This book demonstrates the processes of intercultural musical collaboration and how these processes contribute to facilitating positive relationships between Indigenous and non-Indigenous peoples in Australia. Each of the chapters in this edited collection examines specific examples in diverse contexts, and reflects on key issues that underpin musical exchanges, including the benefits and challenges of intercultural music making. The collection demonstrates how these musical collaborations allow Indigenous and non-Indigenous people to work together, to learn from each other, and to improve and strengthen their relationships. The metaphor of the “third space” of intercultural music making is interwoven in different ways throughout this volume. While focusing on Indigenous Australian/non-Indigenous intercultural musical collaboration, the book will be of interest globally as a resource for scholars and postgraduate students exploring intercultural musical communication in countries with histories of colonisation, such as New Zealand and Canada.

Collaborative Ethnomusicology explores the processes, benefits and challenges of collaborative ethnomusicological research between Indigenous and non-Indigenous people in Australia. While there are many examples of research and recordings that demonstrate close collaboration between Indigenous and non-Indigenous Australians, this volume is the first to focus on the ways these processes allow Indigenous and non-Indigenous music researchers to work together and learn from each other. Drawing on case studies from across Australia, each chapter brings significant insights into the many positives and some of the discomforts in collaborative spaces, highlighting the ongoing dialogue needed in order to improve relationships between Indigenous and non-Indigenous people and inform the future of ethnomusicological research in Australia.

For artists, scholars, researchers, educators and students of arts theory interested in culture and the arts, a proper understanding of the questions surrounding ‘interculturality’ and the arts requires a full understanding of the creative, methodological and interconnected possibilities of theory, practice and research. The International Handbook of Intercultural Arts Research provides concise and comprehensive reviews and overviews of the convergences and divergences of intercultural arts practice and theory, offering a consolidation of the breadth of scholarship, practices and the contemporary research methodologies, methods and multi-disciplinary analyses that are emerging within this new field.

Global Popular Music: A Research and Information Guide offers an essential annotated bibliography of scholarship on popular music around the world in a two-volume set. Featuring a broad range of subjects, people, cultures, and geographic areas, and spanning musical genres such as traditional, folk, jazz, rock, reggae, samba, rai, punk, hip-hop, and many more, this guide highlights different approaches and discussions within global popular music research. This research guide is comprehensive in scope, providing a vital resource for scholars and students approaching the vast amount of publications on popular music studies and popular music traditions around the world. Thorough cross-referencing and robust indexes of genres, places, names, and subjects make the guide easy to use. Volume 2, Transnational Discourses of Global Popular Music Studies, covers the geographical areas of North America: United States and Canada; Central America, Caribbean, and South America/Latin America; Europe; Africa and Middle East; Asia; and areas of Oceania: Aotearoa/New Zealand, Australia, and Pacific Islands. It provides over twenty-four hundred annotated bibliographic entries covering discourses of extensive research that extend beyond the borders of the United States and includes annotated entries to books, book series, book chapters, edited volumes, special documentaries and programming, scholarly journal essays, and other resources that focus on the creative and artistic flows of global popular music.

Supporting Vulnerable Performance Traditions: Keeping it Going in Contexts of Continuity and Change explores endangered forms of performance from across the world, and the aspirations of practitioners, community members and researchers to keep these traditions going. Readers are provided with an ethnographically rich focus on specific performance contexts in diverse cultural worlds, including case studies that cover: Irish traditional song, ritual performances from southern India, Aboriginal ceremonial songs from northern and central Australia, Latin Catholic rites in multicultural Australia, and Asian-Portuguese syncretic dance in Sri Lanka. With contributors who are all scholars and/or practitioners of music, dance and other temporal arts, this book offers an inside view on the importance of these traditions for peoples' expressions of their distinct cultural identities and assertions of their uniqueness. Supporting Vulnerable Performance Traditions contains essential insights into musical cultures in the context of continuity and change, and will be of interest to researchers and postgraduates of ethnomusicology, anthropology, performance studies and Asian studies, as well as music historians and practitioners, and musicians and culture bearers across the world.

Through the struggles of Indigenous Australians for recognition and self-determination it has become common sense to understand Australia as made up of both Indigenous and non-Indigenous people and things. But in what ways is the Indigenous/non-Indigenous distinction being used and understood? In The difference identity makes thirteen Indigenous and non-Indigenous academics examine how this distinction structures the work of cultural production and how Indigenous producers and their works are recognised and valued. The editors introduce this innovative collection of essays with a pathfinding argument that 'Indigenous cultural capital' now challenges all Australians to re-position themselves within a revised scale of values. Each chapter looks at one of five fields of Australian cultural production: sport, television, heritage, visual arts and music, revealing that in each the Indigenous/non-Indigenous distinction has effects that are specific.

Keeping Time: Dialogues on music and archives in Honour of Linda Barwick explores current issues in ethnomusicology and the archiving and repatriation of ethnographic field recordings. The 19 chapters by 36 authors consider archiving practices as a site of interaction between researchers and cultural heritage communities; cross-disciplinary approaches to understanding song; and the role of musical transcription in non-Western music. This volume is international in scope with case studies with Indigenous and minority peoples from Papua New Guinea, China, India, the Torres Strait and mainland Aboriginal Australia; the latter being the focus of the majority of chapters. Topics include the revival of songs from early written sources, creation of new songs based in old genres, the concept of “sing” in other languages, spirits as the origin of song knowledge, and how to manage ethnographic records over time. Keeping Time approaches Indigenous practices from a range of disciplines, including linguistics, history and performing arts, as well as Indigenous Studies, cultural revitalisation (including reclamation of Indigenous languages), Indigenous knowledge and application to climate change. Offered in honour of Emeritus Professor Linda Barwick, the founder of the Indigenous Music, Language and Performing Arts series, Keeping Time offers a diverse range of opinions on ethnographic research practices and their value to society. There are 3 audio examples available to be listened to here: https://open.sydneyuniversitypress.com.au/keeping_time.html

The Gift of Song: Performing Exchange in Western Arnhem Land tells the story of the return of physical and digital cultural materials through song and dance. Drawing on extensive, first-person ethnographic fieldwork in western Arnhem Land, Australia, Brown examines how Bininj/Arrarrkpi (Aboriginal people of this region) enact change and innovate their performance practices through ceremonial exchange. As Indigenous communities worldwide confront new social and environmental challenges, this book addresses the questions: How do Indigenous communities come to terms with legacies of taking and collecting? How are cultural materials in digital formats received and ritualised? How do traditional forms of exchange continue to mediate relationships? Combining ethnomusicological analysis and linguistically and historically informed ethnography, this book reveals how multilingualism and musical diversity are maintained through kun-borrk/manyardi, a major genre of Indigenous Australian song and dance. It retheorises the core anthropological concept of ‘exchange’ and enriches understanding of repatriation as a process of re-embedding tangible objects through intangible practices of ceremony and language.

This cutting-edge Research Handbook presents a comprehensive overview of key developments in the field of student engagement, with particular reference to equity and diversity issues. Promoting a more holistic and inclusive understanding of engagement, it highlights key empirical findings alongside practical case studies, presenting valuable recommendations for the field. This title contains one or more Open Access chapters.