HMU345: Global Popular Musics

This extraordinary new work, a companion to the recent ADP title Afro-Cuban Music, picks up where that volume leaves off, focusing on the diffusion of Cuban popular musical styles throughout the Americas as well as the creation of new hybrids in places such as Puerto Rico, the Dominican Republic, Mexico, Colombia, Venezuela and Latin New York.

Gray, John. Baila!: A Bibliographic Guide to Afro-Latin Dance Musics from Mambo to Salsa. Nyack, N.Y.: African Diaspora Press, 2013.

This much needed bibliography fills an important gap in this research area and will prove an indispensable resource for librarians and scholars studying African American music and culture.

Meadows, Eddie S. Blues, Funk, Rhythm and Blues, Soul, Hip Hop, and Rap: A Research and Information Guide. New York: Routledge, 2010.

First published in 2011. Routledge is an imprint of Taylor & Francis, an informa company. Ethnomusicology: A Research and Information Guide is an annotated bibliography of books, recordings, videos, and websites in the field of ethnomusicology.

The Garland Handbook of African Music is comprised of essays from The Garland Encyclopedia of World Music: Volume 1, Africa.

Stone, Ruth M., ed. The Garland Handbook of African Music. 2nd ed. New York: Routledge, 2008.

The Garland Handbook of Latin American Music is comprised of essays from The Garland Encyclopedia of World Music: Volume 2, South America, Mexico, Central America, and the Caribbean.

Olsen, Dale A., and Daniel Sheehy, eds. The Garland Handbook of Latin American Music. New York: Routledge, 2015.

North American Fiddle Music: A Research and Information Guide is the first large-scale annotated bibliography and research guide on the fiddle traditions of the United States and Canada.

Beisswenger, Drew. North American Fiddle Music: A Research and Information Guide. New York: Routledge, 2011.

Making headlines when it was launched in 2015, Omise'eke Tinsley's undergraduate course "Beyoncé Feminism, Rihanna Womanism" has inspired students from all walks of life. In Beyoncé in Formation, Tinsley now takes her rich observations beyond the classroom, using the blockbuster album and video Lemonade as a soundtrack for vital new-millennium narratives. Woven with candid observations about her life as a feminist scholar of African studies and a cisgender femme married to a trans spouse, Tinsley's "Femme-onade" mixtape explores myriad facets of black women's sexuality and gender.

This collection investigates the concept of modernity in music and its multiple interpretations in Europe and East Asia. Through contributions by both European and East Asian musicologists it discusses how a decentered understanding of musical modernity could be matched on multiple historiographical perspectives while being attentive to the specificities of local music and their narratives in East Asia and Europe. The essays connect local, global and transnational history with sociological theories of modernity and modernization, making the volume an important contribution to overcoming the Eurocentric dichotomy between western music and world music within the field of historical musicology.

The long-lasting effects of colonialism--racism, political persecution, ethnic extermination, and extreme capitalism--are still felt throughout Latin America. This volume explores how heavy metal music in the region has been used to challenge coloniality and its present-day manifestations. Drawing on extensive ethnographic research in Puerto Rico, Cuba, the Dominican Republic, Mexico, Guatemala, Colombia, Peru, Chile, and Argentina, Nelson Varas-Díaz documents how metal musicians and listeners engage in "extreme decolonial dialogues" as a strategy to challenge past and present forms of oppression.  Most existing work on metal music in Latin America has relied on theoretical frameworks developed in the global North. By contrast, this volume explores the region through its own history and experiences, providing a roadmap for this emerging mode of musical analysis by demonstrating how decolonial metal scholarship can be achieved. 

In The Globally Familiar Ethiraj Gabriel Dattatreyan traces how the rapid development of information and communication technologies in India has created opportunities for young people to creatively explore their gendered, classed, and racialized subjectivities in and through transnational media worlds. His ethnography focuses on a group of diverse young, working-class men in Delhi as they take up the African diasporic aesthetics and creative practices of hip hop. Dattatreyan shows how these aspiring b-boys, MCs, and graffiti writers fashion themselves and their city through their online and offline experimentations with hip hop, thereby accessing new social, economic, and political opportunities while acting as consumers, producers, and influencers in global circuits of capitalism. In so doing, Dattatreyan outlines how the hopeful, creative, and vitally embodied practices of hip hop offer an alternative narrative of urban place-making in "digital" India.

Music and Modernity among First Peoples of North America is a collaboration between Indigenous and settler scholars from both Canada and the United States. The contributors explore the intersections between music, modernity, and Indigeneity in essays addressing topics that range from hip-hop to powwow, and television soundtracks of Native Classical and experimental music. Working from the shared premise that multiple modernities exist for Indigenous peoples, the authors seek to understand contemporary musical expression from Native perspectives and to decolonize the study of Native American/First Nations music. The essays coalesce around four main themes: innovative technology, identity formation and self-representation, political activism, and translocal musical exchange. Closely related topics include cosmopolitanism, hybridity, alliance studies, code-switching, and ontologies of sound. Featuring the work of both established and emerging scholars, the collection demonstrates the centrality of music in communicating the complex, diverse lived experience of Indigenous North Americans in the twenty-first century and brings ethnomusicology into dialogue with critical Indigenous studies.

"As an embodied practice of Indigenous self-determination through musical expression, sonic sovereignty offers a frame to listen for the effects of expressive culture in the world. Experimenting with possibilities of listening in relation to time and perspective, this book coalesces reflections across time and vantage point so that readers can listen backwards and forwards into possible futures"-- Provided by publisher.

Los Angeles, called Tehrangeles because it is home to the largest concentration of Iranians outside of Iran, is the birthplace of a distinctive form of postrevolutionary pop music. Created by professional musicians and media producers fleeing Iran's revolutionary-era ban on "immoral" popular music, Tehrangeles pop has been a part of daily life for Iranians at home and abroad for decades. In Tehrangeles Dreaming Farzaneh Hemmasi draws on ethnographic fieldwork in Los Angeles and musical and textual analysis to examine how the songs, music videos, and television made in Tehrangeles express modes of Iranianness not possible in Iran. Exploring Tehrangeles pop producers' complex commercial and political positioning and the histories, sensations, and fantasies their music makes available to global Iranian audiences, Hemmasi shows how unquestionably Iranian forms of Tehrangeles popular culture exemplify the manner in which culture, media, and diaspora combine to respond to the Iranian state and its political transformations. The transnational circulation of Tehrangeles culture, she contends, transgresses Iran's geographical, legal, and moral boundaries while allowing all Iranians the ability to imagine new forms of identity and belonging.

We Still Here maps the edges of hip-hop culture and makes sense of the rich and diverse ways people create and engage with hip-hop music within Canadian borders. Contributors to the collection explore the power of institutions, mainstream hegemonies, and the processes of historical formation in the evolution of hip-hop culture. Throughout, the volume foregrounds the generative issues of gender, identity, and power, in particular in relation to the Black diaspora and Indigenous cultures. The contributions of artists in the scene are front and centre in this collection, exposing the distinct inner mechanics of Canadian hip hop from a variety of perspectives. By amplifying rarely heard voices within hip-hop culture, We Still Here argues for its power to disrupt national formations and highlights the people and communities who make hip hop happen.

Concise and engaging, this text covers a wide range of reference sources for research in all genres of music.

Gottlieb, Jane. Music Library and Research Skills. 2nd ed. New York: Oxford University Press, 2016.

This practical guide focuses on general writing issues as well as special challenges of writing about music, with clear, step-by-step explanations of the process of writing a paper. Topics it touches on include: writing about music; analysis and research; getting started; writing a research paper (choosing a topic, outlining, writing the draft, editing and revising); and common writing problems.

Wingell, Richard J. Writing about Music: An Introductory Guide. 4th ed. New Jersey: Pearson, 2009.

How do you spell "Mendelssohn"? Where do you place the hyphen in "Beethoven" if it breaks between two lines? The answers are here! This book also discusses how to go about describing musical works and procedures in prose, the rules for citations in notes and bibliography, and proper preparation of such materials as musical examples, tables, and illustrations.

Holoman, Kern. Writing about Music: A Style Sheet. 2nd ed. Berkeley: University of California Press, 2008.