How Aussies came to belong to the hip-hop nation.

A group of ritual musicians and former slaves brought from sub-Saharan Africa to Morocco, the Gnawa heal those they believe to be possessed, using incense, music, and trance. But their practice is hardly of only local interest: the Gnawa have long participated in the world music market through collaborations with African-American jazz musicians and French recording artists. In this first book in English on Gnawa music and its global reach, author Deborah Kapchan explores how these collaborations transfigure racial and musical identities on both sides of the Atlantic. She also addresses how aesthetic styles associated with the sacred come to inhabit non-sacred contexts, and what new amalgams they produce. Her narrative details the fascinating intrinsic properties of trance, including details of enactment, the role of gesture and the body, and the use of the senses, and how they both construct authentic Gnawa identity and reconstruct historically determined relations of power. Traveling Spirit Masters is a captivating and elucidating demonstration of how and why trance—and indeed all sacred music—is fast becoming a transnational sensation.

Women have been involved with jazz since its inception, but all too often their achievements were not as well known as those of their male counterparts. Some Liked It Hot looks at all-girl bands and jazz women from the 1920s through the 1950s and how they fit into the nascent mass culture, particularly film and television, to uncover some of the historical motivations for excluding women from the now firmly established jazz canon. This well-illustrated book chronicles who appeared where and when in over 80 performances, captured in both popular Hollywood productions and in relatively unknown films and television shows. As McGee shows, these performances reflected complex racial attitudes emerging in American culture during the first half of the twentieth century. Her analysis illuminates the heavily mediated representational strategies that jazz women adopted, highlighting the role that race played in constituting public performances of various styles of jazz from "swing" to "hot" and "sweet." The International Sweethearts of Rhythm, Hazel Scott, the Ingenues, Peggy Lee, and Paul Whiteman are just a few of the performers covered in the book, which also includes a detailed filmography.

In this exploration of the funk groove and its unique sounds, author Anne Danielsen takes an in-depth look at this under-explored genre. Danielsen concentrates on the golden age of funk in the late 1960s and the 1970s, focusing on two of the era's artists who made a substantial impact on the landscape of popular music: James Brown and George Clinton/Parliament. Aiming to understand funk not only as objectified musical meaning but also as lived experience, she begins with the musical events themselves and draws on her experiences as both a fan and a scholar to capture how their particular organization creates the funk listener's pleasure. Danielsen further examines issues surrounding race in the construction and consumption of this music, focusing her study with how white listeners responded to funk in the 1970s, and arguing that African American music has remained a means of catharsis and of dealing with pleasures of the body. Funk's crossover to international success among listeners of pop and rock music affected both the music itself and audiences' understanding of it. Presence and Pleasure shows us how.

Hip Hop’s Amnesia is a study about aesthetics and politics, music and social movements, as well as the ways in which African Americans' unique history and culture has consistently led them to create musics that have served as the soundtracks for their socio-political aspirations and frustrations, their socio-political organizations and nationally-networked movements. The musics of the major African American social and political movements of the 1950s, 1960s, and 1970s were based and ultimately built on earlier forms of "African American movement music." Therefore, in order to really and truly understand rap music and hip hop culture we must critically examine both classical African American musics and the classical African American movements that these musics served as soundtracks for.

Radicalism and Music offers a convincing argument for music's transformational impact on the radicalization, reinforcement, and motivational techniques of violent political activists. It makes a case for the careful examination of music's roles in radical cultures, roles that have serious impacts, as evidenced by the actions of the Frankfurt Airport shooter Arid Uka, Sikh Temple murderer Wade Page, white supremacist Matthew Hale, and animal-rights activist Walter Bond, among others. Such cases bring up difficult questions about how those involved in radical groups can be stirred to feel or act under the influence of music. Radicalism and Music is based on interviews, email correspondence, concerts, and videos. As a "sound strategy," music is exploited to its fullest potential as a tool for recruiting and retaining members by members of al-Qa'ida, the Hammerskin Nation, Christian Identity, Kids in Ministry International, Earth First!, and Vegan Straight Edge. But, as the book points out, the coercive use of music is not isolated to radical cultures, but in political propaganda, sporting events, and popular music as well. Ultimately, Radicalism and Music shows how music affects us through our emotions, and how it triggers violence and enables hateful ideology.

In the wars in Afghanistan and Iraq, recent technological developments in music listening enabled troops to carry with them vast amounts of music and easily acquire new music, for themselves and to share with their fellow troops as well as friends and loved ones far away. This ethnographic study examines U.S. troops' musical-listening habits during and after war, and the accompanying fear, domination, violence, isolation, pain, and loss that troops experienced. My Music, My War is a moving ethnographic account of what war was like for those most intimately involved. It shows how individuals survive in the messy webs of conflicting thoughts and emotions that are intricately part of the moment-to-moment and day-to-day phenomenon of war, and the pervasive memories in its aftermath. It gives fresh insight into musical listening as it relates to social dynamics, gender, community formation, memory, trauma, and politics.

Winner of the the 2019 Béla Bartók Award for Outstanding Ethnomusicology The South Korean percussion genre, samul nori, is a world phenomenon whose rhythmic form is the key to its popularity and mobility. Based on both ethnographic research and close formal analysis, author Katherine In-Young Lee focuses on the kinetic experience of samul nori, drawing out the concept of dynamism to show its historical, philosophical, and pedagogical dimensions. Breaking with traditional approaches to the study of world music that privilege political, economic, institutional, or ideological analytical frameworks, Lee argues that because rhythmic forms are experienced on a somatic level, they swiftly move beyond national boundaries and provide sites for cross-cultural interaction.

Listen to Hip Hop! Exploring a Musical Genre provides an overview of hip-hop music for scholars and fans of the genre, with a focus on 50 defining artists, songs, and albums. Listen to Hip Hop! Exploring a Musical Genre explores non-rap hip hop music, and as such it serves as a compliment to Listen to Rap! Exploring a Musical Genre (Greenwood Press, Anthony J. Fonseca, 2019), which discussed at length 50 must-hear rap artists, albums, and songs. This book aims to provide a close listening/reading of a diverse set of songs and lyrics by a variety of artists who represent different styles outside of rap music. Most entries focus on specific songs, carefully analyzing and deconstructing musical elements, discussing their sound, and paying close attention to instrumentation and production values—including sampling, a staple of rap and an element used in some hip hop dance songs. Though some of the artists included may be normally associated with other musical genres and use hip hop elements sparingly, those in this book have achieved iconic status. Finally, sections on the background and history of hip hop, hip hop's impact on popular culture, and the legacy of hip hop provide context through which readers can approach the entries.

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.