For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline.The second volume of Transforming Ethnomusicology takes as a point of departure the recognition that colonial and environmental damages are grounded in historical and institutional failures to respect the land and its peoples. Featuring Indigenous and other perspectives from Brazil, North America, Australia, Africa, and Europe this volume critically engages with how ethnomusicologists can support marginalized communities in sustaining their musical knowledge and threatened geographies.

For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline.The second volume of Transforming Ethnomusicology takes as a point of departure the recognition that colonial and environmental damages are grounded in historical and institutional failures to respect the land and its peoples. Featuring Indigenous and other perspectives from Brazil, North America, Australia, Africa, and Europe this volume critically engages with how ethnomusicologists can support marginalized communities in sustaining their musical knowledge and threatened geographies.

For decades, ethnomusicologists across the world have considered how to effect positive change for the communities they work with when faced with challenging social, political, and environmental issues and institutional structures. The two-volume collection Transforming Ethnomusicology aims to deepen and broaden dialogues about social engagement within the discipline of ethnomusicology. Its many voices, from scholars and practitioners from diverse backgrounds and working in a variety of cultural situations, explore how ethnomusicology can transform the world by contributing to social change. Through their illuminating case studies and reflections, they at the same time transform how we understand ethnomusicology as a discipline.The second volume of Transforming Ethnomusicology provides much-needed new examinations of social and ecological concerns and centers around the recognition that colonial and environmental damages are intertwined and grounded in the failure to respect the land and its peoples. Featuring Indigenous perspectives from America, Australia, and South Africa, this volume critically engages with the question how ethnomusicologists can support marginalized communities in sustaining their musical knowledges and threatened geographies within institutional and historically-grown structures that have long worked toward their destruction. The volume ends with a radical model for change that is based on a profound rethinking of established structures of knowledge.

For decades, ethnomusicologists across the world have considered how to effect positive change for the communities they work with when faced with challenging social, political, and environmental issues and institutional structures. The two-volume collection Transforming Ethnomusicology aims to deepen and broaden dialogues about social engagement within the discipline of ethnomusicology. Its many voices, from scholars and practitioners from diverse backgrounds and working in a variety of cultural situations, explore how ethnomusicology can transform the world by contributing to social change. Through their illuminating case studies and reflections, they at the same time transform how we understand ethnomusicology as a discipline.The second volume of Transforming Ethnomusicology provides much-needed new examinations of social and ecological concerns and centers around the recognition that colonial and environmental damages are intertwined and grounded in the failure to respect the land and its peoples. Featuring Indigenous perspectives from America, Australia, and South Africa, this volume critically engages with the question how ethnomusicologists can support marginalized communities in sustaining their musical knowledges and threatened geographies within institutional and historically-grown structures that have long worked toward their destruction. The volume ends with a radical model for change that is based on a profound rethinking of established structures of knowledge.

For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline.The first volume of Transforming Ethnomusicology focuses on ethical practice and collaboration, examining the power relations inherent in ethnography and offering new strategies for transforming institutions and ethnographic methods. These reflections on the broader framework of ethnomusicological practice are complemented by case studies that document activist approaches to the study of music in challenging contexts of poverty, discrimination, and other unjust systems.

For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline.The first volume of Transforming Ethnomusicology focuses on ethical practice and collaboration, examining the power relations inherent in ethnography and offering new strategies for transforming institutions and ethnographic methods. These reflections on the broader framework of ethnomusicological practice are complemented by case studies that document activist approaches to the study of music in challenging contexts of poverty, discrimination, and other unjust systems.

For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline.The first volume of Transforming Ethnomusicology focuses on ethical practice and collaboration, examining the power relations inherent in ethnography and offering new strategies for transforming institutions and ethnographic methods. These reflections on the broader framework of ethnomusicological practice are complemented by case studies that document activist approaches to the study of music in challenging contexts of poverty, discrimination, and other unjust systems.

For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline.The first volume of Transforming Ethnomusicology focuses on ethical practice and collaboration, examining the power relations inherent in ethnography and offering new strategies for transforming institutions and ethnographic methods. These reflections on the broader framework of ethnomusicological practice are complemented by case studies that document activist approaches to the study of music in challenging contexts of poverty, discrimination, and other unjust systems.

How music embodies and contributes to historical and contemporary nationalism What does music in Portugal and Spain reveal about the relationship between national and regional identity building? How do various actors use music to advance nationalism? How have state and international heritage regimes contributed to nationalist and regionalist projects? In this collection, contributors explore these and other essential questions from a range of interdisciplinary vantage points. The essays pay particular attention to the role played by the state in deciding what music represents Portuguese or Spanish identity. Case studies examine many aspects of the issue, including local recording networks, so-called national style in popular music, and music’s role in both political protest and heritage regimes. Topics include the ways the Salazar and Franco regimes adapted music to align with their ideological agendas; the twenty-first-century impact of UNESCO’s Intangible Cultural Heritage program on some of Portugal and Spain's expressive practices; and the tensions that arise between institutions and community in creating and recreating meanings and identity around music. Contributors: Ricardo Andrade, Vera Marques Alves, Salwa El-Shawan Castelo-Branco, Cristina SÁnchez-Carretero, JosÉ Hugo Pires Castro, Paulo Ferreira de Castro, FernÁn del Val, HÉctor Fouce, Diego GarcÍa-Peinazo, Leonor Losa, Josep MartÍ, Eva Moreda RodrÍguez, Pedro Russo Moreira, Cristina Cruces RoldÁn, and Igor Contreras Zubillaga

How music embodies and contributes to historical and contemporary nationalism

What does music in Portugal and Spain reveal about the relationship between national and regional identity building? How do various actors use music to advance nationalism? How have state and international heritage regimes contributed to nationalist and regionalist projects? In this collection, contributors explore these and other essential questions from a range of interdisciplinary vantage points. The essays pay particular attention to the role played by the state in deciding what music represents Portuguese or Spanish identity. Case studies examine many aspects of the issue, including local recording networks, so-called national style in popular music, and music’s role in both political protest and heritage regimes. Topics include the ways the Salazar and Franco regimes adapted music to align with their ideological agendas; the twenty-first-century impact of UNESCO’s Intangible Cultural Heritage program on some of Portugal and Spain''s expressive practices; and the tensions that arise between institutions and community in creating and recreating meanings and identity around music.

Contributors: Ricardo Andrade, Vera Marques Alves, Salwa El-Shawan Castelo-Branco, Cristina Sánchez-Carretero, José Hugo Pires Castro, Paulo Ferreira de Castro, Fernán del Val, Héctor Fouce, Diego García-Peinazo, Leonor Losa, Josep Martí, Eva Moreda Rodríguez, Pedro Russo Moreira, Cristina Cruces Roldán, and Igor Contreras Zubillaga

This volume charts a new frontier of applied ethnomusicology by highlighting the role of music in both inciting and resolving a spectrum of social and political conflicts in the contemporary world. Examining the materials and practices of music-making, contributors detail how music and performance are deployed to critique power structures and to nurture cultural awareness among communities in conflict. The essays here range from musicological studies to ethnographic analyses to accounts of practical interventions that could serve as models for conflict resolution. Music and Conflict reveals how musical texts are manipulated by opposing groups to promote conflict and how music can be utilized to advance conflict resolution. Speaking to the cultural implications of globalization and pointing out how music can promote a shared musical heritage across borders, the essays discuss the music of Albania, Azerbaijan, Brazil, Egypt, Germany, Indonesia, Iran, Ireland, North and South Korea, Uganda, the United States, and the former Yugoslavia. The volume also includes dozens of illustrations, including photos, maps, and musical scores.Contributors are Samuel Araujo, William Beeman, Stephen Blum, Salwa El-Shawan Castelo-Branco, David Cooper, Keith Howard, Inna Naroditskaya, John Morgan O'Connell, Svanibor Pettan, Anne K. Rasmussen, Adelaida Reyes, Anthony Seeger, Jane C. Sugarman, and Britta Sweers.

How music embodies and contributes to historical and contemporary nationalism What does music in Portugal and Spain reveal about the relationship between national and regional identity building? How do various actors use music to advance nationalism? How have state and international heritage regimes contributed to nationalist and regionalist projects? In this collection, contributors explore these and other essential questions from a range of interdisciplinary vantage points. The essays pay particular attention to the role played by the state in deciding what music represents Portuguese or Spanish identity. Case studies examine many aspects of the issue, including local recording networks, so-called national style in popular music, and music’s role in both political protest and heritage regimes. Topics include the ways the Salazar and Franco regimes adapted music to align with their ideological agendas; the twenty-first-century impact of UNESCO’s Intangible Cultural Heritage program on some of Portugal and Spain's expressive practices; and the tensions that arise between institutions and community in creating and recreating meanings and identity around music. Contributors: Ricardo Andrade, Vera Marques Alves, Salwa El-Shawan Castelo-Branco, Cristina SÁnchez-Carretero, JosÉ Hugo Pires Castro, Paulo Ferreira de Castro, FernÁn del Val, HÉctor Fouce, Diego GarcÍa-Peinazo, Leonor Losa, Josep MartÍ, Eva Moreda RodrÍguez, Pedro Russo Moreira, Cristina Cruces RoldÁn, and Igor Contreras Zubillaga

For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline.The second volume of Transforming Ethnomusicology takes as a point of departure the recognition that colonial and environmental damages are grounded in historical and institutional failures to respect the land and its peoples. Featuring Indigenous and other perspectives from Brazil, North America, Australia, Africa, and Europe this volume critically engages with how ethnomusicologists can support marginalized communities in sustaining their musical knowledge and threatened geographies.

For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline.The second volume of Transforming Ethnomusicology takes as a point of departure the recognition that colonial and environmental damages are grounded in historical and institutional failures to respect the land and its peoples. Featuring Indigenous and other perspectives from Brazil, North America, Australia, Africa, and Europe this volume critically engages with how ethnomusicologists can support marginalized communities in sustaining their musical knowledge and threatened geographies.

For decades, ethnomusicologists across the world have considered how to effect positive change for the communities they work with when faced with challenging social, political, and environmental issues and institutional structures. The two-volume collection Transforming Ethnomusicology aims to deepen and broaden dialogues about social engagement within the discipline of ethnomusicology. Its many voices, from scholars and practitioners from diverse backgrounds and working in a variety of cultural situations, explore how ethnomusicology can transform the world by contributing to social change. Through their illuminating case studies and reflections, they at the same time transform how we understand ethnomusicology as a discipline.The second volume of Transforming Ethnomusicology provides much-needed new examinations of social and ecological concerns and centers around the recognition that colonial and environmental damages are intertwined and grounded in the failure to respect the land and its peoples. Featuring Indigenous perspectives from America, Australia, and South Africa, this volume critically engages with the question how ethnomusicologists can support marginalized communities in sustaining their musical knowledges and threatened geographies within institutional and historically-grown structures that have long worked toward their destruction. The volume ends with a radical model for change that is based on a profound rethinking of established structures of knowledge.

For decades, ethnomusicologists across the world have considered how to effect positive change for the communities they work with when faced with challenging social, political, and environmental issues and institutional structures. The two-volume collection Transforming Ethnomusicology aims to deepen and broaden dialogues about social engagement within the discipline of ethnomusicology. Its many voices, from scholars and practitioners from diverse backgrounds and working in a variety of cultural situations, explore how ethnomusicology can transform the world by contributing to social change. Through their illuminating case studies and reflections, they at the same time transform how we understand ethnomusicology as a discipline.The second volume of Transforming Ethnomusicology provides much-needed new examinations of social and ecological concerns and centers around the recognition that colonial and environmental damages are intertwined and grounded in the failure to respect the land and its peoples. Featuring Indigenous perspectives from America, Australia, and South Africa, this volume critically engages with the question how ethnomusicologists can support marginalized communities in sustaining their musical knowledges and threatened geographies within institutional and historically-grown structures that have long worked toward their destruction. The volume ends with a radical model for change that is based on a profound rethinking of established structures of knowledge.

For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline.The first volume of Transforming Ethnomusicology focuses on ethical practice and collaboration, examining the power relations inherent in ethnography and offering new strategies for transforming institutions and ethnographic methods. These reflections on the broader framework of ethnomusicological practice are complemented by case studies that document activist approaches to the study of music in challenging contexts of poverty, discrimination, and other unjust systems.

For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline.The first volume of Transforming Ethnomusicology focuses on ethical practice and collaboration, examining the power relations inherent in ethnography and offering new strategies for transforming institutions and ethnographic methods. These reflections on the broader framework of ethnomusicological practice are complemented by case studies that document activist approaches to the study of music in challenging contexts of poverty, discrimination, and other unjust systems.

For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline.The first volume of Transforming Ethnomusicology focuses on ethical practice and collaboration, examining the power relations inherent in ethnography and offering new strategies for transforming institutions and ethnographic methods. These reflections on the broader framework of ethnomusicological practice are complemented by case studies that document activist approaches to the study of music in challenging contexts of poverty, discrimination, and other unjust systems.

For decades, ethnomusicologists across the world have considered how to affect positive change for the communities they work with. Through illuminating case studies and reflections by a diverse array of scholars and practitioners, Transforming Ethnomusicology aims to both expand dialogues about social engagement within ethnomusicology and, at the same time, transform how we understand ethnomusicology as a discipline.The first volume of Transforming Ethnomusicology focuses on ethical practice and collaboration, examining the power relations inherent in ethnography and offering new strategies for transforming institutions and ethnographic methods. These reflections on the broader framework of ethnomusicological practice are complemented by case studies that document activist approaches to the study of music in challenging contexts of poverty, discrimination, and other unjust systems.

How music embodies and contributes to historical and contemporary nationalism What does music in Portugal and Spain reveal about the relationship between national and regional identity building? How do various actors use music to advance nationalism? How have state and international heritage regimes contributed to nationalist and regionalist projects? In this collection, contributors explore these and other essential questions from a range of interdisciplinary vantage points. The essays pay particular attention to the role played by the state in deciding what music represents Portuguese or Spanish identity. Case studies examine many aspects of the issue, including local recording networks, so-called national style in popular music, and music’s role in both political protest and heritage regimes. Topics include the ways the Salazar and Franco regimes adapted music to align with their ideological agendas; the twenty-first-century impact of UNESCO’s Intangible Cultural Heritage program on some of Portugal and Spain's expressive practices; and the tensions that arise between institutions and community in creating and recreating meanings and identity around music. Contributors: Ricardo Andrade, Vera Marques Alves, Salwa El-Shawan Castelo-Branco, Cristina SÁnchez-Carretero, JosÉ Hugo Pires Castro, Paulo Ferreira de Castro, FernÁn del Val, HÉctor Fouce, Diego GarcÍa-Peinazo, Leonor Losa, Josep MartÍ, Eva Moreda RodrÍguez, Pedro Russo Moreira, Cristina Cruces RoldÁn, and Igor Contreras Zubillaga

How music embodies and contributes to historical and contemporary nationalism

What does music in Portugal and Spain reveal about the relationship between national and regional identity building? How do various actors use music to advance nationalism? How have state and international heritage regimes contributed to nationalist and regionalist projects? In this collection, contributors explore these and other essential questions from a range of interdisciplinary vantage points. The essays pay particular attention to the role played by the state in deciding what music represents Portuguese or Spanish identity. Case studies examine many aspects of the issue, including local recording networks, so-called national style in popular music, and music’s role in both political protest and heritage regimes. Topics include the ways the Salazar and Franco regimes adapted music to align with their ideological agendas; the twenty-first-century impact of UNESCO’s Intangible Cultural Heritage program on some of Portugal and Spain''s expressive practices; and the tensions that arise between institutions and community in creating and recreating meanings and identity around music.

Contributors: Ricardo Andrade, Vera Marques Alves, Salwa El-Shawan Castelo-Branco, Cristina Sánchez-Carretero, José Hugo Pires Castro, Paulo Ferreira de Castro, Fernán del Val, Héctor Fouce, Diego García-Peinazo, Leonor Losa, Josep Martí, Eva Moreda Rodríguez, Pedro Russo Moreira, Cristina Cruces Roldán, and Igor Contreras Zubillaga

This volume charts a new frontier of applied ethnomusicology by highlighting the role of music in both inciting and resolving a spectrum of social and political conflicts in the contemporary world. Examining the materials and practices of music-making, contributors detail how music and performance are deployed to critique power structures and to nurture cultural awareness among communities in conflict. The essays here range from musicological studies to ethnographic analyses to accounts of practical interventions that could serve as models for conflict resolution. Music and Conflict reveals how musical texts are manipulated by opposing groups to promote conflict and how music can be utilized to advance conflict resolution. Speaking to the cultural implications of globalization and pointing out how music can promote a shared musical heritage across borders, the essays discuss the music of Albania, Azerbaijan, Brazil, Egypt, Germany, Indonesia, Iran, Ireland, North and South Korea, Uganda, the United States, and the former Yugoslavia. The volume also includes dozens of illustrations, including photos, maps, and musical scores.Contributors are Samuel Araujo, William Beeman, Stephen Blum, Salwa El-Shawan Castelo-Branco, David Cooper, Keith Howard, Inna Naroditskaya, John Morgan O'Connell, Svanibor Pettan, Anne K. Rasmussen, Adelaida Reyes, Anthony Seeger, Jane C. Sugarman, and Britta Sweers.

How music embodies and contributes to historical and contemporary nationalism What does music in Portugal and Spain reveal about the relationship between national and regional identity building? How do various actors use music to advance nationalism? How have state and international heritage regimes contributed to nationalist and regionalist projects? In this collection, contributors explore these and other essential questions from a range of interdisciplinary vantage points. The essays pay particular attention to the role played by the state in deciding what music represents Portuguese or Spanish identity. Case studies examine many aspects of the issue, including local recording networks, so-called national style in popular music, and music’s role in both political protest and heritage regimes. Topics include the ways the Salazar and Franco regimes adapted music to align with their ideological agendas; the twenty-first-century impact of UNESCO’s Intangible Cultural Heritage program on some of Portugal and Spain's expressive practices; and the tensions that arise between institutions and community in creating and recreating meanings and identity around music. Contributors: Ricardo Andrade, Vera Marques Alves, Salwa El-Shawan Castelo-Branco, Cristina SÁnchez-Carretero, JosÉ Hugo Pires Castro, Paulo Ferreira de Castro, FernÁn del Val, HÉctor Fouce, Diego GarcÍa-Peinazo, Leonor Losa, Josep MartÍ, Eva Moreda RodrÍguez, Pedro Russo Moreira, Cristina Cruces RoldÁn, and Igor Contreras Zubillaga