Cross-cultural collaboration in popular music represents opportunities for the audibility of multiple voices and the creation of new sounds, but it also presents many challenges. These challenges are both musical - that is, how to technically match voices - and ethical - that is, how to negotiate historically entrenched power discrepancies. Practice-based research has recently developed as a field in popular music studies. This burgeoning area has much to offer in terms of new knowledge, based on embodied insights, lived experience, and an arts practice. Through a practitioner-centred account of three projects involving traditional Persian and Vietnamese musicians, and western folk/rock musicians, this Element suggests pragmatic strategies and conceptual frameworks for making pop music with people of different cultural backgrounds.

Cross-cultural collaboration in popular music represents opportunities for the audibility of multiple voices and the creation of new sounds, but it also presents many challenges. These challenges are both musical - that is, how to technically match voices - and ethical - that is, how to negotiate historically entrenched power discrepancies. Practice-based research has recently developed as a field in popular music studies. This burgeoning area has much to offer in terms of new knowledge, based on embodied insights, lived experience, and an arts practice. Through a practitioner-centred account of three projects involving traditional Persian and Vietnamese musicians, and western folk/rock musicians, this Element suggests pragmatic strategies and conceptual frameworks for making pop music with people of different cultural backgrounds.

Cross-cultural collaboration in popular music represents opportunities for the audibility of multiple voices and the creation of new sounds, but it also presents many challenges. These challenges are both musical - that is, how to technically match voices - and ethical - that is, how to negotiate historically entrenched power discrepancies. Practice-based research has recently developed as a field in popular music studies. This burgeoning area has much to offer in terms of new knowledge, based on embodied insights, lived experience, and an arts practice. Through a practitioner-centred account of three projects involving traditional Persian and Vietnamese musicians, and western folk/rock musicians, this Element suggests pragmatic strategies and conceptual frameworks for making pop music with people of different cultural backgrounds.