Society for Ethnomusicology
Ethnomusicology Books
"Right Makes Might"
#WWE
Abidjan USA
Advancing Folkloristics
African Cinema and Human Rights
The Afterlives of Kathleen Collins
The American Midwest in Film and Literature
Animation Behind the Iron Curtain
Antisemitism in Film Comedy in Nazi Germany
Arctic Cinemas and the Documentary Ethos
Beasts of the Deep
Becoming Clara Schumann
Beyoncé
The Birth of a Nation
Black Lives Matter and Music
Boats on the Marne
Charlie Chaplin's Own Story
Children's Home Musical Experiences Across the World
Chinese Folklore Studies Today
The Cinema of Sara Gómez
The Cinema of the Soviet Thaw
Cinema, Nation, and Empire in Uzbekistan, 1919-1937
Contemporary Korean Shamanism
Corporeality in Early Cinema
Cosmopolitan Film Cultures in Latin America, 1896-1960
Culture and Value
Descended from Hercules
Desire After Dark
The Digital Frontier
Discovering Lost Films of Georges Méliès in fin-de-siècle Flip Books (1896–1901)
The Disney Fetish
Documentary Across Platforms
Dolly Parton, Gender, and Country Music
Early Cinema in Asia
Ewva
Ex-Centric Migrations
The Expressive Lives of Elders
Faces of Tradition in Chinese Performing Arts
Faked in China
Fatih Akin's Cinema and the New Sound of Europe
Feeling Normal
Film, Fashion, and the 1960s
The Flaherty
Flash Flaherty
Folk Art and Aging
Folk Literati, Contested Tradition, and Heritage in Contemporary China
Folk Masters
Folklore in the United States and Canada
For the Love of Cinema
Game Time
Gaming Representation
Gaming Utopia
The Generic Closet
Global Mountain Regions
Global Perspectives on Amateur Film Histories and Cultures
Globalizing Music Education
The Gnawa Lions
Grand Theory in Folkloristics
Handbook for Folklore and Ethnomusicology Fieldwork
Happily Ever After
Hip Hop at Europe's Edge
Hollywood Goes Latin
Household Horror
Humble Theory
The Image in Early Cinema
Impulse to Act
The Institutionalization of Educational Cinema
InsUrgent Media from the Front
Introduction to Documentary, Third Edition
The Invention of Robert Bresson
Is Birdsong Music?
Italian Ecocinema Beyond the Human
Josephine Baker's Cinematic Prism
Jumping the Color Line
Jón Leifs and the Musical Invention of Iceland
The Kinetoscope
London's Arts Labs and the 60s Avant-Garde
Lou Harrison
Main Street Movies
Making Intangible Heritage
The Making of a Reform Jewish Cantor
Mary Ellen Bute
Media in Postapartheid South Africa
The Michiana Potters
Migrant Anxieties
A Million Pictures
Moravian Soundscapes
Mothers, Comrades, and Outcasts in East German Women's Film
Motor City Movie Culture, 1916-1925
The Mouse and the Myth
Movement and Performance in Berlin School Cinema
Movies, Songs, and Electric Sound
Music and the Armenian Diaspora
Music in Arabia
Music in the American Diasporic Wedding
Music of Azerbaijan
The Music of Central Asia
Music, Education, and Religion
Oliver Mtukudzi
Orson Welles in Focus
Performing Tsarist Russia in New York
Pink 2.0
Pleading the Blood
Power Misses II
Profit Margins
Provenance and Early Cinema
Provocauteurs and Provocations
Queering Drag
Race and the Revolutionary Impulse in The Spook Who Sat by the Door
Radical Documentary and Global Crises
Radical Documentary and Global Crises
Rebuilding an Enlightened World
Reciprocal Ethnography and the Power of Women's Narratives
Reclaiming Popular Documentary
Religious Television and Pious Authority in Pakistan
Representing Islam
Rethinking Testimonial Cinema in Postdictatorship Argentina
Rethinking Virtual Places
Roger Sandall's Films and Contemporary Anthropology
Roots of the New Arab Film
Russia's Theatrical Past
Russian Composers Abroad
Screening the Stage
Screening Transcendence
Silver Screen, Hasidic Jews
Featured New Books
Three Loves for Three Oranges
Gozzi, Meyerhold, Prokofiev
In 1921, Sergei Prokofiev's Love for Three Oranges—one of the earliest, most famous examples of modernist opera—premiered in Chicago. Prokofiev's source was a 1913 theatrical divertissement by Vsevolod Meyerhold, who, in turn, took inspiration from Carlo Gozzi's 1761 commedia dell'arte–infused theatrical fairy tale. Only by examining these whimsical, provocative works together can we understand the full significance of their intertwined lineage.
With contributions from 17 distinguished scholars in theater, art history, Italian, Slavic studies, and musicology, Three Loves for Three Oranges: Gozzi, Meyerhold, Prokofiev illuminates the historical development of Modernism in the arts, the ways in which commedia dell'arte's self-referential and improvisatory elements have inspired theater and music innovations, and how polemical playfulness informs creation.
A resource for scholars and theater lovers alike, this collection of essays, paired with new translations of Love for Three Oranges, charts the transformations and transpositions that this fantastical tale underwent to provoke theatrical revolutions that still reverberate today.
Russian Composers Abroad
How They Left, Stayed, Returned
As waves of composers migrated from Russia in the 20th century, they grappled with the complex struggle between their own traditions and those of their adopted homes.
Russian Composers Abroad explores the self-identity of these émigrés, especially those who left from the 1970s on, and how aspects of their diasporic identities played out in their music. Elena Dubinets provides a journey through the complexities of identity formation and cultural production under globalization and migration, elucidating sociological perspectives of the post-Soviet world that have caused changes in composers' outlooks, strategies, and rankings.
Russian Composers Abroad is an illuminating study of creative ideas that are often shaped by the exigencies of financing and advancement rather than just by the vision of the creators and the demands of the public.
Music in Arabia
Perspectives on Heritage, Mobility, and Nation
Music in Arabia extends and challenges existing narratives of the region's distinctive but understudied music to reveal diverse and dynamic music cultures rooted in centuries-old heritage.
Contributors to Music in Arabia bring a critical eye and ear to the contemporary soundscape, musical life, and expressive culture in the Gulf region. Including work by leading scholars and local authorities, this collection presents fresh perspectives and new research addressing why musical expression is fundamental to the area's diverse, transnational communities. The volume also examines music circulation as a commodity, such as with the production of early recordings, the transnational music industry, the context of the Arab Spring, and the region's popular music markets. As a bonus, readers can access a linked website containing audiovisual examples of the music, dance, and expressive culture introduced throughout the book.
With the work of resident scholars and heritage practitioners in conversation with that of researchers from the United States and Europe, Music in Arabia offers both context and content to clarify how music articulates identity and nation among multiethnic, multiracial, and multinational populations.
Journals
Publishing since 1977, Indiana Theory Review provides a venue for creative and imaginative articles on music theory, a forum for the thoughtful exchange of ideas and directions in the field through letters and editorial comments, and an opportunity for review of books and periodicals dealing with a variety of music subjects. Each semiannual, peer-reviewed issue showcases the basic philosophy of sound scholarship and high-quality performance as the hallmarks of superior music education. Indiana Theory Review is sponsored by Indiana University’s Jacobs School of Music, its Department of Music Theory, and the Graduate Theory Association.
Philosophy of Music Education Review features philosophical research in music education for an international community of scholars, artists, and teachers. It includes articles that address philosophical or theoretical issues relevant to education, including reflections on current practice, research issues or questions, reform initiatives, philosophical writings, theories, the nature and scope of education and its goals and purposes, and cross-disciplinary dialogue relevant to the interests of music educators.
Additional Music Journals
Historical Performance is a peer-reviewed journal that focuses on the practical, performance side of musicological research. Extending from the middle ages to the early-twentieth century, we examine the complexities inherent between the historical evidence of the sources—theory—and what we can adduce about the more ephemeral realizations of performance—practice—then and now.
Jazz Education in Research and Practice explores diverse topics of jazz scholarship and its applications to pedagogy. The journal provides a forum for interaction and exchange between researchers and practitioners grounded in scholarship. It was developed by and is an extension of the Jazz Education Network Research Interest Group (JENRing) founded in 2014 under the umbrella of the Jazz Education Network (JEN). The journal aims to be inclusive of a wide range of perspectives, from musicology to cultural studies, from psychology to business, that can be applied in the field. In this respect, the editors particularly welcome articles that provide models, resources, and effective techniques for the teaching and learning of the art form.
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