‘Music Scenes and Migrations’ brings together new work from Brazilian and European scholars around the themes of musical place and transnationalism across the Atlantic triangle connecting Brazil, Africa and Europe. Moving beyond now-contested models for conceptualizing international musical relations and hierarchies of powers and influence, such as global/local or centre/periphery, the volume draws attention instead to the role of the city, in particular, in producing, signifying and mediating music-making in the colonial and post-colonial Portuguese-speaking world. In considering the roles played by cities as hubs of cultural intersection, socialization, exchange and transformation; as sites of political intervention and contestation; and as homes to large concentrations of consumers, technologies and media, Rio de Janeiro necessarily figures prominently, given its historical importance as an international port at the centre of the Lusophone Atlantic world. The volume also gives attention to other urban centres, within Brazil and abroad, towards which musicians and musical traditions have migrated and converged – such as São Paulo, Lisbon and Madrid – where they have reinvented themselves; where notions of Brazilian and Lusophone identity have been reconfigured; and where independent, peripheral and underground scenes have contested the hegemony of the musical ‘mainstream’.

Migrating Music considers the issues around music and cosmopolitanism in new ways. Whilst much of the existing literature on ‘world music’ questions the apparently world-disclosing nature of this genre – but says relatively little about migration and mobility – diaspora studies have much to say about the latter, yet little about the significance of music. In this context, this book affirms the centrality of music as a mode of translation and cosmopolitan mediation, whilst also pointing out the complexity of the processes at stake within it. Migrating music, it argues, represents perhaps the most salient mode of performance of otherness to mutual others, and as such its significance in socio-cultural change rivals – and even exceeds – literature, film, and other language and image-based cultural forms. This book will serve as a valuable reference tool for undergraduate and postgraduate students with research interests in cultural studies, sociology of culture, music, globalization, migration, and human geography.

This edited volume concentrates on the period from the 1940s to the present, exploring how popular music forms such as blues, disco, reggae, hip hop, grime, metal and punk evolved and transformed as they traversed time and space. Within this framework, the collection traces how music and subcultures travel through, to and from democracies, autocracies and anocracies. The chosen approach is multidisciplinary and deliberately diverse. Using both archival sources and oral testimony from a wide variety of musicians, promoters, critics and members of the audience, contributors from a range of academic disciplines explore music and subcultural forms in countries across Asia, Europe, Oceania, North America and Africa. They investigate how far the meaning of music and associated subcultures change as they move from one context to another and consider whether they transcend or blur parameters of class, race, gender and sexuality.

During the 17th and 18th century musicians' mobilities and migrations are essential for the European music history and the cultural exchange of music. Adopting viewpoints that reflect different methodological approaches and diversified research cultures, the book presents studies on central scopes, strategies and artistic outcomes of mobile and migratory musicians as well as on the transfer of music. By looking at elite and non-elite musicians and their everyday mobilities to major and minor centers of music production and practice, new biographical patterns and new stylistic paradigms in the European East, West and South emerge.

Following the format of the journal, the texts, in three parts, testify musical experience in different representations, from elementary school practices to music festivals and resident chamber music, mentioning categories accepted in the Portuguese society, among others, referring to the popular, folk/world and art music.

The Routledge Handbook of Music and Migration: Theories and Methodologies is a progressive, transdisciplinary paradigm-shifting core text for music and migration studies. Conceptualized as a comprehensive methodological and theoretical guide, it foregrounds the mobile potentials of music and presents key arguments about why musical expressions matter in the discussion of migration politics. 24 international specialists in music and migration set methodological and theoretical standards for transdisciplinary collaborations in the field of migration studies, discussing 41 keywords, such as mobility, community, research ethics, human rights, and critical whiteness in the context of music and migration. The authors then apply these terms to 16 chapters, which deal with ethnomusicological, musicological, sociological, anthropological, geographical, pedagogical, political, economic, and media-related methodologies and theories which reflect and contest current discourses of migration. In their interdisciplinary focus, these chapters advance interrelations between music and migration as enabling factors for socio-cultural studies. Furthermore, the authors tackle crucial questions of agency, equality, and equity as well as the responsibilities and expectations of writers and artists when researching migration phenomena as innate human experience. As a result, this handbook provides scholars and students alike with relevant and applicable methodological and theoretical tools in addition to an extensive literature and research review for further research.

"Through archival work and storytelling synthesis, Music Migration and Imperial New York revises, subverts, and supplements many inherited narratives about experimental music and arts in postwar New York into a sweeping new whole. From the urban street-level via music clubs and arts institutions to the world-making routes of global migration and exchange, this book seeks to redraw the geographies of experimental art and so to reveal the imperial dynamics, as well as profoundly racialized and gendered power relations, that shaped and continue to shape the discourses and practices of modern music in the United States. Beginning with the material conditions of power that structured the cityscape of New York in the early Cold War years (ca. 1957 to 1963), Brigid Cohen's book encompasses a considerably wider range of people and practices than is usual in studies of the music of this period. It looks at a range of artistic practices (concert music, electronic music, jazz, performance art) and actors (Varèse, Mingus, Yoko Ono, and Fluxus founder George Maciunas) as they experimented with new modes of creativity"--

Since the 1990s, migrant musicians have become increasingly prominent in New York City's jazz scene. Challenging norms about who can be a jazz musician and what immigrant music should sound like, these musicians create mobile and diverse notions of jazz while inadvertently contributing to processes of gentrification and cultural institutionalization. In Jazz Migrations, author Ofer Gazit discusses the impact of contemporary transnational migration on New York jazz, examining its effects on educational institutions, club scenes, and jam sessions. Drawing on four years of musical participation in the scene, as well as interviews with musicians, audience members, venue owners, industry professionals, and institutional actors, Gazit transports readers from music schools in Japan, Israel, and India to rehearsals and private lessons in American jazz programs, and to New York's immigrant jazz hangouts: an immigrant-owned music school in the Bronx; a weekly jam session in a Haitian bar in central Brooklyn; a Colombian-owned jazz room in Jackson Heights, Queens; and a members-only club in Manhattan. Along the way, he introduces the improvisatory practices of a cast of well-known and aspiring musicians: a South Indian guitarist's visions of John Coltrane and Carnatic music; a Chilean saxophonist's intimate dialogue with the sound of Sonny Rollins; an Israeli clarinetist finding a home in Brazilian Choro and in Louis Armstrong's legacy; and a multiple Grammy-nominated Cuban drummer from the Bronx. Jazz Migrations concludes with a call for a collective reconsideration of the meaning of genre boundaries, senses of belonging, and ethnic identity in American music.

At the close of the Second World War, waves of African American musicians migrated to Paris, eager to thrive in its reinvigorated jazz scene. Jazz Diasporas challenges the notion that Paris was a color-blind paradise for African Americans. On the contrary, musicians adopted a variety of strategies to cope with the cultural and social assumptions that confronted them throughout their careers in Paris, particularly as France became embroiled in struggles over race and identity when colonial conflicts like the Algerian War escalated. Using case studies of prominent musicians and thoughtful analysis of interviews, music, film, and literature, Rashida K. Braggs investigates the impact of this postwar musical migration. She examines key figures including musicians Sidney Bechet, Inez Cavanaugh, and Kenny Clarke and writer and social critic James Baldwin to show how they performed both as artists and as African Americans. Their collaborations with French musicians and critics complicated racial and cultural understandings of who could represent “authentic” jazz and created spaces for shifting racial and national identities—what Braggs terms “jazz diasporas.”

By conversing with the main bodies of relevant literature from Migration Studies and Memory Studies, this overview highlights how analysing memories can contribute to a better understanding of the complexities of migrant incorporation. The chapters consider international case studies from Europe, North America, Australia, Asia and the Middle East.