, rev. by Juni- stani Music, by Matthew Rahaim, rev. by per Hill, 52(1): 132– 36 Stephen Slawek, 60(1): 182– 86 NIEUWKERK, KARIN VAN, Muslim Rap, Muslim Rap, Halal Soaps, and Revolutionary Halal Soaps, and Revolutionary Theater: Theater: Artistic Developments in the Mus- Artistic Developments in the Muslim lim World, Karin van Nieuwkerk, ed., rev. World, rev. by D. A. Sonneborn, 57(2): by D. A. Sonneborn, 57(2): 347– 51 347– 51 “My Name is Gauhar Jan!”: The Life and Times NILES, DON, and ALAN RUMSEY, eds., of a Musician, by Vikram Sampath, rev. Sung Tales from the Papua New Guinea by Peter Manuel, 56(1): 146– 50 Highlands: Studies in Form, Meaning, My Voice is My Weapon: Music, Nationalism, and Sociocultural Context, rev. by Gabriel and the Poetics of Palestinian Resistance, Solis, 57(3): 518– 24 by David A. McDonald, rev. by Jonathan NIRANJANA, TEJASWINI, Mobilizing India: Shannon, 60(3): 510–13 Women, Music, and Migration between Book Reviews 31

India and Trinidad, rev. by Peter Manuel, OCHOA, ANA MARIA, and MARTHA 53(1): 144– 46 ULHÔA, Música popular na América NOOSHIN, LAUDIN, ed., Music and the Play Latina: pontos de escuta, [Popular music of Power in the Middle East, North Africa in Latin America: Listening points], rev. and Central Asia, rev. by John Morgan by Suzel Ana Reily, 51(3): 486– 92 O’Connell, 54(2): 347– 51 OHIARAUMUNNA, TOM, ISRAEL ANYAH- NORTON, BARLEY, Songs for the Spirits: URU, and MEKI NZEWI, Musical Sense Music and Mediums in Modern Vietnam, and Musical Meaning: An Indigenous rev. by Jim Sykes, 58(3): 537– 44 African Perspective, rev. by Kofi Agawu, NOVAK, DAVID, Japanoise: Music at the Edge 56(1): 133– 40 of Circulation, rev. by Christine R. Yano, OLDFIELD, ANNA, Azerbaijani Women Poet- 60(1): 187– 90 Minstrels: Women Ashiqs from the Eigh- NURSE, ANDREW, LYNDA JESSUP, and teenth Century to the Present, rev. by Peter GORDON E. SMITH, eds., Around McMurray, 55(1): 143– 48 and About Marius Barbeau: Modeling Twentieth- Century Culture, rev. by Brian P C. Thompson, 54(1): 152– 57 P’ungmul: South Korean Drumming and Dance, NYAHO, WILLIAM H. CHAPMAN, ed., by Nathan Hesselink, rev. by Yoonjah and the African Choi, 52(1): 136– 39 Diaspora, Vol. 1; Piano Music of Africa Paradosiaká: Music, Meaning and Identity in and the African Diaspora, Vol. 2; Piano Modern Greece, by Eleni Kallimopou- Music of Africa and the African Dias- lou, rev. by Alexandra Balandina, 54(3): pora, Vol. 3; rev. by Caroline Rae, 53(1): 522– 25 146– 51 Paroles mélodisées: Récits épiques et lamenta- NZEWI, MEKI, ISRAEL ANYAHURU, and tions chez les Yézidis d’Arménie [Melo- TOM OHIARAUMUNNA, Musical Sense dized speech: Heroic songs and laments and Musical Meaning: An Indigenous Afri- by the Yezidis of Armenia], by Estelle can Perspective, rev. by Kofi Agawu, 56(1): Amy de la Bretèque, rev. by Sylvia Ala- 133– 40 jaji, 59(2): 337– 39 PEGLEY, KIP, and SUSAN FAST, eds., Music, O Politics, and Violence, rev. by Gavin Ó LAOIRE, LILLIS, and SEAN WILLIAMS, Douglas, 59(1): 149– 52 Bright Star of the West: Joe Heaney, Irish PEREIRA DE TUGNY, ROSÂNGELA, and Song-Man, rev. by Aileen Dillane, 57(3): RUBEN CAIXETA DE QUEIROZ, eds., 542– 46 Músicas africanas e indígenas no Brasil O’CONNELL, JOHN MORGAN, Alaturka: [African and indigenous musics in Bra- Style in Turkish Music (1923–1938) , rev. zil], rev. by Suzel Ana Reily, 51(3):486– 92 by Maureen Jackson, 59(3): 488– 90 Performing Democracy: Bulgarian Music and O’CONNELL, JOHN MORGAN, rev. of Music Musicians in Transition, by Donna A. and the Play of Power in the Middle East, Buchanan, rev. by Claire Levy, 51(3): North Africa and Central Asia, Laudin 503– 6 Nooshin, ed., 54(2): 347– 51 Performing Gender, Place, and Emotion in Music: O’CONNELL, JOHN MORGAN, “Music in Global Perspectives, Fiona Magowan and War, Music for Peace: A Review Article,” Louise Wrazen, eds., rev. by Lillie Gordon, 55(1): 112– 27 59(3): 483– 88 O’SHEA, HELEN, The Making of Irish Tradi- PERLMAN, MARC, “The Rāgs of North Indian tional Music, rev. by Susan Motherway, Music, Forty Years Later,” 55(2): 318– 24 54(3): 522– 29 PERLMAN, MARC, Unplayed Melodies: Java- Oceanic Music Encounters: The Print Resource nese Gamelan and the Genesis of Music and the Human Resource: Essays in Hon- Theory, rev. by Sarah Weiss, 51(1):131– 42 our of Mervyn McLean, Richard Moyle, PERMAN, TONY, “Review Essay: Compet- ed., rev. by Grace Koch, 54(2): 351– 54 ing Paradigms in the Ethnomusicology 32 Ethnomusicology, Index Volumes 51–60

of Trance,” rev. of Deep Listeners: Music, Polyphonies du Nord-Cameroun [Polyphony in Emotion, and Trancing, by Judith Becker; North Cameroon], by Nathalie Fernando, Remains of Ritual: Northern Gods in a rev. by Kofi Agawu, 56(1): 133– 40 Southern Land, by Steven M. Friedson; Popular World Music, by Andrew Shahriari, rev. Stambeli: Music, Trance, and Alterity in by Jesse Feyen, 55(2): 336– 39 Tunisia, by Richard C. Jankowsky, 57(2): Power of Song, The: Nonviolent National Culture 330– 38 in the Baltic Singing Revolution, by Guntis PERNA, VINCENZO, Timba: The Sound of the Šmidchens, rev. by Louise Wrazen, 60(3): Cuban Crisis, rev. by Liliana González 523–25 Moreno and Alejandro L. Madrid, 51(2): Power Plays: Wayang Golek Puppet Theater of 353– 55 West Java, by Andrew N. Weintraub, rev. PETERS, KAREN A., rev. of The Tamburitza by Sarah Weiss, 51(1): 131– 42 Tradition: From the Balkans to the Ameri- Powwow, Clyde Ellis, Luke Eric Lassiter, and can Midwest, by Richard March, 59(2): Gary H. Dunham, eds., rev. by Beverley 342– 45 Diamond, 51(3): 477– 86 Piano Music of Africa and the African Dias- PRESCOTT, ANNE, rev. of The Shamisen: Tra- pora, Vol. 1; Piano Music of Africa and dition and Diversity, by Henry Johnson, the African Diaspora, Vol. 2; Piano Music 57(1): 133– 35 of Africa and the African Diaspora, Vol. 3; PROVINE, ROBERT C., rev. of Hwang Byungki: William H. Chapman Nyaho, ed., rev. by Traditional Music and the Contemporary Caroline Rae, 53(1): 146– 51 Composer in the Republic of Korea, by PICKVANCE, RICHARD, A Gamelan Manual: Andrew Killik, 60(1): 175– 77 A Player’s Guide to the Central Javanese Putting a Song on Top of It: Expression and Iden- Gamelan, rev. by Andrew McGraw, 51(1): tity on the San Carlos Apache Reservation, 142– 46 by David W. Samuels, rev. by Beverley PILZER, JOSHUA D., Hearts of Pine: Songs Diamond, 51(3): 477– 86 in the Lives of Three Korean Survivors of the Japanese “Comfort Women,” rev. by Q Donna Lee Kwon, 58(1): 159– 62 QUICK, SARAH, Musical Intimacies and Indig- PINE, JASON, The Art of Making Do in Naples, enous Imaginaries: Aboriginal Music and rev. by Nicholas Tochka, 59(1): 158– 61 Dance in Public Performance, by Byron PISANI, MICHAEL V., Imagining Native Amer- Dueck, 60(1): 178– 81 ica in Music, rev. by Beverley Diamond, QUIGLEY, COLIN, rev. of Dancing from Past 51(3): 477– 86 to Present: Nation, Culture, Identities, Play It Like It Is: Fiddle and Dance Studies from Theresa Jill Buckland, ed., 53(3): 522– 25 around the North Atlantic, Ian Russell and QURESHI, REGULA BURCKHARDT, ed., Mary Anne Alburger, eds., rev. by Cinzia Music and Marx: Ideas, Practice, Politics, Yates, 54(3): 530– 36 rev. by Matthew Machin, 53(3): 519– 22 Playing Across a Divide: Israeli-Palestinian Musical Encounters, by Benjamin Brinner, R rev. by Michael A. Figueroa, 54(3):518– 22 RACY, ALI JIHAD, Music Making in the Arab Playing Along: Digital Games, YouTube, and World: The Culture and Artistry of Tarab, Virtual Performance, by Kiri Miller, rev. rev. by Anne K. Rasmussen, 53(1):152– by René T. A. Lysloff, 60(1): 170– 74 55 Plucking the Winds: Lives of Village Musicians RADANO, RONALD, Lying Up a Nation: Race in Old and New China, by Stephen Jones, and Black Music, rev. by A. Scott Currie, rev. by Mercedes M. DuJunco, 53(2): 51(3): 501– 3 346– 50 RAE, CAROLINE, rev. of Piano Music of Africa Polish Dance in Scandinavia and Poland, The, and the African Diaspora, Vol. 1; Piano Märta Ramsten, ed., rev. by Juniper Hill, Music of Africa and the African Diaspora, 52(1): 132– 36 Vol. 2; Piano Music of Africa and the Afri- Book Reviews 33

can Diaspora, Vol. 3, William H. Chap- phy; Músicas africanas e indígenas no man Nyaho, ed., 53(1): 146– 51 Brasil [African and indigenous musics in RAGLAND, CATHY, rev. of Mariachi Music in Brazil], Rosângela Pereira de Tugny and America, by Daniel Sheehy, 51(1):151– 53 Ruben Caixeta de Queiroz, eds.; Música “Rāgs of North Indian Music, The, Forty Years popular na América Latina: pontos de L a t e r,” by Marc Perlman, 55(2): 318– 24 escuta [Popular music in Latin America: RAHAIM, MATTHEW, Musicking Bodies: Ges- Listening points], Martha Ulhôa and Ana ture and Voice in Hindustani Music, rev. Maria Ochoa, eds., 51(3): 486– 92 by Stephen Slawek, 60(1): 182– 86 REILY, SUZEL ANA, ed., The Musical Human: RAMNARINE, TINA K., rev. of Carriacou Rethinking John Blacking’s Ethnomusicol- String Band Serenade: Performing Identity ogy in the Twenty-First Century, rev. by in the Eastern Caribbean, by Rebecca S. Christopher Waterman, 55(2): 325– 29 Miller, 54(1): 157– 60 Remains of Ritual: Northern Gods in a Southern RAMNARINE, TINA K., ed., Musical Perfor- Land, by Steven M. Friedson, rev. by Tony mance in the Diaspora, rev. by J. Lawrence Perman, 57(2): 330– 38 Witzleben, 57(3): 525– 32 Republic of Love, The: Cultural Intimacy in RAMSTEN, MÄRTA, ed., The Polish Dance in Turkish Popular Music, by Martin Stokes, Scandinavia and Poland, rev. by Juniper rev. by Denise Elif Gill, 58(2): 349– 55 Hill, 52(1): 132– 36 “Review Essay: Getting Beyond Java: New Stud- RAPPORT, EVAN, rev. of Afghanistan Encoun- ies in Indonesian Music,” Calling Back the ters with Music and Friends, by Hiromi Spirit: Music, Dance, and Cultural Politics Lorraine Sakata, 59(2): 346– 48 in Lowland South Sulawesi, by R. Ander- RASMUSSEN, ANNE K., rev. of Music Making son Sutton; Power Plays: Wayang Golek in the Arab World: The Culture and Artistry Puppet Theater of West Java, by Andrew of Tarab, by Ali Jihad Racy, 53(1): 152– 55 N. Weintraub; Unplayed Melodies: Java- RASMUSSEN, ANNE K., Women, the Recited nese Gamelan and the Genesis of Music Qur’an, and Islamic Music in Indonesia, Theory, by Marc Perlman, rev. by Sarah rev. by Michael B. Bakan, 56(1): 140– 44 Weiss, 51(1): 131– 42 RASMUSSEN, ANNE K., and DAVID HAR- RICHARDS-GREAVES, GILLIAN, rev. of NISH, eds., Divine Inspirations: Music “Mek Some Noise”: Gospel Music and the and Islam in Indonesia, rev. by Jennifer Ethics of Style in Trinidad, by Timothy Fraser, 57(3): 539– 42 Rommen, 52(3): 477– 80 Real Country: Music and Language in Working- Ritmo y compás: Análisis musical del flamenco: Class Culture, by Aaron A. Fox, rev. by Estructura métrica y articulación rítmico- Clifford R. Murphy, 51(3): 498– 500 armónica de los géneros flamencos acom- Recording Culture: Powwow Music and the pasados, a través de la fonografía [Rhythm Aboriginal Recording Industry on the and compás: Musical analysis of fla- Northern Plains, by Christopher A., menco: Metrical structure and rhythmic- Scales, rev. by Tara Browner, 60(3):517–19 harmonic articulation in the metered Red Strains: Music and Communism Outside genres of flamenco, as approached the Communist Bloc, Richard Adlington, through recordings], by Bernat Jiménez ed., rev. by Ian MacMillen, 59(3):491– 93 de Cisneros Puig, rev. by Peter Manuel, REED, TERESA L., The Holy Profane: Religion 60(3): 526–31 in Black Popular Music, rev. by Melvin L. Ritual Music in a North China Village: The Butler, 51(3): 492– 98 Continuing Confucian and Buddhist Heri- REILY, SUZEL ANA, rev. of Brazilian Music: tage, by Yaxiong Du, rev. by Peter Chang, Northeastern Traditions and the Heart- 52(2): 330– 32 beat of a Modern Nation, by Larry Crook; Romani Routes: Cultural Politics and Balkan Brazilian Popular Music: Caetano Veloso Music in Diaspora, by Carol Silverman, and the Regeneration of Tradition, by Lor- rev. by Adriana Helbig, 58(1): 163– 65 raine Leu; Music in Brazil: Experiencing ROMMEN, TIMOTHY, Funky Nassau: Roots, Music, Expressing Culture, by John Mur- Routes, and Representation in Bahamian 34 Ethnomusicology, Index Volumes 51–60

Popular Music, rev. by Shannon Dudley, Carlos Apache Reservation, rev. by Bever- 60(3): 508–10 ley Diamond, 51(3): 477– 86 ROMMEN, TIMOTHY, “Mek Some Noise”: SamulNori: Contemporary Korean Drumming Gospel Music and the Ethics of Style and the Rebirth of Itinerant Performance in Trinidad, rev. by Gillian Richards- Culture, by Nathan Hesselink, rev. by Greaves, 52(3): 477– 80 Andrew Killick, 57(2): 354– 57 ROSSEN, JANE MINK, and URI SHARVIT, A Sayonara Amerika, Sayonara Nippon: A Geo- Fusion of Traditions: Liturgical Music in political Prehistory of J-Pop, by Michael the Copenhagen Synagogue, rev. by Judah Bourdaghs, rev. by Christine R. Yano, Cohen, 52(2): 327– 28 60(1): 187– 90 RUBIN, JOEL E., rev. of Klezmer’s Afterlife: An SCALES, CHRISTOPHER A., Recording Cul- Ethnography of the Jewish Music Revival ture: Powwow Music and the Aboriginal in Poland and Germany, by Magdalena Recording Industry on the Northern Plains, Waligorska, 60(3):534–37 rev. by Tara Browner, 60(3): 517–19 RUCKERT, GEORGE E., Music in North India: SCOTT, STANLEY, and DOROTHEA E. Experiencing Music, Expressing Culture, HAST, Music in Ireland: Experiencing rev. by Peter Manuel, 52(1): 117– 20 Music, Expressing Culture, rev. by John RUMSEY, ALAN, and DON NILES, eds., Nagle, 51(1): 153– 55 Sung Tales from the Papua New Guinea SEEMAN, SONIA TAMAR, rev. of Music in Highlands: Studies in Form, Meaning, Turkey: Experiencing Music, Expressing and Sociocultural Context, rev. by Gabriel Culture, by Eliot Bates, 56(3): 558– 62 Solis, 57(3): 518– 24 Sgt. Pepper and the Beatles: It Was Forty Years RUSSELL, IAN, and MARY ANNE ALBUR- Ago Today, Olivier Julien, ed., rev. by GER, eds., Play It Like It Is: Fiddle and Sarah Hill, 53(2): 329– 32 Dance Studies from around the North Shadows in the Field: New Perspectives for Field- Atlantic; Driving the Bow: Fiddle and Dance work in Ethnomusicology, Second Edition, Studies from Around the North Atlantic 2, Gregory Barz and Timothy J. Cooley, eds., rev. by Cinzia Yates, 54(3): 530– 36 rev. by Peter Manuel, 57(1): 124– 30 RUSSELL, TONY, Country Music Records: A SHAHRIARI, ANDREW, Popular World Music, Discography, 1921– 1942, rev. by Clifford rev. by Jesse Feyen, 55(2): 336– 39 R. Murphy, 51(3): 498– 500 Shamisen, The: Tradition and Diversity, by Henry Johnson, rev. by Anne Prescott, S 57(1): 133– 35 SAGER, REBECCA D., rev. of From Vodou to SHANNON, JONATHAN HOLT, Among the Zouk: A Bibliographic Guide to Music of Jasmine Trees: Music and Modernity in the French -speaking Caribbean and its Contemporary Syria, rev. by Anne Elise Diaspora, by John Gray, 59(1): 155– 58 Thomas, 52(1): 139– 41 SAKATA, HIROMI LORRAINE, Afghanistan SHANNON, JONATHAN, rev. of My Voice is Encounters with Music and Friends, rev. My Weapon: Music, Nationalism, and the by Evan Rapport, 59(2): 346– 48 Poetics of Palestinian Resistance, by David Salsa World: A Global Dance in Local Contexts, A. McDonald, 60(3): 510–13 Sydney Hutchinson, ed., rev. by David Shared Musics and Minority Identities, Naila García, 60(3): 520–22 Ceribašic and Erica Haskell, eds., rev. by SAMPATH, VIKRAM, “My Name is Gauhar Carol Silverman, 52(1): 141– 44 Jan!”: The Life and Times of a Musician, SHARVIT, URI, and JANE MINK ROSSEN, A rev. by Peter Manuel, 56(1): 146– 50 Fusion of Traditions: Liturgical Music in SAMUELS, DAVID, rev. of Music, Sound and the Copenhagen Synagogue, rev. by Judah Space: Transformations of Public and Pri- Cohen, 52(2): 327– 28 vate Experience, by Georgina Born, ed., SHEEHY, DANIEL, Mariachi Music in Amer- 59(3): 499– 502 ica, rev. by Cathy Ragland, 51(1):151– 53 SAMUELS, DAVID W., Putting a Song on Top SILVERMAN, CAROL, Romani Routes: Cul- of It: Expression and Identity on the San tural Politics and Balkan Music in Dias- Book Reviews 35

pora, rev. by Adriana Helbig, 58(1): text, Alan Rumsey and Don Niles, eds.; 163– 65 Steep Slopes: Music and Change in the SILVERMAN, CAROL, rev. of Shared Musics Highlands of Papua New Guinea, by Kirsty and Minority Identities, Naila Ceribašic Gillespie; Ngā Mōteatea: An Introduction, and Erica Haskell, eds., 52(1): 141– 44 by Jane McRae; Ngā Mōteatea: The Songs, SILVERS, MICHAEL B., rev. of Enciclopédia Parts I–IV, by A. T. Ngata, 57(3): 518– 24 da Música em Portugal no Século XX SOLIS, GABRIEL, and BRUNO NETTL, eds., [Encyclopedia of music in Portugal in the Musical Improvisation: Art, Education, XX century], Salwa El-Shawan Castelo- and Society, rev. by Jonathan Goldman, Branco, ed., 60(1): 181– 82 54(2): 354– 57 Singing in My Soul: Black Gospel Music in a SOLOMON, THOMAS, rev. of Gentleman Secular Age, by Jerma A. Jackson, rev. by Troubadours and Andean Pop Stars: Melvin L. Butler, 51(3): 492– 98 Huayno Music, Media Work, and Ethnic Singing the Classical, Voicing the Modern: The Imaginaries in Urban Peru, by Joshua Postcolonial Politics of Music in South Tucker, 59(1): 158– 61 India, by Amanda J. Weidman, rev. by SOMOROFF, MATTHEW A., rev. of Monk’s Rolf Groesbeck, 52(3): 487– 90 Music: Thelonious Monk and Jazz History SLAWEK, STEPHEN, rev. of Musicking Bodies: in the Making, by Gabriel Solis, 52(3): Gesture and Voice in Hindustani Music, by 466– 68 Matthew Rahaim, 60(1): 182– 86 Songs, Dreamings, and Ghosts: The Wangga of SLAWEK, STEPHEN, rev. of Two Men and North Australia, by Allan Marett, rev. by Music: Nationalism in the Making of Sally Treloyn, 52(3): 484– 87 an Indian Classical Tradition, by Janaki Songs for the Spirits: Music and Mediums in Bakhle, 51(3): 506– 12 Modern Vietnam, by Barley Norton, rev. ŠMIDCHENS, GUNTIS, The Power of Song: by Jim Sykes, 58(3): 537– 44 Nonviolent National Culture in the Bal- SONNEBORN, D. A., rev. of Muslim Rap, Halal tic Singing Revolution, rev. by Louise Soaps, and Revolutionary Theater: Artistic Wrazen, 60(3): 523–25 Developments in the Muslim World, Karin SMITH, GORDON E., LYNDA JESSUP, van Nieuwkerk, ed., 57(2): 347– 51 and ANDREW NURSE, eds., Around Sounds of Capitalism, The: Advertising, Music, and About Marius Barbeau: Modeling and the Conquest of Culture, by Timothy Twentieth- Century Culture, rev. by Brian D. Taylor, rev. by C. Michael Elavsky, C. Thompson, 54(1): 152– 57 58(3): 526– 29 SMITH, HOPE MUNRO, rev. of Carnival Music Sounds of the Modern Nation: Music, Culture, in Trinidad: Experiencing Music, Express- and Ideas in Post-Revolutionary Mexico, ing Culture, by Shannon Dudley; Carib- by Alejandro L. Madrid, rev. by Ruth bean Currents: Caribbean Music from Hellier-Tinoco, 54(1): 141– 47 Rumba to Reggae, Revised and Expanded SPILLER, HENRY, Erotic Triangles: Sundanese Edition, by Peter Manuel with Kenneth Dance and Masculinity in West Java, rev. Bilby, and Michael Largey, 51(2): 355– 57 by Anna Morcom, 57(3): 536– 39 SMITH, THÉRÉSE, “Let the Church Sing!”: SPILLER, HENRY, Gamelan: The Traditional Music and Worship in a Black Mississippi Sounds of Indonesia, rev. by Andrew Community, rev. by Melvin L. Butler, McGraw, 51(1): 142– 46 51(3): 492– 98 SPILLER, HENRY, rev. of Illicit Worlds of SOLIS, GABRIEL, Monk’s Music: Thelonious Indian Dance: Cultures of Exclusion, by Monk and Jazz History in the Making, rev. Anna Morcom, 59(3): 494– 98 by Matthew A. Somoroff, 52(3): 466– 68 SPILLER, HENRY, rev. of Music in Central SOLIS, GABRIEL, “Review Essay: Recent Java: Experiencing Music, Expressing Scholarship in the Music of the South- Culture, by Benjamin Brinner; Listening western Pacific,” rev. of Sung Tales from to an Earlier Java: Aesthetics, Gender, and the Papua New Guinea Highlands: Studies the Music of Wayang in Central Java, by in Form, Meaning, and Sociocultural Con- Sarah Weiss, 52(1): 121– 25 36 Ethnomusicology, Index Volumes 51–60

SPINETTI, FEDERICO, ed., Giuseppe Doni- STURMAN, JANET, “Review Essay: Engaging zetti Pascià: Traiettoire Musicali e Storiche Mexican Musical Performance beyond tra Italia et Turchia [Giuseppe Donizetti Borders,” rev. of Transnational Encoun- Pascià: Musical and historical trajectories ters: Music and Performance at the US- between Italy and Turkey], rev. by Martin Mexico Border, Alejandro L. Madrid, ed.; Stokes, 56(1): 144– 46 Embodying Mexico: Tourism, National- SPINETTI, FEDERICO, rev. of The Making of ism, and Performance, by Ruth Hellier- a Musical Canon in Chinese Central Asia: Tinoco, 57(1): 116– 24 The Uyghur Twelve Muqam, by Rachel Sung Tales from the Papua New Guinea High- Harris, 54(1): 147– 52 lands: Studies in Form, Meaning, and Spiritual Folk Singing: Nordic and Baltic Prot- Sociocultural Context, Alan Rumsey and estant Traditions, Kirsten Sass Bak and Don Niles, eds., rev. by Gabriel Solis, Svend Nielsen, eds., rev. by Juniper Hill, 57(3): 518– 24 52(1): 132– 36 SUTTON, R. ANDERSON, Calling Back the Squeeze This! A Cultural History of the Accor- Spirit: Music, Dance, and Cultural Politics dion in America, by Marion Jacobson, rev. in Lowland South Sulawesi, rev. by Sarah by Thomas Turino, 57(3): 547– 51 Weiss, 51(1): 131– 42 Staging Socialist Femininity: Gender Politics and Swedish Folk Music in the Twenty -First Century: Folklore Performance in Serbia, by Ana On the Nature of Tradition in a Folkless Hofman, rev. by Ryan S. Haynes, 58(3): Society, by David Kaminsky, rev. by Jill 532– 37 Ann Johnson, 59(2): 340– 42 Stambeli: Music, Trance, and Alterity in Tuni- SWEERS, BRITTA, Electric Folk: The Changing sia, by Richard C. Jankowski, rev. by Tony Face of English Traditional Music, rev. by Perman, 57(2): 330– 38 Eoghan Neff, 53(2): 326– 29 Steep Slopes: Music and Change in the Highlands SYKES, JIM, rev. of Songs for the Spirits: Music of Papua New Guinea, by Kirsty Gillespie, and Mediums in Modern Vietnam, by rev. by Gabriel Solis, 57(3): 518– 24 Barley Norton; Bridges to the Ancestors: STERNE, JONATHAN, MP3: The Meaning of Music, Myth, and Cultural Politics at an a Format, rev. by Leslie C. Gay, Jr., 58(3): Indonesian Festival, by David Harnish, 548– 51 58(3): 537– 44 STEWART, ALEX, Making the Scene: Contem- porary New York City Big Band Jazz, rev. T by Tom Greenland, 52(3): 468– 70 Tamburitza Tradition, The: From the Balkans to STOBART, HENRY, ed., The New (Ethno)musi- the American Midwest, by Richard March, cologies, rev. by Simone Krüger, 55(1): rev. by Karen A. Peters, 59(2): 342– 45 128– 35 TAYLOR, TIMOTHY D., The Sounds of STOCK, JONATHAN P. J., rev. of Music in Capitalism: Advertising, Music, and the China: Experiencing Music, Expressing Conquest of Culture, rev. by C. Michael Culture, by Frederick Lau, 53(1): 156– 58 Elavsky, 58(3): 526– 29 STOKES, MARTIN, rev. of Giuseppe Donizetti TENZER, MICHAEL, ed., Analytical Studies Pascià: Traiettoire Musicali e Storiche tra in World Music, rev. by Edward Green, Italia et Turchia [Giuseppe Donizetti 51(2): 345– 47 Pascià: Musical and historical trajecto- TENZER, MICHAEL, rev. of L’Enquête en ries between Italy and Turkey], Federico ethnomusicologie: Préparation, terrain, Spinetti, ed., 56(1): 144– 46 analyse [Inquiry in ethnomusicology: STOKES, MARTIN, The Republic of Love: Cul- Preparation, field, analysis], by Simha tural Intimacy in Turkish Popular Music, Arom and Denis-Constant Martin, 60(2): rev. by Denise Elif Gill, 58(2): 349– 55 371– 75 STONE, RUTH M., Music in West Africa: Expe- Theory of African Music, Volumes 1 and 2, by riencing Music, Expressing Culture, rev. by Gerhard Kubik, rev. by Amanda Villepas- Kwasi Ampene, 51(1): 146– 48 tour, 56(2): 334– 40 Book Reviews 37

Theory of African Music, Volume 2, by Gerhard Urban Peru, rev. by Thomas Solomon, Kubik, rev. by Kofi Agawu, 56(1): 133– 40 59(1): 158– 61 This Is Our Music: Free Jazz, the Sixties, and Tuned Out: Traditional Music and Identity in American Culture, by Iain Anderson, rev. Northern Ireland, by Fintan Vallely, rev. by Monica Hairston, 52(3): 462– 66 by David Cooper, 54(1): 136– 41 THOMAS, ANNE ELISE, rev. of Among the TURINO, THOMAS, Music as Social Life: Jasmine Trees: Music and Modernity in The Politics of Participation, rev. by Peter Contemporary Syria, by Jonathan Holt Manuel, 57(1): 125– 30 Shannon, 52(1): 139– 41 TURINO, THOMAS, rev. of Squeeze This! THOMPSON, BRIAN C., rev. of Around A Cultural History of the Accordion in and About Marius Barbeau: Modeling America, by Marion Jacobson, 57(3): Twentieth- Century Culture, Lynda Jessup, 547– 51 Andrew Nurse, and Gordon E. Smith, TURINO, THOMAS, and JAMES LEA, eds., eds., 54(1): 152– 57 Identity and the Arts in Diaspora Com- Timba: The Sound of the Cuban Crisis, by Vin- munities, rev. by J. Lawrence Witzleben, cenzo Perna, rev. by Liliana González 57(3): 525– 32 Moreno and Alejandro L. Madrid, 51(2): Two Men and Music: Nationalism in the Mak- 353– 55 ing of an Indian Classical Tradition, by TOCHKA, NICHOLAS, rev. of The Art of Mak- Janaki Bakhle, rev. by Stephen Slawek, ing Do In Naples, by Jason Pine, 59(1): 51(3): 506– 12 158– 61 Touraj Kiaras and Persian Classical Music: An U Analytical Perspective, by Owen Wright, ULHÔA, MARTHA TUPINAMBÁ DE, rev. of rev. by Stephen Blum, 55(1): 149– 51 Music in Imperial Rio de Janeiro: European TOYNBEE, JASON, and BYRON DUECK, Culture in a Tropical Milieu, by Christina eds., Migrating Music, rev. by Ilana Magaldi; Choro: A Social History of a Bra- Webster- Kogen, 56(2): 331– 34 zilian Popular Music, by Tamara Elena TRAGAKI, DAFNI, ed., Empire of Song: Europe Livingston-Isenhour and Thomas George and Nation in the Eurovision Song Contest, Caracas García, 52(1): 129– 32 rev. by Nino Tsitsishvili, 58(3): 545– 48 ULHÔA, MARTHA, and ANA MARIA Transnational Encounters: Music and Perfor- OCHOA, Música popular na América mance at the US-Mexico Border, Alejan- Latina: pontos de escuta [Popular music dro L. Madrid, ed., rev. by Janet Sturman, in Latin America: Listening points], rev. 57(1): 116– 24 by Suzel Ana Reily, 51(3): 486– 92 TRELOYN, SALLY, rev. of Songs, Dreamings, UM, HAE-KYUNG, ed., Diasporas and Inter- and Ghosts: The Wangga of North Austra- culturalism in Asian Performing Arts: lia, by Allan Marett, 52(3): 484– 87 Translating Traditions, rev. by J. Lawrence TRIMILLOS, RICARDO D., rev. of Musical Witzleben, 57(3): 525– 32 Renderings of the Philippine Nation, by Umm Kulthūm: Artistic Agency and the Shaping Christi-Anne Castro, 57(1): 130– 33 of an Arab Legend, 1967–2007 , by Laura TSITSISHVILI, NINO, rev. of Empire of Song: Lohman, rev. by Daniel J. Gilman, 56(3): Europe and Nation in the Eurovision 555– 58 Song Contest, Dafni Tragaki, ed., 58(3): Unplayed Melodies: Javanese Gamelan and 545– 48 the Genesis of Music Theory, by Marc TUCKER, JOSHUA, rev. of Contemporary Perlman, rev. by Sarah Weiss, 51(1): Carioca: Technologies of Mixing in a Bra- 131– 42 zilian Musical Scene, by Frederick Moehn, 58(3): 551– 55 V TUCKER, JOSHUA, Gentleman Troubadours VALLELY, FINTAN, Tuned Out: Traditional and Andean Pop Stars: Huayno Music, Music and Identity in Northern Ireland, Media Work, and Ethnic Imaginaries in rev. by David Cooper, 54(1): 136– 40 38 Ethnomusicology, Index Volumes 51–60

VEAL, MICHAEL, Dub: Soundscapes and Shat- WEISS, SARAH, “Review Essay: Getting tered Songs in Jamaican Reggae, rev. by Beyond Java: New Studies in Indonesian Jeff Miles, 52(2): 328– 30 Music,” rev. of Calling Back the Spirit: VILLEPASTOUR, AMANDA, Ancient Text Music, Dance, and Cultural Politics in Messages of the Yor ùbá Bàtá Drum: Lowland South Sulawesi, by R. Ander- Cracking the Code, rev. by Akin Euba, son Sutton; Power Plays: Wayang Golek 55(3): 516– 20 Puppet Theater of West Java, by Andrew VILLEPASTOUR, AMANDA, rev. of Theory Weintraub; Unplayed Melodies: Javanese of African Music, Volumes 1 and 2, by Gamelan and the Genesis of Music Theory, Gerhard Kubik, 56(2): 334– 40 by Marc Perlman, 51(1): 131– 42 VISWANATHAN, T., and MATTHEW HARP Where Rivers and Mountains Sing: Sound, ALLEN, Music in South India: Experi- Music, and Nomadism in Tuva and encing Music, Expressing Culture, rev. by Beyond, by Theodore Levin, rev. by Rachel Peter Manuel, 52(1): 117– 20 Harris, 53(1): 142– 44 WHIDDEN, LYNN, Essential Song: Three W Decades of Northern Cree Music, rev. by WALD, ELIJAH, Global Minstrels: Voices of M. Celia Cain, 52(3): 458– 62 World Music, rev. by Darien Lamen, Whose National Music? Identity, Mestizaje, and 52(3): 474– 77 Migration in Ecuador, by Ketty Wong, rev. WALIGORSKA, MAGDALENA, Klezmer’s by LaDona Martin-Frost, 57(3): 552– 55 Afterlife: An Ethnography of the Jewish WILCKEN, LOIS, rev. of Caribbean and Atlan- Music Revival in Poland and Germany, tic Diaspora Dance: Igniting Citizenship, rev. by Joel E. Rubin, 60(3):534–37 by Yvonne Daniel, 57(2): 351– 54 WATERMAN, CHRISTOPHER, rev. of The WILLIAMS, SEAN, and LILLIS Ó LAOIRE, Musical Human: Rethinking John Black- Bright Star of the West: Joe Heaney, Irish ing’s Ethnomusicology in the Twenty-First Song-Man, rev. by Aileen Dillane, 57(3): Century, Suzel Ana Reily, ed., 55(2): 325– 542– 46 29 WITZLEBEN, J. LAWRENCE, “Review Essay: WEBB, MICHAEL, BRIAN DIETTRICH, Music and Diaspora,” rev. of Identity and JANE FREEMAN MOULIN, Music and the Arts in Diaspora Communities, in Pacific Island Cultures: Experiencing Thomas Turino and James Lea, eds.; Music, Expressing Culture, rev. by Paul Diasporas and Interculturalism in Asian Wolffram, 57(1): 136– 38 Performing Arts: Translating Traditions, WEBSTER-KOGEN, ILANA, rev. of Migrating Hae-Kyung Um, ed.; Musical Performance Music, Jason Toynbee and Byron Dueck, in the Diaspora, Tina K. Ramnarine, ed., eds., 56(2): 331– 34 57(3): 525– 32 WEIDMAN, AMANDA J., Singing the Classi- WOLFFRAM, PAUL, rev. of Music in Pacific cal, Voicing the Modern: The Postcolonial Island Cultures: Experiencing Music, Politics of Music in South India, rev. by Expressing Culture, by Brian Diettrich, Rolf Groesbeck, 52(3): 487– 90 Jane Freeman Moulin, and Michael WEINTRAUB, ANDREW, Dangdut Stories: A Webb, 57(1): 136– 38 Social and Musical History of Indonesia’s Women Singers in Global Contexts: Music, Biog- Most Popular Music, rev. by David Har- raphy, Identity, Ruth Hellier, ed., rev. by nish, 57(3): 532– 36 Lillie Gordon, 59(3): 483– 87 WEINTRAUB, ANDREW, Power Plays: Way- Women, the Recited Qur’an, and Islamic Music ang Golek Puppet Theater of West Java, in Indonesia, by Anne K. Rasmussen, rev. rev. by Marc Perlman, 51(1): 131– 42 by Michael B. Bakan, 56(1): 140– 44 WEISS, SARAH, Listening to an Earlier Java: WONG, KETTY, Whose National Music? Aesthetics, Gender, and the Music of Way- Identity, Mestizaje, and Migration in ang in Central Java, rev. by Henry Spiller, Ecuador, rev. by LaDona Martin-Frost, 52(1): 121– 25 57(3): 552– 55 Book Reviews 39

WOODRUFF, JENNIFER A., rev. of The Games Y Black Girls Play: Learning the Ropes from YANO, CHRISTINE R., rev. of Sayonara Double-Dutch to Hip-Hop, by Kyra D. Amerika, Sayonara Nippon: A Geopo- Gaunt, 51(2): 347– 49 litical Prehistory of J-Pop, by Michael WORRALL, DAN M., The Anglo-German Con- Bourdaghs; Japanoise: Music at the Edge certina: A Social History (Volumes I and of Circulation by David Novak, 50(1): II), rev. by Gage Averill, 55(1): 151– 54 187– 90 WRAZEN, LOUISE, and FIONA MAGOWAN, YATES, CINZIA, rev. of Play It Like It Is: Fid- eds., Performing Gender, Place, and Emo- dle and Dance Studies from around the tion in Music: Global Perspectives, rev. by North Atlantic, Driving the Bow: Fiddle Lillie Gordon, 59(3): 483– 88 and Dance Studies from Around the North WRAZEN, LOUISE, rev. of The Power of Song: Atlantic 2, Ian Russell and Mary Anne Nonviolent National Culture in the Baltic Alburger, eds., 54(3): 530– 36 Singing Revolution, by Guntis Šmidchens, YAXIONG DU, Ritual Music in a North China 60(3): 523–25 Village: The Continuing Confucian and WRIGHT, OWEN, Music Theory in Mamluk Buddhist Heritage, rev. by Peter Chang, Cairo, rev. by Scott Marcus, 60(2):368– 71 52(2): 330– 32 WRIGHT, OWEN, Touraj Kiaras and Persian Classical Music: An Analytical Perspec- Z tive, rev. by Stephen Blum, 55(1): 149– 51 Zimbabwean Mbira Music on an International WRIGHT-McLEOD, BRIAN, The Encyclope- Stage: Chartwell Dutiro’s Life in Music, dia of Native Music: More Than a Cen- Chartwell Dutiro and Keith Howard, eds., tury of Recordings from Wax Cylinder to rev. by Noel Lobley, 55(3): 521– 24 the Internet, rev. by Beverley Diamond, 51(3): 477– 86 Index to Titles of Recordings Reviewed and Reviewers of Recordings

A Beaton Family of Mabou, The: Cape Breton Abayudaya: Music from the Jewish People of Fiddle and Piano Music (recording), rev. Uganda (recording), rev. by David G. by Sally K. Sommers Smith, 57(1): 166– Pier, 55(3): 525– 27 71 African Rhythms (recording), rev. by Dániel BENDRUPS, DAN, rev. of Suni Paz. Bandera Péter Biró and W. Andrew Schloss, 51(1): Mía: Songs of Argentina (recording), 162– 65 51(2): 360– 62 Aleksander Kulisiewicz. Ballads and Broadsides: BIRÓ, DÁNIEL PÉTER, and ANDREW W. Songs from Sachsenhausen Concentration SCHLOSS, rev. of African Rhythms Camp 1940–1945 (recording), rev. by Joel (recording), 51(1): 162– 65 E. Rubin, 55(3): 539– 40 Bissa du Burkina Faso: Musique vocale et instru- American Songster (recording), rev. by Thomas mentale (recording), rev. by James Burns, Richardson, 54(3): 537– 40 53(1): 159– 65 Audio Documentation of the Compositions of Black Mirror: Reflections in Global Musics Shri Muttusvami Dikshitar from the San- (recording), rev. by Jeremy Wallach, gita Sampradaya Pradarshini, An: Audio 53(1): 176– 78 Book One (recording), rev. by Harold BODENHEIMER, REBECCA, rev. of Andres Powers, 51(1): 168– 72 Chacón y Iré Iré: Tambor Lukumí: Música Andres Chacón y Iré Iré: Tambor Lukumí: Afro-Cubana (recording), 54(1): 163– 68 Música Afro-Cubana (recording), rev. by BUCHANAN, DONNA A., rev. of Bulgaire: Rebecca Bodenheimer, 54(1): 163– 68 L’art de la gadulka/Bulgaria: The Art of Aragón y Valencia (recording), recorded by the Gadulka (recording), 56(2): 345– 47 Alan Lomax, rev. by Jesús A. Ramos- Bulgaire: L’art de la gadulka/Bulgaria: The Art Kittrell, 53(1): 171– 76 of the Gadulka (recording), rev. by Donna ARNOLD, ALISON, rev. of Sidi Goma: Live in A. Buchanan, 56(2): 345– 47 India!; D’Bhuyaa Saaj: Live in India!; The BURKE, MARY LAWSON, rev. of Dema: Rivers of Babylon: Live in India! (record- Music from the Marind Anim. Anthology ings), 53(1): 166– 70 of Music from West Papua #2 (recording), ¡Arriba Suena Marimba! Currulao Marimba 54(1): 171– 73 Music from Colombia by Grupo Naidy BURNS, JAMES, rev. of Bissa du Burkina Faso: (recording), rev. by Janet Sturman, 51(3): Musique vocale et instrumentale; Choeurs 515– 18 royaux du Benin: Fon-Gbe d’Abomey; Asante Kete Drumming: Mossi du Burkina Faso: Musiques de (recording), rev. by James Burns, 53(1): coeur et de village; Yoruba du Benin: 159– 65 Sakara & Gelede; Asante Kete Drum- ming: Music of Ghana; Niger: Musique B des Touaregs, Vol. 1: Azawagh (record- Balinese Music in Lombok (recording), rev. by ings), 53(1): 159– 65 Sonja Downing, 56(1): 151– 53 Basque Country: Biscay and Guipúzcoa (record- C ing), recorded by Alan Lomax, rev. by CAIN, C. CELIA, rev. of Heartbeat: Voices of Jesús A. Ramos-Kittrell, 53(1): 171– 76 First Nations Women (recording) 55(1): Basque Country: Navarre (recording), recorded 159– 60 by Alan Lomax, rev. by Jesús A. Ramos- Calcutta Slide-Guitar (recording), rev. by David Kittrell, 53(1): 171– 76 Dennen, 55(3): 540– 43 Recording Reviews 41

Cambodge: Musique classique khmère, théâtre Deeper Polka: More Dance Music from the Mid- d’ombres et chants de mariage (recording), west (recording), rev. by Victor Greene, rev. by Terry E. Miller, 55(1): 162– 64 55(1): 167– 69 CAMPBELL, PATRICIA SHEHAN, rev. of DELAPORTE, HÉLENÈ, compiler, Grèce cELLAbration! A Tribute to Ella Jenkins; Koumpania Xalkias: Musiciens tradition- Sharing Cultures with Ella Jenkins; Pete nels d’Épire/Greece (recording), rev. by Seeger: Folk Songs for Young People; and Paddy League, 59(1): 165– 68 Tom Glazer Sings Honk-Hiss-Tweet- Dema: Music from the Marind Anim. Anthology GGGGGGGGGG and Other Children’s of Music from West Papua #2 (recording), Favorites (recordings), 56(2): 350– 52 rev. by Mary Lawson Burke, 54(1):171– 73 Carolina Chocolate Drops and Joe Thompson DENNEN, DAVID, rev. of Calcutta Slide- (recording), rev. by Thomas Richardson, Guitar (recording), 55(3): 540– 43 54(3): 537– 40 Descarga Oriental: The New York Sessions cELLAbration! A Tribute to Ella Jenkins (record- (recording), rev. by Elliott Simon and Jil ing), rev. by Patricia Shehan Campbell, Simon, 51(1): 165– 68 56(2): 350– 52 Desire for Piety: Songs from the BF White Sacred Choeurs royaux du Benin: Fon-Gbe d’Abomey Harp (recording), Henry Willett, com- (recording), rev. by James Burns, 53(1): piler and annotator, rev. by Jonathon M. 159– 65 Smith, 59(3): 512– 17 Classic Blues from Smithsonian Folkways DeWITT, MARK, rev. of The Rough Guide to Recordings (recording), rev. by Ted Gioia, Cajun Dance; The Rough Guide to Zydeco 55(1): 165– 67 (recordings), 55(2): 355– 60 Classic Blues Volume Two from Smithsonian Djanbutu Thiossane: Ass, Mass, & Pap (record- Folkways Recordings (recording), rev. by ing), rev. by Colter Harper, 52(3): 506– Ted Gioia, 55(1): 165– 67 08 Classic Maritime Music (recording), liner notes DOUGLAS, GAVIN, rev. of Music of Myan- by Jeff Place, rev. by Simon Spalding, mar: Buddhist Chant in the Pāli Tradition 59(3): 510– 12 (recording), 55(1): 160– 62 Classic Old Time Music (recording), rev. by DOWNING, SONJA, rev. of Balinese Music in Taylor Rushing, 57(3): 558– 60 Lombok (recording), 56(1): 151– 53 COHEN, JUDAH, rev. of Judeo-Caribbean Cur- DUDLEY, SHANNON, rev. of The Mighty rents: Music of the Mikvé Israel-Emanuel Sparrow, First Flight (recording), 55(2): Synagogue in Curaçao (recording), 55(2): 354– 55 347– 49 Colored Sacred Harp, The (recording), Barbara E L. Hampton, compiler and annotator, rev. Early Popular Music of Indonesia (recording), by Jonathon M. Smith, 59(3): 512– 17 annotated by Tanaka Katsunori, rev. by COSTELLO, ÉAMONN, rev. of Up Against the Philip Yampolsky, 58(2): 258– 72 Flatirons: The Ace and Deuce of Piping, Echoes of Sliabh Luachra (recording), rev. by vol. 1 (recording), Eliot Grasso, uilleann Tes Slominski, 55(1): 172– 75 piper, produced by Gay McKeon, 59(3): EISENBERG, ANDREW J., rev. of Singing for 506– 09 Life: Songs of Hope, Healing, and HIV/ CROWDY, DENIS, rev. of Songs of the Second AIDS in Uganda (recording), 54(1):173– 75 Float (recording), 52(1): 145– 47 EMOFF, RON, rev. of The Rough Guide to the Music of . Valiha & D Marovany: The Real Soundtrack to Mada- D’Bhuyaa Saaj: Live in India! (recording), rev. gascar (recording), 51(1): 159– 62 by Alison Arnold, 53(1): 166– 70 . African , Soul & Swing from Deep Polka: Music from the Midwest (record- Addis Ababa. The Rough Guide to the ing), rev. by Victor Greene, 55(1): 167– (recording), rev. by Kay 69 Kaufman Shelemay, 55(1): 169– 71 42 Ethnomusicology, Index Volumes 51–60

Ethiopia: Bagana Songs (recording), rev. by Delaporte, compiler, rev. by Paddy Shawn Mollenhauer, 54(1): 168– 70 League, 59(1): 165– 68 Ethiopian Orthodox Christian Church: Grèce O skáros: Musiques pour /Greece O ‘AQ WAQWAM: Music and Dance of Heaven; skáros: Music (recording), rev. by Southern Ethiopia: Music of the Maale: Maria Hnaraki, 56(1): 163– 65 Praises and Blessings (recording), rev. by GREENE, PAUL D., rev. of Folk Songs of Nepal Cynthia Tse Kimberlin, 51(3): 528– 33 (recording), 52(1): 147– 50 Extremadura (recording), recorded by Alan GREENE, PAUL DAVID, rev. of Inde: Maha- Lomax, rev. by Jesús A. Ramos-Kittrell, rashtra: Chants des Konkani de Kochi / 53(1): 171– 76 India: Maharashtra: Songs of the Konk- ani from Kochi; Indian Folk Music from F Uttar Pradesh; Solemn High Mass of the Falak: The Voice of Destiny—Traditional, Pop- Syro-Malabar Church; India: Sitar to Bol- ular, and Symphonic Music of Tajikistan lywood: Sounds of the Subcontinent; Shi- (recording), rev. by Evan Rapport, 51(2): rin Dahani: Sweet Lips: Music of North 358– 60 Afghanistan (recordings), 54(2): 358– 61 Folk Songs of Nepal (recording), rev. by Paul D. GREENE, VICTOR, rev. of Deep Polka: Music Greene, 52(1): 147– 50 from the Midwest; Deeper Polka: More FORSS, MATT, rev. of Maroc: L’art du sama Dance Music from the Midwest (record- à Fes/Morocco: The Art of Sama in Fez ings), 55(1): 167– 69 (recording), 52(2): 333– 34 GRIMMINGER, DANIEL JAY, rev. of Old Reg- ular Baptists: Lined-out Hymnody from G Southeastern Kentucky (recording), com- Gaelic Songs of Scotland: Women at Work in the piled and produced by Jeff Todd Titon, Western Isles (recording), rev. by Richard 58(1): 173– 76 Hill, 59(1): 168– 69 Galicia (recording), recorded by Alan Lomax, H rev. by Jesús A. Ramos-Kittrell, 53(1): HAMPTON, BARBARA L., Colored Sacred 171– 76 Harp, The (recording), rev. by Jonathon Gamelan of Java: Volume One, Kraton Kasuna- M. Smith, 59(3): 512– 17 nan; Gamelan of Java: Volume Two, Con- HARNISH, DAVID, rev. of Living Art, Sound- temporary ; Gamelan of Java: ing Spirit: The Bali Sessions (recording), Volume Three, Yogyakarta(recordings), 56(1): 153– 56 rev. by Henry Spiller, 55(2): 343– 47 HARPER, COLTER, rev. of Djanbutu Thios- Gennadi Tumat: Alys Churtum Ovür Chary sane: Ass, Mass, & Pap (recording), 52(3): (My Homeland Ovür) (recording), rev. 506– 08 by Peter K. Marsh, 57(1): 152– 55 Heart of Cape Breton, The: Fiddle Music Recorded GETTER, JOSEPH M., rev. of Nathamuni Live Along the Ceilidh Trail (recording), Brothers: Madras 1974 (recording), 52(3): rev. by Sally K. Sommers Smith, 57(1): 502– 6 166– 71 GIOIA, TED, rev. of Classic Blues from Smith- Heartbeat: Voices of First Nations Women sonian Folkways Recordings; Classic Blues (recording), rev. by C. Celia Cain, 55(1): Volume Two from Smithsonian Folkways 159– 60 Recordings, 55(1): 165– 67 HERMAN, JANET, liner notes, In Sweetest GRASSO, ELIOT, uilleann piper, Up Against Union Join: 96th Session of the United the Flatirons: The Ace and Deuce of Pip- Sacred Harp Musical Association—Lib- ing, vol. 1 (recording), produced by Gay erty Church—Henagar, AL, September McKeon, rev. by Éamonn Costello, 59(3): 11– 12, 1999 (recording), rev. by Jona- 506– 09 thon M. Smith, 59(3): 512– 17 Grèce Koumpania Xalkias: Musiciens tradition- HERNANDEZ, DEBORAH PACINI, “Musi- nels d’Épire/Greece (recording), Hélenè cal Dialogues between the Dominican Recording Reviews 43

Republic and New York: A Review Arti- Iran: The Dotar of Khorasan (recording), rev. cle” (recordings), 57(1): 143– 51 by Niloofar Mina, 57(1): 159– 62 Heroes and Horses: Corridos from the Arizona- Irish Pirate Ballads and Songs of the Sea (record- Sonora Borderlands (recording), rev. by ing), rev. by Ben Power, 57(1): 171– 74 Victoria Lindsay Levine, 57(3): 556– 58 HILL, JONATHAN D., rev. of Peru: Music J of the Awajún and Wampis Amazonia, John Work, III: Recording Black Culture Cenepa Valley (recording), 55(2): 52– 53 (recording), rev. by Susan E. Oehler, HILL, RICHARD, rev of Gaelic Songs of Scot- 53(2): 351– 54 land: Women at Work in the Western Isles JOHNSON, SHERRY, rev. of Willie Kennedy, (recording), 59(1): 168– 69 Cape Breton (recording), 57(1): HNARAKI, MARIA, rev. of Grèce O skáros: 174– 76 Musiques pour flutes/Greece O skáros: Judeo-Caribbean Currents: Music of the Mikvé Flute Music (recording), 56(1): 159– 61 Israel-Emanuel Synagogue in Curaçao HOESING, PETER J., rev. of Throw Down Your (recording), rev. by Judah Cohen, 55(2): Heart (Béla Fleck Brings the Back 347– 49 to Africa) (recording), directed by Sascha Paladino, 57(2): 358– 61 K KATSUNORI, TANAKA, annotator, Early I Popular Music of Indonesia (recording), In Sweetest Union Join: 96th Session of the rev. by Philip Yampolsky, 58(2): 258– 72 United Sacred Harp Musical Association— KATSUNORI, TANAKA, annotator, Kroncong: Liberty Church—Henagar, AL, September Early Indonesian (recording), 11– 12, 1999 (recording), liner notes by rev. by Philip Yampolsky, 58(2): 258– 72 Janet Herman, rev. by Jonathon M. Smith, KATZ, ISRAEL J., rev. of Tondokument aus dem 59(3): 512– 17 Phonogrammarchiv der Österreichischen Inde: Maharashtra: Chants des Konkani de Akademie der Wissenschaften, Gesam- Kochi / India: Maharashtra: Songs of the tausgabe der historischen Bestände 1899– Konkani from Kochi (recording), rev. by 1950, Series 9: The Collection of Abraham Paul David Greene, 54(2): 358– 61 Zvi Idelsohn (1911– 1913) (recording), India: Sitar to Bollywood: Sounds of the Sub- 56(1): 161– 73 continent (recording), rev. by Paul David Khynum—The Prayer: Songs of the Nenets Greene, 54(2): 358– 61 (recording), rev. by Peter K. Marsh, 57(1): Indian Folk Music from Uttar Pradesh (record- 152– 55 ing), rev. by Paul David Greene, 54(2): KIMBERLIN, CYNTHIA TSE, rev. of Ethio- 358– 61 pian Orthodox Christian Church: Indonesia: Songs from the Islands of Flores and ‘AQ WAQWAM: Music and Dance of Sohor (recording), rev. by Michael Tenzer, Heaven; Southern Ethiopia: Music of the 55(2): 340– 43 Maale: Praises and Blessings (recordings), Indonésie, Java Centre Gamelan de Solo: Le jeu 51(3): 528– 33 des sentiments [Indonesia, Central Java; Kroncong: Early Indonesian Pop Music (record- Solonese Gamelan: A Garland of Moods] ing), annotated by Tanaka Katsunori, rev. (recording), rev. by René Lysloff, 58(1): by Philip Yampolsky, 58(2): 258– 72 166– 68 Kulmus Hanefesh: A Musical Journey into the Irak Munir Bachir Maître du luth arabe / Hasidic Niggun (recording), rev. by Mark Munir Bachir Master of the Arab Slobin, 55(1): 171– 72 (recording), rev. by Jonathan H. Shan- non, 55(3): 531– 35 L Iran Khorassan: The Tale of Taher and Zohre LANDIES, MAUREA, rev. of Quisqueya en el (recording), rev. by Niloofar Mina, 57(1): Hudson: Dominican Music in New York 159– 62 City (recording) 56(1): 156– 59 44 Ethnomusicology, Index Volumes 51–60

LANGE, BARBARA ROSE, rev. of Musiques MERCHANT, TANYA, rev. of Sweet Nomad hongroises de Transylvanie: Traditions du Girl: Folk Music from Afghanistan, 56(2): Gyimes et de la Grande Plaine (recording), 348– 49 55(2): 349– 53 MERCHANT, TANYA, rev. of Musique du Kir- Laos: Musique de l’ancienne cour de Luang Pra- ghizistan/Music of ; Salamat bang/Music of the Ancient Royal Court of Sadikova: Voice of Kyrgyzstan (record- Luang Prabang/Tio Phün Muang (record- ings), 58(1): 168– 72 ing), rev. by Terry E. Miller, 55(1):164– 65 MERCHANT, TANYA, rev. of Uzbekistan, LEAGUE, PADDY, rev, Grèce Koumpania Mâqâm Dugâh: Uzbek-Tajik Shash- Xalkias: Musiciens traditionnels d’Épire/ maqâm (recording), 53(3): 526– 28 Greece (recording), Hélenè Delaporte, Mighty Sparrow, First Flight, The(recording), compiler, 59(1): 165– 68 rev. by Shannon Dudley, 55(2): 354– 55 Let Others Name You (recording), rev. by Inna MILLER, TERRY E., rev. of Cambodge: Naroditskaya, 55(1): 175– 78 Musique classique khmère, théâtre LEVINE, VICTORIA LINDSAY, rev. of Heroes d’ombres et chants de mariage; Laos: and Horses: Corridos from the Arizona- Musique de l’ancienne cour de Luang Pra- Sonora Borderlands (recording), 57(3): bang/Music of the Ancient Royal Court of 556– 58 Luang Prabang/Tio Phün Muang (record- LYSLOFF, RENÉ, rev. of Indonésie, Java Cen- ings), 55(1): 162– 65 tre Gamelan de Solo: Le jeu des senti- MILLER, TERRY E., rev. of Nai Htaw Paing ments [Indonesia, Central Java Solonese Ensemble: Mon Music of Burma (record- Gamelan: A Garland of Moods] (record- ing), 52(3): 508– 11 ing), 58(1): 166– 8 MINA, NILOOFAR, rev. of Iran: The Dotar Living Art, Sounding Spirit: The Bali Sessions of Khorasan; Iran Khorassan: The Tale (recording), rev. by David Harnish, 56(1): of Taher and Zohre (recording), 57(1): 157– 60 159– 62 Living Stream, The (recording), rev. by Tes Slo- MOLLENHAUER, SHAWN, rev. of Ethiopia: minski, 55(1): 172– 75 Bagana Songs (recording), 54(1): 168– 70 LOMAX, ALAN, compiler, Galicia; Aragón y Mossi du Burkina Faso: Musiques de coeur et de Valencia; Extremadura; Basque Country: village (recording), rev. by James Burns, Biscay and Guipúzcoa; Basque Country: 53(1): 159– 65 Navarre (recordings), rev. by Jesús A. MOYLE, RICHARD, rev. of Wurrurrumi Kun- Ramos-Kittrell, 53(1): 171– 76 Borrk. Songs from Western Arnhem Land (recording), 52(3): 511– 12 M Music of Myanmar: Buddhist Chant in the Maroc: L’art du sama à Fes/Morocco: The Art Pāli Tradition (recording), rev. by Gavin of Sama in Fez (recording), rev. by Matt Douglas, 55(1): 160– 61 Forss, 52(2): 333– 34 “Musical Dialogues between the Domini- MARSH, PETER K., rev. of The Silk Road: A can Republic and New York: A Review Musical Caravan; Gennadi Tumat: Alys Article” (recordings), by Deborah Pacini Churtum Ovür Chary (My homeland Hernandez, 57(1): 143– 51 Ovür); Songs about the World of Spir- musiK: Re-arranging the 20th Century (record- its: Shamanistic Song Traditions of the ing), rev. by Jil Simon and Elliott Simon, Pur River: Forest Nenets in the Siberian 51(1): 165– 68 Taiga; Khynum—The Prayer: Songs of the Musique du Kirghizistan/ Nenets, 57(1): 152– 55 (recording), rev. by Tanya Merchant, McKEON, GAY, producer, Up Against the 58(1): 168– 72 Flatirons: The Ace and Deuce of Piping, Musiques hongroises de Transylvanie: Tradi- vol. 1 (recording), Eliot Grasso, uilleann tions du Gyimes et de la Grande Plaine piper, rev. by Éamonn Costello, 59(3): (recording), rev. by Barbara Rose Lange, 506– 09 55(2): 349– 53 Recording Reviews 45

N Abayudaya: Music from the Jewish People Nā Mele Hawa‘i: A Rediscovery of Hawaiian of Uganda (recordings), 55(3): 525– 27 Vocal Music (recording), rev. by Kati PLACE, JEFF, liner notes, Classic Maritime Szego, 55(1): 155– 58 Music (recording), rev. by Simon Spald- Nai Htaw Paing Ensemble: Mon Music of Burma ing, 59(3): 510– 12 (recording), rev. by Terry E. Miller, 52(3): POWER, BEN, rev. of Irish Pirate Ballads 508– 11 and Songs of the Sea (recording), 57(1): NARODITSKAYA, INNA, rev. of Let Others 171– 74 Name You (recording), 55(1): 175– 78 POWERS, HAROLD, rev. of An Audio Docu- Nepali Ho: Contemporary and Traditional mentation of the Compositions of Shri (recording), rev. by Anna Muttusvami Dikshitar from the Sangita Stirr, 57(1): 155– 58 Sampradaya Pradarshini: Audio Book Nathamuni Brothers: Madras 1974 (recording), One (recording), 51(1): 168– 72 rev. by Joseph M. Getter, 52(3): 502– 6 Putumayo Presents Israel (recording), rev. by Niger: Musique des Touaregs: Azawagh (record- Abigail Wood, 52(3): 493– 502 ing), rev. by James Burns, 53(1): 159– 65 Q O Quisqueya en el Hudson: Dominican Music in Ó LAOIRE, LILLIS, rev. of Sound Neighbours: New York City (recording), rev. by Maurea Contepmporary Music in Northern Ireland Landies, 56(1): 156– 59 (recording), 56(2): 341– 45 OEHLER, SUSAN E., rev. of John Work, III: R Recording Black Culture (recording), RAMOS-KITTRELL, JESÚS A., rev. of Galicia; 53(2): 351– 54 Aragón y Valencia; Extremadura; Basque Old Regular Baptists: Lined-out Hymnody from Country: Biscay and Guipúzcoa; Basque Southeastern Kentucky (recording), Jeff Country: Navarre (recordings), recorded Todd Titon, compiler and producer, rev. by Alan Lomax, 53(1): 171– 76 by Daniel Jay Grimminger, 58(1): 173–76 RAPPORT, EVAN, rev. of Falak: The Voice of Ouganda: Musique des Acholi: Chants de sagesse Destiny—Traditional, Popular, and Sym- et d’exode (recording), rev. by David G. phonic Music of Tajikistan (recording), Pier, 55(3): 525– 27 51(2): 358– 60 Oxfam Arabia (recording), rev. by Jonathan RASMUSSEN ANNE K., rev. of When the Riv- Schaefer, 55(3): 528– 31 ers Met: , A. J. Racy; Western Orchestral Music, James Peterson P (recordings), 57(1): 162– 65 Peru: Music of the Awajún and Wampis Ama- RICHARDSON, THOMAS, rev. of Carolina zonia, Cenepa Valley (recording), rev. by Chocolate Drops and Joe Thompson; Jonathan D. Hill, 55(2): 52– 53 American Songster (recording), 54(3): PERULLO, ALEX, rev. of Tanzanie: Musiques 537– 40 rituelles Gogo (Tanzania: Gogo Ritual RITTER, JONATHAN, rev. of Tambora: Baile Music) (recording), 51(1): 156– 57 Cantado en Colombia (recording), 51(3): PERULLO, ALEX, rev. of The Rough Guide to 513– 15 the . Kenya: Roots Benga, Rivers of Babylon, The: Live in India! (record- Coastal , Urban Rap (recording), ing), rev. by Alison Arnold, 53(1): 166– 51(1): 157– 59 70 Pete Seeger: Folk Songs for Young People (record- Rough Guide to Cajun Dance, The (recording), ing), rev. by Patricia Shehan Campbell, rev. by Mark DeWitt, 55(2): 355– 60 56(2): 350– 52 Rough Guide to the Music of Ethiopia, The PIER, DAVID G., rev. of Ouganda: Musique (recording), rev. by Kay Kaufman She- des Acholi: Chants de sagesse et d’exode; lemay, 55(1): 169– 71 46 Ethnomusicology, Index Volumes 51–60

Rough Guide to the , The (record- (recording); musiK: Re-arranging the 20th ing), rev. by Abigail Wood, 52(3): 493– Century (recordings), 51(1): 165– 68 502 SIMON, JIL and ELLIOTT SIMON, rev. of Rough Guide to the , The; Descarga Oriental: The New York Sessions Valiha & Marovany: The Real Soundtrack (recording); musiK: Re-arranging the 20th to Madagascar (recordings), rev. by Ron Century (recording), 51(1): 165– 68 Emoff, 51(1): 159– 62 Singing for Life: Songs of Hope, Healing, and Rough Guide to the Music of the Sahara, The HIV/AIDS in Uganda (recording), rev. (recording), rev. by John P. R. Schaefer, by Andrew J. Eisenberg, 54(1): 173– 75 55(3): 528– 31 SLOBIN, MARK, rev. of Kulmus Hanefesh: A Rough Guide to Zydeco, The (recording), rev. by Musical Journey into the Hasidic Niggun Mark DeWitt, 55(2): 355– 60 (recording), 55(1): 171– 72 RUBIN, JOEL E., rev. of Aleksander Kulisie- SLOMINSKI, TES, rev. of The Living Stream; wicz. Ballads and Broadsides: Songs from Echoes of Sliabh Luachra (recordings), Sachsenhausen Concentration Camp 1940– 55(1): 172– 75 1945 (recording), 55(3): 539– 40 SMITH, GORDON E., rev. of Welta’q—“It RUSHING, TAYLOR, rev. of Classic Old Time Sounds Good”: Historic Recordings of the Music (recording), 57(3): 558– 60 Mi’kmaq (recording), 55(3): 535– 38 SMITH, JONATHON M., rev. of In Sweetest S Union Join: 96th Session of the United Salamat Sadikova: Voice of Kyrgyzstan (record- Sacred Harp Musical Association—Lib- ing), rev. by Tanya Merchant, 58(1): 168– erty Church—Henagar, AL, September 72 11– 12, 1999; Desire for Piety: Songs from SCHAEFER, JOHN P. R., rev. of The Rough the BF White Sacred Harp (recording), Guide to the Music of the Sahara; Oxfam Henry Willett, compiler and annota- Arabia (recording), 55(3): 528– 31 tor; The Colored Sacred Harp, Barbara L SCHLOSS, W. ANDREW, and DÁNIEL PÉTER Hampton, compiler and annotator, liner BIRÓ, rev. of African Rhythms (record- notes by Janet Herman (recordings), ing), 51(1): 162– 65 59(3): 512– 17 SHANNON, JONATHAN H., rev. of When the Solemn High Mass of the Syro-Malabar Church Soul is Settled: ; Irak Munir (recording), rev. by Paul David Greene, Bachir Maître du luth arabe / Iraq Munir 54(2): 358– 61 Bachin Master of the Arab Lute (record- SOMMERS SMITH, SALLY K., rev. of The ings), 55(3): 531– 35 Beaton Family of Mabou: Cape Breton Sharing Cultures with Ella Jenkins (recording), Fiddle and Piano Music; The Heart of rev. by Patricia Shehan Campbell, 56(2): Cape Breton: Fiddle Music Recorded Live 350– 52 Along the Ceilidh Trail (recordings), SHELEMAY, KAY KAUFMAN, rev. of Ethio- 57(1): 166– 71 pia. African Funk, Soul & Swing from Song of Dawn, A: The Jerusalem Sephardi Addis Ababa. The Rough Guide to the Baqqashot at the Har Tzyion Synagogue Music of Ethiopia (recording), 55(1): (recording), rev. by Abigail Wood, 52(3): 169– 71 493– 502 Shirin Dahani: Sweet Lips: Music of North Songs about the World of Spirits: Shamanistic Afghanistan (recording), rev. by Paul Song Traditions of the Pur River: Forest David Greene, 54(2): 358– 61 Nenets in the Siberian Taiga (recording), Sidi Goma: Live in India! (recording), rev. by rev. by Peter K. Marsh, 57(1): 152– 55 Alison Arnold, 53(1): 166– 70 Songs of the Second Float (recording), rev. by Silk Road, The: A Musical Caravan (recording), Denis Crowdy, 52(1): 145– 47 rev. by Peter K. Marsh, 57(1): 152– 55 Sound Neighbours: Contemporary Music in SIMON, ELLIOTT, and JIL SIMON, rev. of Northern Ireland (recording), rev. by Lil- Descarga Oriental: The New York Sessions lis Ó Laoire, 56(2): 341– 45 Recording Reviews 47

Southern Ethiopia: Music of the Maale: Praises Tom Glazer Sings Honk-Hiss-Tweet- and Blessings (recording), rev. by Cynthia GGGGGGGGGG and Other Children’s Tse Kimberlin, 51(3): 528– 33 Favorites (recording), rev. by Patricia SPALDING, SIMON, rev. of Classic Maritime Shehan Campbell, 56(2): 350– 52 Music (recording), liner notes by Jeff Tondokument aus dem Phonogrammarchiv der Place, 59(3): 510– 12 Österreichischen Akademie der Wissen- SPILLER, HENRY, rev. of Gamelan of Java: schaften, Gesamtausgabe der historischen Volume One, Kraton Kasunanan; Bestände 1899–1950, Series 9: The Collec- Gamelan of Java: Volume Two, Con- tion of Abraham Zvi Idelsohn (1911–1913) temporary Composers; Gamelan of Java: (recording), rev. by Israel J. Katz, 56(1): Volume Three, Yogyakarta (recordings), 161– 73 55(2): 343– 47 STIRR, ANNA, rev. of Nepali Ho: Contem- U porary and Traditional Music of Nepal Up Against the Flatirons: The Ace and Deuce of (recording), 57(1): 155– 58 Piping, vol. 1 (recording), Eliot Grasso, STUEMPFLE, STEPHEN, rev. of West Indian uilleann piper, produced by Gay McKeon, Rhythm: Trinidad Calypsos on World and rev. by Éamonn Costello, 59(3): 506– 09 Local Events—Featuring the Censored Uzbekistan, Mâqâm Dugâh: Uzbek-Tajik Shash- Recordings—1938– 1940 (recording), maqâm (recording), rev. by Tanya Mer- 51(3): 519– 26 chant, 53(3): 526– 28 STURMAN, JANET, rev. of ¡Arriba Suena Marimba! Currulao Marimba Music from W Colombia by Grupo Naidy (recording), WALLACH, JEREMY, rev. of Black Mirror: 51(3): 515– 18 Reflections in Global Musics (recording), Suni Paz. Bandera Mía: Songs of Argentina 53(1): 176– 78 (recording), rev. by Dan Bendrups, 51(2): Welta’q—“It Sounds Good”: Historic Recordings 360– 62 of the Mi’kmaq (recording), rev. by Gor- Sweet Nomad Girl: Folk Music from Afghani- don E. Smith, 55(3): 535– 38 stan (recording), rev. by Tanya Merchant, West Indian Rhythm: Trinidad Calypsos on 56(2): 348– 49 World and Local Events—Featuring the SZEGO, KATI, rev. of Nā Mele Hawa‘i: A Redis- Censored Recordings—1938–1940 (record- covery of Hawaiian Vocal Music (record- ing), rev. by Stephen Stuempfle, 51(3): ing), 55(1): 155– 58 519– 26 Western Orchestral Music, by James Peterson T (recording), rev. by Anne K. Rasmussen, Tambora: Baile Cantado en Colombia (record- 57(1): 162– 65 ing), rev. by Jonathan Ritter, 51(3):513– 15 When the Rivers Met: Middle Eastern Music, Tanzanie: Musiques rituelles Gogo (Tanzania: by A. J. Racy (recording), rev. by Anne Gogo Ritual Music) (recording), rev. by K. Rasmussen, 57(1): 162– 65 Alex Perullo, 51(1): 156– 57 When the Soul is Settled: Music of Iraq (record- TENZER, MICHAEL, rev. of Indonesia: Songs ing), rev. by Jonathan H. Shannon, 55(3): from the Islands of Flores and Sohor 531– 35 (recording), 55(2): 340– 43 WILLETT, HENRY, compiler and annotator, THOMAS, ANNE ELISE, rev. of Women of Desire for Piety: Songs from the BF White Egypt, 1924– 1931: Pioneers of Stardom Sacred Harp (recording), rev. by Jonathon and Fame (recording), 51(3): 526– 28 M. Smith, 59(3): 512– 17 TITON, JEFF TODD, compiler and producer, Willie Kennedy, Cape Breton Violin (recording), Old Regular Baptists: Lined-out Hymnody rev. by Sherry Johnson, 57(1): 174– 76 from Southeastern Kentucky (recording), With Songs They Respond: The Diwan of the rev. by Daniel Jay Grimminger, 58(1): from Central Yemen (recording), rev. 173– 6 by Abigail Wood, 52(3): 493– 502 48 Ethnomusicology, Index Volumes 51–60

Women of Egypt, 1924–1935: Pioneers of Star- annotator; Kroncong: Early Indonesian dom and Fame (recording), rev. by Anne Pop Music, Tanaka Katsunori, annotator Elise Thomas, 51(3): 526– 28 (recordings), 58(2): 258– 72 WOOD, ABIGAIL, rev. of The Rough Guide YOON, PAUL, rev. of Zastin Nogoodoi: Tribal to the Music of Israel; Putumayo Presents Zakhchin Music of Western Mongolia Israel; With Songs They Respond: The (recording), 52(2): 335– 36 Diwan of the Jews from Central Yemen; Yoruba du Benin: Sakara & Gelede (recording), A Song of Dawn: The Jerusalem Sephardi rev. by James Burns, 53(1): 159– 65 Baqqashot at the Har Tzyion Synagogue (recordings), 52(3): 493– 502 Z Wurrurrumi Kun-Borrk. Songs from Western Zastin Nogoodoi: Tribal Zakhchin Music of Arnhem Land (recording), rev. by Richard Western Mongolia (recording), rev. by Moyle, 52(3): 511– 12 Paul Yoon, 52(2): 335– 36 Y YAMPOLSKY, PHILIP, rev. of Early Popular Music of Indonesia, Tanaka Katsunori, Index to Reviewers, Titles, and Producers/ Directors of Film, Video, and Multimedia

A ing), rev. by Elizabeth A. Clendinning, Act of Killing, The (film), Joshua Oppenheimer, 55(1): 179– 80 director, rev. by Bret Woods, 58(3):558– BATES, ELIOT, rev. of The World Map of Music: 62 The Edison Phonograph and the Musical African , An (DVD), Hugo Zemp, Cartography of the Earth (CD-Rom), director, rev. by Robert Rumbolz, 52(3): 54(3): 541– 43 513– 15 BATTSEK, JOHN, executive producer, Search- ALLEN, CARRIE, rev. of I’ll Keep On Singing: ing for Sugar Man (film), rev. by Margaret The Southern Gospel Convention Tradi- R. Jackson, 58(1): 181– 84 tion (film), Stephen Shearon and Mary BECKLEY-ROBERTS, LISA OSUNLETI, rev. Nichols, producers and directors, 56(1): of “What Happened, Miss Simone?” Lisa 176– 78 Simone Kelley, et al., producers, 60(3): ANDERSON, LEV, and CHRIS METZLER, 538–39 directors and producers, Everyday Sun- BEDROSIAN, ED, and CAMERON BURR, shine: The Story of Fishbone (film), rev. producers, The Human Hambone (VHS by Kara Attrep, 57(3): 564– 66 and DVD), rev. by Irene Chagall, 52(1): Angry Drummers: A Taiko Group from Osaka, 156– 58 Japan (film), Yoshitaka Terada, director BERLINGER, JOE, director, Under African Skies and supervisor, rev. by Lei Ouyang Bry- (film), rev. by Tim Storhoff, 59(1): 170– 71 ant, 56(3): 563– 65 BLANK, LES, editor and story consultant, ATTREP, KARA, rev. of Everyday Sunshine: The Treasure of the Lisu: Ah-Cheng and his Story of Fishbone (film), Lev Anderson Music (film), Yan Chun Su, director, rev. and Chris Metzler, directors and produc- by David Chao, 56(2): 355– 57 ers, 57(3): 564– 66 BROWN, SARA, rev. of Tassa Thunder: Folk AUBERT, LAURENT, et al., producers, Music from India to the Caribbean Sketches of Kerala: Gods Never Die; The (DVD), Peter Manuel, writer/producer/ Time of the Puppets; The Three Wise Mon- director, 55(2): 361– 63 keys (DVD), rev. by Phillip B. Zarrilli, BRYANT, LEI OUYANG, rev. of Angry Drum- 51(3): 539– 41 mers: A Taiko Group from Osaka, Japan Aves de paso/Birds of Passage (film), Martín (film), Yoshitaka Terada, director and Ubillos, producer, Rachel Lears, direc- supervisor, 56(3): 563– 65 tor and writer, rev. by Alfredo Colman, BUENCONSEJO, JOSÉ, producer, The River of 56(1): 174– 76 Exchange: Music of Agusan Manobo and Awake My Soul: The Story of the Sacred Harp Visayan Relations in Carago, Mindanao, (DVD), Matt Hinton, producer, rev. by Philippines (film), rev. by Christi-Anne Tim Eriksen, 52(2): 337– 39 Castro, 56(2): 353– 55 BURR, CAMERON, and ED BEDROSIAN, B producers, The Human Hambone(VHS BAKER, KYLE H., rev. of This Ain’t No Mouse and DVD), rev. by Irene Chagall, 52(1): Music (film), and Chris 156– 58 Simon, directors and producers, 60(1): 192– 93 C Bali 1928 I (Gamelan Gong Kebyar; Music from Cajón Espiritual: The Music Box of Cuba. Omí Belaluan, Pangkung, Busungbiu; The Oldest Iná and Obbara (DVD), rev. by Katherine New Music of Bali) (multimedia record- Hagedorn, 51(1): 175– 79 50 Ethnomusicology, Index Volumes 51–60

Call of Dudy: Bohemian Bagpipes across Borders E (DVD), rev. by Mark Levy, 54(2):362– 64 ENGELHARDT, JEFFERS, rev. of The Singing CASTRO, CHRISTI-ANNE, rev. of The River of Revolution (DVD), 53(1): 179– 81 Exchange: Music of Agusan Manobo and EPPS, DOUGLAS, and LAUREL EPPS, direc- Visayan Relations in Caraga, Mindanao, tors and producers, Soul Resonance: A Philippines (film), José Buenconsejo, pro- Cross-Cultural Celebration of Zimba- ducer, 56(2): 353– 55 bwean Music (film), rev. by Austin C. CHAGALL, IRENE, rev. of The Human Ham- Okigbo, 57(3): 561– 64 bone (VHS and DVD), Ed Bedrosian and EPPS, LAUREL, and DOUGLAS EPPS, direc- Cameron Burr, producers, 52(1): 156– tors and producers, Soul Resonance: A 58 Cross-Cultural Celebration of Zimba- CHAO, DAVID, rev. of Treasure of the Lisu: bwean Music (film), rev. by Austin C. Ah-Cheng and his Music (film), Yan Chun Okigbo, 57(3): 561– 64 Su, director, Les Blank, editor and story ERIKSEN, TIM, rev. of Awake My Soul: The consultant, 56(2): 355– 57 Story of the Sacred Harp (DVD), Matt CHARRY, ERIC, rev. of Mande Music and Hinton, producer, 52(2): 337– 39 Dance: Performed by Mandinka Musi- Everyday Sunshine: The Story of Fishbone (film), cians of the Gambia in the Late Twen- Lev Anderson and Chris Metzler, direc- tieth Century (DVD), Roderic Knight, tors and producers, rev. by Kara Attrep, producer, 52(1): 154– 56 57(3): 564– 66 CLENDINNING, ELIZABETH A., rev. of Bali EYERLY, SARAH J., rev. of Till We Meet Again: 1928 I: (Gamelan Gong Kebyar; Music Moravian Music in Labrador (film), Nigel from Belaluan, Pangkung, Busungbiu; The Markham and Mary Sexton, producers, Oldest New Music of Bali) (multimedia 59(2): 352– 54 recording), 55(1): 179– 80 COLMAN, ALFREDO, rev. of Aves de paso/ F Birds of Passage (film), Martín Ubillos, FASSLER, MARGOT E., producer, Joyful Noise: producer, Rachel Lears, director and Psalms in Community (DVD), rev. by writer, 56(1): 184– 86 Duncan Vinson, 52(3): 524– 26 FELD, STEVEN, producer and director, Jazz D Cosmopolitanism in Accra, Ghana: A Film Drumming Out a Message: Eisa and Okinawan Trilogy by Steven Feld (film), rev. by Mat- Diaspora in Japan (DVD and VHS), rev. thew M. Morin, 58(1): 177– 80 by Junko Oba, 51(1): 173– 75 FINE, ANDREA NIX, and SEAN FINE, direc- Duduki of Tbilisi: Eldar Shoshitashvili and His tors, War/Dance (film), rev. by Damascus Students (film), Hugo Zemp and Nino Kafumbe, 57(1): 177– 80 Tsitsishvili, producers, rev. by Andrea FINE, SEAN, and ANDREA NIX FINE, direc- Kuzmich, 57(2): 363– 65 tors, War/Dance (film), rev. by Damascus DURÁN, LUCY, director, Growing Into Music Kafumbe, 57(1): 177– 80 Mali, Da Kali—The Pledge to the Art of the FLORES, JUAN, rev. of From Mambo to Hip Griot (film), rev. by Andre Fludd, 60(2): Hop: A Bronx Tale (DVD), 53(1): 181– 84 376– 78 FLUDD, ANDRE, rev. of Growing Into Music: DURÁN, LUCY, director, Growing into Music: Mali, Da Kali—The Pledge to the Art of Mali, Do Farala a Kan: Something Has the Griot (film); Growing Into Music: Been Added (film), rev. by Andre Fludd, Mali, Do Farala a Kan: Something Has 60(2): 376– 78 Been Added (film), Lucy Durán, direc- DYCK, GERALD, and DAVID MORTON, tor, 60(2): 376– 78 directors, Gong Mong Suung: Sword Follow Me Down: Portraits of Louisiana Prison Dances and Courting Songs of Chiang Musicians (film); Ben Harbert, producer Mai, Thailand (film), rev. by Scott Swan, and director, rev. by Francisco Lara, 57(2): 361– 63 60(2): 378– 81 Film, Video, and Multimedia Reviews 51

From Mambo to Hip Hop: A Bronx Tale (DVD), Musicians (film), rev. by Francisco Lara, rev. by Juan Flores, 53(1): 181– 84 60(2): 378– 81 FRY, ROBERT W., rev. of Troubadour Blues HERNANDEZ, YESSICA GARCIA, rev. of (film), Tom Weber, director, 58(2):256– 58 Narco Cultura (film), Shaul Schwartz, Funeral Chants of the Caucasus (DVD), by director, 59(3): 503– 05 Hugo Zemp, rev. by John A. Graham, HINTON, MATT, producer, Awake My Soul: 53(2): 357– 60 The Story of the Sacred Harp (DVD), rev. by Tim Eriksen, 52(2): 337– 39 G HOESING, PETER J., rev. of Throw Down Your GALLOWAY, KATE, rev. of Sounding Board Heart (Béla Fleck Brings the Banjo Back to (multimedia), Sound Studies Special Africa) (film), Sascha Paladino, director, Interest Group, Society for Ethnomusi- 57(2): 358– 61 cology, producers, 60(3): 540–43 Human Hambone, The (VHS and DVD), Ed Gong Mong Suung: Sword Dances and Court- Bedrosian and Cameron Burr, producers, ing Songs of Chiang Mai, Thailand (film), rev. by Irene Chagall, 52(1): 156– 58 David Morton and Gerald Dyck, direc- tors, rev. by Scott Swan, 57(2): 361– 63 I GOSLING, MAUREEN, and CHRIS SIMON, I’ll Keep on Singing: The Southern Gospel Con- directors and producers, This Ain’t No vention Tradition (film), Stephen Shearon, Mouse Music (film), rev. by Kyle H. Baker, executive producer and music director, 60(1): 192– 93 Mary Nichols, video producer and editor, GRAHAM, JOHN A., rev. of Funeral Chants rev. by Carrie Allen, 56(1): 176– 78 of the Caucasus (DVD), by Hugo Zemp, 53(2): 357– 60 J GREENE, OLIVER N., rev. of Jamesie: King of JACKSON, MARGARET R., rev. of Searching Scratch (DVD), Andrea E. Leland, pro- for Sugar Man (film), John Battsek, execu- ducer, 51(3): 534– 36 tive producer, 58(1): 181– 84 GREENE, OLIVER, producer and direc- JAIRAZBHOY, AMY, and NAZIR JAIRAZ- tor, Play, Jankunú, Play: The Garifuna BHOY, producers, The Sidi Malunga Proj- Wanaragua Ritual of Belize (DVD), rev. ect: Rejuvenating the African by Liam McGranahan, 52(2): 339– 41 in India (DVD), rev. by Roderic Knight, Growing Into Music: Mali, Da Kali—The Pledge 51(3): 537– 39 to the Art of the Griot (film), Lucy Durán, JAIRAZBHOY, NAZIR, and AMY JAIRAZ- director, rev. by Andre Fludd, 60(2):376– BHOY, producers, The Sidi Malunga Proj- 78 ect: Rejuvenating the African Musical Bow Growing Into Music: Mali, Do Farala a Kan: in India (DVD), rev. by Roderic Knight, Something Has Been Added (film), Lucy 51(3): 537– 39 Durán, director, rev. by Andre Fludd, Jamesie: King of Scratch (DVD), rev. by Oliver 60(2): 376– 78 N. Greene, 51(3): 534– 36 Jazz Cosmopolitanism in Accra, Ghana: A Film H Trilogy (film), Steven Feld, producer and HAGEDORN, KATHERINE, rev. of Cajón director, rev. by Matthew M. Morin, Espiritual: The Music Box of Cuba. Omí 58(1): 177– 80 Iná and Obbara (DVD); Obiní Batá Cuba: Joyful Noise: Psalms in Community (DVD), Conjunto Feminino de Percusión, Canto y Margot E. Fassler, producer, rev. by Dun- Danza (DVD), 51(1): 175– 79 can Vinson, 52(3): 515– 17 Hanoi Eclipse: The Music of Dai Lam Linh (film), Barley Norton, producer and director, rev. K by Lauren Meeker, 59(2): 349– 52 KAFUMBE, DAMASCUS, rev. of War/Dance HARBERT, BEN, producer and director, Follow (film), Sean Fine and Andrea Nix Fine, Me Down: Portraits of Louisiana Prison writers and directors, 57(1): 177– 80 52 Ethnomusicology, Index Volumes 51–60

KELLEY, LISA SIMONE, et al., producers, McGRANAHAN, LIAM, rev. of Play, Jankunú, “What Happened, Miss Simone?” (film), Play: The Garifuna Wanaragua Ritual of rev. by Lisa Osunleti Beckley-Roberts, Belize (DVD), Oliver Greene, producer 60(3):538–40 and director, 52(2): 339– 41 KNIGHT, RODERIC, producer, Mande Music MEKER, LAUREN, rev. of Hanoi Eclipse: The and Dance: Performed by Mandinka Musi- Music of Dai Lam Linh (film), Barley Nor- cians of The Gambia in the Late Twenti- ton, producer and director, 59(2):349– 52 eth Century (DVD), rev. by Eric Charry, METZLER, CHRIS, and LEV ANDERSON, 52(1): 154– 56 directors and producers, Everyday Sun- KNIGHT, RODERIC, rev. of The Sidi Malunga shine: The Story of Fishbone (film), rev. Project: Rejuvenating the African Musical by Kara Attrep, 57(3): 564– 66 Bow in India (DVD), Nazir Jairazbhoy and MILOVANOVICH, SLOBODAN, and PAUL Amy Jairazbhoy, producers, 51(3):537– 39 PAUWELS, producers, Whose Song Is Kusisqa Waqashayku [From grief and joy we This? [Chiya e tazi pesen?] (VHS and sing] (DVD), Holly Wissler, director, rev. DVD), rev. by Jane C. Sugarman, 52(1): by Raul R. Romero, 53(3): 529– 32 151– 54 KUZMICH, ANDREA, rev. of Duduki of MINA, NILOOFAR, rev. of The Voice of Iran: Tbilisi: Eldar Shoshitashvili and His Stu- Mohammad Reza Shajarian (DVD), dents (film), Hugo Zemp and Nino Tsit- 51(2): 363– 65 sishvili, producers, 57(2): 363– 65 MORIN, MATTHEW M., rev. of Jazz Cosmo- politanism in Accra, Ghana: A Film Tril- L ogy by Steven Feld (film), Steven Feld, LARA, FRANCISCO, rev. of Follow Me Down: producer and director, 58(1): 177– 80 Portraits of Louisiana Prison Musicians MORTON, DAVID, and GERALD DYCK, (film), Ben Harbert, producer and direc- directors, Gong Mong Suung: Sword tor, 60(2): 378– 81 Dances and Courting Songs of Chiang LEARS, RACHEL, director and writer, Aves Mai, Thailand (film), rev. by Scott Swan, de paso/Birds of Passage, Martín Ubillos, 57(2): 361– 63 producer, rev. by Alfredo Colman, 56(1): 174– 76 N LELAND, ANDREA E., producer, Jamesie: Narco Cultura (film), Shaul Schwartz, director, King of Scratch (DVD), rev. by Oliver N. rev. by Yessica Garcia Hernandez, 59(3): Greene, 51(3): 534– 36 503– 05 LEVY, MARK, rev. of Call of Dudy: Bohemian NICHOLS, MARY, video producer and editor, Bagpipes across Borders (DVD), 54(2): I’ll Keep On Singing: The Southern Gos- 362– 64 pel Convention Tradition (film), Stephen Shearon, executive producer and music M director, rev. by Carrie Allen, 56(1): Mande Music and Dance: Performed by Man- 176– 78 dinka Musicians of The Gambia in the NORTON, BARLEY, producer and director, Late Twentieth Century (DVD), Roderic Hanoi Eclipse: The Music of Dai Lam Knight, producer, rev. by Eric Charry Linh (film), rev. by Lauren Meeker, 59(2): 52(1): 154– 56 352– 54 MANUEL, PETER, writer/producer/director, Tassa Thunder: Folk Music from India to O the Caribbean (DVD), rev. by Sara Brown, OBA, JUNKO, rev. of Drumming Out a Mes- 55(2): 361– 63 sage: Eisa and Okinawan Diaspora in MARKHAM, NIGEL, and MARY SEXTON, Japan (DVD and VHS), 51(1): 173– 75 producers, Till We Meet Again: Moravian Obiní Batá Cuba: Conjunto Feminino de Per- Music in Labrador (film), rev. by Sarah J. cusión, Canto y Danza (DVD), rev. by Eyerly, 59(2): 352– 54 Katherine Hagedorn, 51(1): 175– 79 Film, Video, and Multimedia Reviews 53

ODRIA, CARLOS, rev. of Zurkhaneh: The rev. by Emmaneul Pereira, 58(3): 556– House of Strength: Music and Martial Arts 58 of Iran (film), Federico Spinetti, director, ROMERO, RAUL R., rev. of Kusisqa Waqashayku 60(1): 194– 96 [From grief and joy we sing] (DVD), Holly OKIGBO, AUSTIN C., rev. of Soul Resonance: Wissler, director, 53(3): 529– 32 A Cross-Cultural Celebration of Zimba- RUMBOLZ, ROBERT C., rev. of An African bwean Music (film), Douglas Epps and Brass Band (DVD), Hugo Zemp, director, Laurel Epps, directors and editors, 57(3): 52(3): 513– 15 561– 64 OPPENHEIMER, JOSHUA, director, The S Act of Killing (film), rev. by Bret Woods, Samir Kurtov: A Zurna Player from Bulgaria 58(3): 558– 62 (DVD), rev. by Timothy Rice, 54(1):178– Other Side of the Water, The: The Journey of a 81 Haitian Rara Band in Brooklyn (film), SCHWARTZ, SHAUL, director, Narco Cultura Jeremy Robins, director and producer, (film), rev. by Yessica Garcia Hernandez, rev. by Emmanuel Pereira, 58(3): 556– 58 59(3): 503– 05 Searching for Sugarman (film), John Battsek, P executive producer, rev. by Margaret R. PALADINO, SASCHA, director, Throw Down Jackson, 58(1): 181– 84 Your Heart (Béla Fleck Brings the Banjo SEXTON, MARY, and NIGEL MARKHAM, Back to Africa) (film), rev. by Peter J. producers, Till We Meet Again: Moravian Hoesing, 57(2): 358– 61 Music in Labrador (film), rev. by Sarah J. PAUWELS, PAUL, and SLOBODAN MILOVA- Eyerly, 59(2): 352– 54 NOVICH, producers, Whose Song Is This? SHU KONG, director, What Is the Chinese [Chiya e tazi pesen?] (VHS and DVD), Opera? (DVD), rev. by Po-wei Weng, rev. by Jane C. Sugarman, 52(1): 151– 54 53(3): 532– 34 PEREIRA, EMMANUEL, rev. of The Other Side Siaka, An African Musician (DVD), by Hugo of the Water: The Journey of a Haitian Rara Zemp, rev. by Julie Strand, 53(2): 355– 57 Band in Brooklyn (film), Jeremy Robins, Sidi Malunga Project, The: Rejuvenating the director and producer, 58(3): 556– 58 African Musical Bow in India (DVD), PIER, DAVID, rev. of War Dance (film), 54(1): Nazir Jairazbhoy and Amy Jairazbhoy, 176– 78 producers, rev. by Roderic Knight, 51(3): Play, Jankunú, Play: The Garifuna Wanaragua 537– 39 Ritual of Belize (DVD), Oliver Greene, SIMON, CHRIS, and MAUREEN GOSLING, producer and director, rev. by Liam directors and producers, This Ain’t No McGranahan, 52(2): 339– 41 Mouse Music (film), rev. by Kyle H. Baker, PO-WEI WENG, rev. of What Is the Chinese 60(1): 192– 93 Opera? (DVD), Shu Kong, director, 53(3): Sketches of Kerala: Gods Never Die; The Time 532– 34 of the Puppets; The Three Wise Monkeys (DVD), Laurent Aubert, et al., produc- R ers, rev. by Phillip B. Zarrilli, 51(3): RICE, TIMOTHY, rev. of Samir Kurtov: A Zurna 539– 41 Player from Bulgaria (film), 54(1): 178– 81 Singing Revolution, The (DVD), rev. by Jeffers River of Exchange, The: Music of Agusan Engelhardt, 53(1): 179– 81 Manobo and Visayan Relations in Caraga, Soul Resonance: A Cross-Cultural Celebration of Mindanao, Philippines (film), José S. Zimbabwean Music (film), Douglas Epps Buenconsejo, producer, rev. by Christi- and Laurel Epps, directors and editors, Anne Castro, 56(2): 353– 55 rev. by Austin C. Okigbo, 57(3): 561– 64 ROBINS, JEREMY, director and producer, The SOUND STUDIES SPECIAL INTEREST Other Side of the Water: The Journey of GROUP, SOCIETY FOR ETHNOMU- a Haitian Rara Band in Brooklyn (film), SICOLOGY, producers, Sounding Board 54 Ethnomusicology, Index Volumes 51–60

(multimedia), rev. by Kate Galloway Troubadour Blues (film), Tom Weber, director, 60(3): 540–43 rev. by Robert W. Fry, 58(2): 256– 58 Sounding Board (multimedia), Sound Studies TSITSISHVILI, NINO, and HUGO ZEMP, Special Interest Group, Society for Eth- producers, Duduki of Tbilisi: Eldar nomusicology, producers, rev. by Kate Shoshitashvili and His Students (film), Galloway, 60(3): 540–43 rev. by Andrea Kuzmich, 57(2): 363– 65 SPINETTI, FEDERICO, director, Zurkhaneh: The House of Strength: Music and Martial U Arts of Iran (film), rev. by Carlos Odria UBILLOS, MARTÍN, producer, Aves de paso/ 60(1): 194– 96 Birds of Passage (film), Rachel Lears, STORHOFF, TIM, rev. of Under African Skies director and writer, rev. by Alfredo Col- (film), Joe Berlinger, director, 59(1): man, 56(1): 174– 76 170– 71 Under African Skies (film), Joe Berlinger, direc- STRAND, JULIE, rev. of Siaka, An African tor, rev. by Tim Storhoff, 59(1): 170– 71 Musician (DVD), by Hugo Zemp, 53(2): 355– 57 V SUGARMAN, JANE C., rev. of Whose Song VINSON, DUNCAN, rev. of Joyful Noise: Is This? [Chiya e tazi pesen?] (VHS and Psalms in Community (DVD), Margot E. DVD), Slobodan Milovanovich and Paul Fassler, producer, 52(3): 513– 15 Pauwels, producers, 52(1): 151– 54 Voice of Iran, The: Mohammad Reza Shajar- SWAN, SCOTT, rev. of Gong Mong Suung: ian (DVD), rev. by Niloofar Mina, 51(2): Sword Dances and Courting Songs of Chi- 363– 65 ang Mai, Thailand (film), David Morton and Gerald Dyck, directors, 57(2):361– 63 W War Dance (DVD), rev. by David Pier, 54(1): T 176– 78 Tassa Thunder: Folk Music from India to the War/Dance (film), Sean Fine and Andrea Caribbean (DVD), Peter Manuel, writer, Nix Fine, directors and writers, rev. by producer, and director, rev. by Sara Damascus Kafumbe, 57(1): 177– 80 Brown, 55(2): 361– 63 WEBER, TOM, director, Troubadour Blues TERADA, YOSHITAKA, director and super- (film), rev. Robert W. Fry, 58(2): 256– 58 visor, Angry Drummers: A Taiko Group “What Happened, Miss Simone?” (film), Lisa from Osaka, Japan (film), rev. by Lei Ouy- Simone Kelley, et al., producers, rev. by ang Bryant, 56(3): 563– 65 Lisa Osunleti Beckley-Roberts 60(3): This Ain’t No Mouse Music (film), Maureen 538–40 Gosling and Chris Simon, directors and What Is the Chinese Opera? (DVD), Shu Kong, producers, rev. by Kyle H. Baker, 60(1): director, rev. by Po-wei Weng, 53(3): 192– 93 532– 34 Throw Down Your Heart (Béla Fleck Brings the Whose Song Is This? [Chiya e tazi pesen?] (VHS Banjo Back to Africa) (film), Sascha Pala- and DVD), Slobodan Milovanovich and dino, director, rev. by Peter J. Hoesing, Paul Pauwels, producers, rev. by Jane C. 57(2): 358– 61 Sugarman, 52(1): 151– 54 Till We Meet Again: Moravian Music in Lab- WISSLER, HOLLY, director, Kusisqa Waqash- rador (film), Nigel Markham and Mary ayku [From grief and joy we sing] (DVD), Sexton, producers, rev. by Sarah J Eyerly, rev. by Raul R. Romero, 53(3): 529– 32 59(2): 352– 54 WOODS, BRET, rev. of The Act of Killing (film), Treasure of the Lisu: Ah-Cheng and his Music Joshua Oppenheimer, director, 58(3): (film), Yan Chun Su, director, Les Blank, 538– 42 editor and story consultant, rev. by David World Map of Music, The: The Edison Phono- Chao, 56(2): 355– 57 graph and the Musical Cartography of Film, Video, and Multimedia Reviews 55

the Earth (CD-Rom), rev. by Eliot Bates, ZEMP, HUGO, An African Brass Band (DVD), 54(3): 541– 43 rev. by Robert Rumbolz, 52(3): 513– 15 ZEMP, HUGO, Funeral Chants of the Caucasus Y (DVD), rev. by John A. Graham, 53(2): YAN CHUN SU, director, Treasure of the Lisu: 357– 60 Ah-Cheng and his Music (film), Les Blank, ZEMP, HUGO, Siaka, An African Musician editor and story consultant, rev. by David (DVD), rev. by Julie Strand, 53(2):355– 57 Chao, 56(2): 355– 57 ZEMP, HUGO, and NINO TSITSISHVILI, producers, Duduki of Tbilisi: Eldar Z Shoshitashvili and His Students (film), ZARILLI, PHILLIP B., rev. of Sketches of rev. by Andrea Kuzmich, 57(2): 363– 65 Kerala: Gods Never Die; The Time of the Zurkhaneh: The House of Strength: Music and Puppets; The Three Wise Monkeys (DVD), Martial Arts of Iran (film), Frederico Laurent Aubert, et al., producers, 51(3): Spinetti, director, rev. by Carlos Odria 539– 41 60(1): 194– 96 University of i llinois Press

Edited by Janet R. Barrett

The Bulletin of the Council for Research in provides a forum where contemporary research is made accessible to all with interest in music education. The Bulletin contains current research and reviews of interest to the international music education profession.

Dr. Janet R. Barrett is editor and works with an advisory committee of music education’s most prestigious researchers. The Bulletin of the Council for Research in Music Education provides an outlet for scholarly publication and is one of music education’s leading publications.

Subscriptions to BCRME start at $48.00 for individuals and $80.00 for institutions.

For more information, please visit http://www.press.uillinois.edu/journals/bcrme.html

www.press.uillinois.edu • (217) 244-0626 • [email protected] University of i llinois Press

BLACK MUSIC RESEARCH JOURNAL

Edited by Gayle Murchison

Black Music Research Journal is an official journal of the Center for Black Music Research and is available by subscription and as a benefit of membership with CBMR.

For membership information visit http://www.colum.edu/CBMR/Join_the_Center/

Institutional subscriptions to BMRJ start at $109.00.

For more information, please visit http://www.press.uillinois.edu/journals/bmrj.html

www.press.uillinois.edu • (217) 244-0626 • [email protected]

Consider for Course Adoption An anthology from the University of Illinois Press Immigrant Identity Immigrant Identity and the Politics and the Politics of Citizenship

A collection of articles from the of Citizenship Journal of amErican Ethnic history Edited by John J. Bukowczyk Edited by John J. Bukowczyk

The next volume in the Common Threads series, Immigrant Identity and the Politics of Citizenship, is a joint effort with the Journal of American Ethnic History. Editor John Bukowczyk selected 14 articles that discuss the divisions and hierarchies that immigrants coming to the United States confront and how these immigrants shape and are shaped by the social and cultural worlds they enter here. Drawing on scholarship about ethnic groups from around the globe, the chapters illuminate the often fraught journey many migrants undertake from mistrusted “Other” to sometimes-welcomed citizen.

Contributors: James R. Barrett, Douglas C. Baynton, Vibha Bhalla, Julio Capó, Jr., Robert Fleegler, Gunlög Fur, Hidetaka Hirota, Karen Leonard, Willow Lung-Amam, Raymond A. Mohl, Mark Overmyer- Velázquez, Lara Putnam, David Reimers, David Roediger, and Allison Varzally.

Examine the full table of contents at http://www.press.uillinois.edu/common_threads.html

e-book: $9.95 • paperback: $30.00

To purchase: http://www.press.uillinois.edu/common_threads.html University of i llinois Press American MUSIC

Edited by Michael Pisani

American Music is the first journal devoted exclusively to American music and the wide-ranging scope implied by its title. Articles cover a rich array of composers, performers, publishers, institutions, performing traditions, and events.

Subscriptions to American Music start at $25.00 for students, $47.00 for individuals. Institutional subscriptions start at $127.00.

For more information, please visit http://www.press.uillinois.edu/journals/am.html

www.press.uillinois.edu • (217) 244-0626 • [email protected] University of i llinois Press

Edited by Gillian B. Anderson and Ronald H. Sadoff

The purpose of Music and the Moving Image is to explore the relationship between music and the entire universe of moving images (film, television, music videos, computer games, performance art, and web-based media) through articles, reviews, and interviews.

Subscriptions start at $37.00 for individuals and $83.00 for institutions.

For more information, please visit: http://www.press.uillinois.edu/journals/mmi.html

www.press.uillinois.edu • (217) 244-0626 • [email protected]

Top View