136 MUSICultures 44/2 Intertextuality in Protest Music, will examine performance cultures. Scholars in the “the types and uses of intertextuality seen visual and performing arts and humani- in protest music around the world, using ties are increasingly adopting language antinuclear music as a case study” (ix). and methodologies from the fields of With its unassuming translations of ecology, environmental studies, and sus- Japanese terms, clear signposting, and tainability studies. The two collections helpful conclusion sections following under review follow this intellectual each chapter, The Revolution Will Not Be pursuit by broadly addressing the ecol- Televised serves as a wonderful introduc- ogy of music, music communities, and tion into Japanese protest music culture performance contexts across musicol- for all audiences. Manabe writes in a ogy, ethnomusicology, and sound studies manner fit for undergraduates, although by taking a case study approach. the length of the book might make it Sustainable Futures for Music Cultures: unmanageable for a single semester. An Ecological Perspective approaches the Chapter 3, “Musicians in the Antinuclear concept of music culture, developed by Movement: Motivations, Roles, and Jeff Todd Titon and Mark Slobin among Risks,” could best serve as an excerpted other foundational ethnomusicologists, introductory piece for use in a classroom. as an ecosystem of networked and inter- As with many Oxford University Press connected social, cultural, economic, titles, the monograph is paired with a biological, and geospatial agents and very useful companion website with factors that shape musical vitality and active links to many songs, live protest diversity. Schippers and Grant are con- videos, and governmental reports men- cerned with the health, diversity, and tioned throughout Manabe’s writing. resilience of musical cultures in the increasingly globalized 21st century. The collection takes a comparative approach, addressing musical sustainability and the Sustainable Futures for Music ecology of music cultures across tradi- Cultures: An Ecological tions, geographic regions, and diasporic Perspective. 2016. Ed. Huib Schippers community mobilities. As Schippers out- and Catherine Grant. Oxford: Oxford lines in the introductory chapter, “Sound University Press. 392 pp. Futures: Exploring the Ecology of Music Current Directions in Sustainability,” the authors’ central Ecomusicology: Music, Culture, objective is: Nature. 2016. Ed. Aaron S. Allen and Kevin Dawe. New York: Routledge. To contribute to mapping and un- derstanding the complex forces KATE GALLOWAY acting in and on present-day music Wesleyan University cultures and specific music practices, both philosophically and as a basis There is a growing body of work for planning interventions that are addressing music and sustainability, and effective and reflect the wishes of ecological approaches to music and the communities that own, create, Book Reviews / Comptes rendus de livres 137 develop, perform, transmit, dissemi- data and research findings in each case nate, and value the music. (4) study, highlighting and interpreting how each author connected their work to The collection is the central out- the project’s music culture and domains come of a five-year international framework. Australian Research Council Linkage The contributing authors of the Grant, which funded a collaborative Sustainable Futures for Music Cultures are comparative research network devoted concerned with sustaining music cultures to developing and testing methodologies that are potentially under threat in the and approaches to music sustainability immediate present, rather than trying to in a global context. The nine case stud- resurrect past extinct music traditions. In ies presented include: Mexican Mariachi his opening chapter, Schippers outlines (Patricia Shehan Campbell), Ghanaian the five domains of musical sustainabil- Ewe dance-drumming (James Burns), ity developed by the research collective: Amami shima uta from Japan (Philip 1) Systems of learning music; 2) Musi- Hayward), Korean samulnori (Keith cians and communities; 3) Contexts and Howard), Hindustani North Indian clas- constructs; 4) Regulations and infra- sical music (Huib Schippers), Vietnamese structure; and 5) Media and the music ca trù (Håkan Lundström), Indigenous industry. In all nine case studies, authors yawulyu songs from Central Australia use this framework as the organizational (Linda Barwick), Balinese gamelan (Peter structure for their essays, and provide a Dunbar-Hall), and Western opera (John background section at the outset of the Drummond). Schipper’s introductory chapter to contextualize the music cul- chapter outlines the methodology of the ture for a readership whose familiarity research project, drawing on material with, or expertise in, the music tradition from his contribution to The Oxford Hand- and geographic region varies. book of Applied Ethnomusicology (2015). The The clarity and detail of Schippers’s next chapter by Grant surveys current and description and analysis create a narra- historical sustainability methods and ini- tive space where the reader can trace tiatives used by musicians, communities, how each domain is applied in distinctive NGOs, and international organizations to ways to each case study. By modeling “protect, maintain, and stimulate musi- their methodology in such a way, read- cal diversity” (15). The nine individual ers can envision how they could apply case study chapters follow. Throughout this framework to their own fieldwork these essays, the contributing authors site and community. The immediate map out key factors of musical sustain- benefit of applying these domains to ability and identify practical strategies for diverse case studies is that the research how scholars, community members, and team and the audience for this collection institutions can aid in the prevention of can understand each individual domain, music culture endangerment or extinc- however they can also observe how the tion. Schippers and Grant conclude the domains operate together as a network volume with a final chapter that presents within the ecosystem of a music cul- comparative analysis generated from the ture. In each case study, the contributing 138 MUSICultures 44/2 author outlines the factors that impact ethnomusicology seminars. It is a par- musical sustainability and how local ticularly welcome addition, with applied technological developments, infrastruc- ethnomusicology and public musicology tural challenges, socio-economic change, seminars increasing in number. Sustain- educational system shifts, and the loss of able Futures for Music Cultures contributes prestige, among other social, geographic, new approaches to the study of the and cultural circumstances, contribute ecology of music, providing a nuanced to the decline of certain music cultures. methodological framework that makes By reading across different case studies – examining music cultures from an eco- a benefit of using the same structure for logical perspective more concrete and each case study chapter – the audience comparative. for this collection is encouraged to make Current Directions in Ecomusicology: connections and observe that the same Music, Culture, Nature is the outcome causes in different contexts do not lead of a series of discussions, publications, to the same effects. and events that took place during the This volume is an excellent exam- foundational years of the American ple of community-focused scholarship. Musicological Society Ecocriticism Although the authors have developed Study Group and the Society for Eth- a model and set of tools to understand nomusicology Ecomusicology Special musical sustainability in cross-cultural Interest Group. These include the “Col- perspective, and work towards devel- loquy: Ecomusicology” in the Journal of oping the appropriate interventions to the American Musicological Society (2011), maintain musical vitality, they advise cul- sponsored panels and special sessions ture workers to collaboratively develop exploring the intersections between solutions with the community rather music, place, and the environment at the than dictating their own fixes, making annual meetings of the American Musi- assumptions, or ignoring the commu- cological Society (AMS) and Society for nity’s needs. They have provided a set of Ethnomusicology (SEM), four success- tools and methods that are intended to be ful interdisciplinary “Ecomusicologies” “adapted and applied to serve communi- conferences (in New Orleans as a pre- ties in shaping their musical futures on conference to the joint meeting of the their own terms, in the ways they wish, American Musicological Society, Society and in collaborations and partnerships for Music Theory, and Society for Ethno- they choose” (334). And these commu- musicology (AMS/SMT/SEM) in 2012; nities participate in the music culture at Queensland Conservatorium, Griffith in varied ways through a combination University, Brisbane, Australia in 2013; of ownership, creation, development, at the University of North Carolina, performance, transmission, dissemina- Asheville in 2014; and at Westminster tion, and as participatory audiences that Choir College, Princeton in 2016), and determine aesthetic and cultural value. the ongoing publication of the Ecomusi- The articles all employ accessible cology Review (formerly the Ecomusicology writing styles, and could be adopted for Newsletter), among other initiatives. These upper-level undergraduate