Applied studies scholarship has triggered a not-so-quiet revolution in the discipline of ethnomusicology. The current generation of applied ethnomusicologists has moved toward participatory action research, involving themselves in musical communities and working directly on their behalf. The essays in The Oxford Handbook of Applied Ethnomusicology, edited by Svanibor Pettan and Jeff Todd Titon, theorize applied ethnomusicology, offer histories, and detail practical examples with the goal of stimulating further development in the field. The essays in the book, all newly commissioned for the volume, reflect scholarship and data gleaned from eleven countries by over twenty contributors. Themes and locations of the research discussed encompass all world continents. The authors present case studies encompassing multiple places; other that discuss circumstances within a geopolitical unit, either near or far. Many of the authors consider marginalized peoples and communities; others argue for participatory action research. All are united in their interest in overarching themes such as conflict, education, archives, and the status of indigenous peoples and immigrants. A volume that at once defines its field, advances it, and even acts as a large-scale applied ethnomusicology project in the way it connects ideas and methodology, The Oxford Handbook of Applied Ethnomusicology is a seminal contribution to the study of ethnomusicology, theoretical and applied.

What can music say about group specifics, especially the specifics of ethnic minorities? In this volume, the focus is on one distinctive aspect of minority culture – collective memory. This is not an imprint of the past: it arises as an image, created from the motives of the past, but shaped by the needs and interests of the present, and various actors participate in its creation. If the medium of remembrance is music – a powerful medium which, thanks to its polysemantic character, makes it possible to connect the individual and the collective, to represent communities, and to rewrite group boundaries – who are the actors and what images do they create? The book Music – Memory – Minorities: Between Archive and Activism focuses on the musical remembrance of Roma and Jews. In addition to exploring individual cases, the text presents and follows a remarkable arc that allows us to observe the role of music in the ethno-emancipatory process of minorities.

Roma Music and Emotion is an important work of scholarship at the intersection of ethnomusicology and anthropology, combining long-term field research with hypotheses from the cognitive sciences to illustrate the musical world of the Roma of Transylvania and, in so doing, propose a groundbreaking anthropological theory on the emotional power of music.

Known affectionately as "The Red Book," Bruno Nettl's The Study of Ethnomusicology became a classic upon its original publication in 1983. Scholars and students alike have hailed it not just for its insights but for a disarming, witty style able to engage and entertain even casual readers while providing essential grounding in the field. In this third edition, Nettl revises the text throughout, adding new chapters and discussions that take into account recent developments across the field and reflecting on how his thinking has changed or even reversed itself during his sixty-year career. An updated bibliography rounds out the volume. A classroom perennial and a must-have for any scholar's bookshelf, the third edition of The Study of Ethnomusicology introduces Nettl's thought to a new generation.

This book considers the sensitive heritage elements linked to the very issue of the origins of nations. Beliefs, rituals, and traditional knowledge are examples of intangible cultural heritage (ICH), which communities globally regard as the core of their cultural identity. When it is unclear which element of heritage “belongs” to whom, like in the Western Balkans, where the majority of heritage elements are shared, ICH disputes exacerbate conflict. Its mishandling is especially acute when minority heritage is excluded from governmental cultural policies. With a focus on Serbia, Croatia, Bosnia and Herzegovina, and Montenegro, this book has a global thematic scope, theoretical depth, and policy relevance to the scholars of anthropology and heritage studies as well as to those interested in cultural diversity, human rights, and cultural and educational policies. It will serve as a guide for those who professionally use cultural heritage, or want to start doing so, in the processes of reconciliation, stabilization, and development.

The nine ethnomusicologists who contributed to this volume, balanced in age and gender and hailing from a diverse array of countries, share the goal of stimulating further development in the field of ethnomusicology. By theorizing applied ethnomusicology, offering histories, and detailing practical examples, they explore the themes of peace and conflict studies, ecology, sustainability, and the theoretical and methodological considerations that accompany them. Theory, Method, Sustainability, and Conflict is the first of three paperback volumes derived from the original Oxford Handbook of Applied Ethnomusicology, which can be understood as an applied ethnomusicology project: as a medium of getting to know the thoughts and experiences of global ethnomusicologists, of enriching general knowledge and understanding about ethnomusicologies and applied ethnomusicologies in various parts of the world, and of inspiring readers to put the accumulated knowledge, understanding, and skills into good use for the betterment of our world.

Applied ethnomusicology is an approach guided by principles of social responsibility, which extends the usual academic goal of broadening and deepening knowledge and understanding toward solving concrete problems and toward working both inside and beyond typical academic contexts (International Council for Traditional Music 2007). This edited volume is based on the first symposium of the ICTM’s Study Group on Applied Ethnomusicology in Ljubljana, Slovenia in 2008 that brought together more than thirty specialists from sixteen countries worldwide. It contains a Preface, an extensive Introduction, and twelve selected peer-reviewed articles by authors from Australia, Austria, Canada, Germany, Slovenia, Serbia, South Africa, the United Kingdom, and the United States of America, divided into four thematic groups. These groups encompass: diverse perspectives on the growing field of applied ethnomusicology in various geographical and problem-solving contexts; research and teaching-related connotations; the potential in contributing to sustainable music cultures; and the use of music in conflict resolution situations. The edited volume Applied Ethnomusicology: Historical and Contemporary Approaches brings together previously dispersed knowledge and perspectives, and offers new insights to various disciplines within the humanities and social sciences. Rooted in diverse scholarly traditions, it addresses a variety of challenges in today’s world and aims to benefit the quality of human existence.

The acceleration of mobility among the worlds peoples, the growth of populations resettling in places other than their homelands, and world events that have propelled these developments have brought minorities unprecedented attention. Their significance as subjects for study has grown correspondingly and the study of their music has become an important gateway into understanding the culture of minorities.

Made in Yugoslavia: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of popular music in Yugoslavia and the post-Yugoslav region across the twentieth and twenty-first centuries. The book consists of chapters by leading scholars and covers the major figures, styles, and social contexts of music in the region that for most of the past century was known as Yugoslavia. Exploring the role played by music in Yugoslav art, culture, social movements, and discourses of statehood, this book offers a gateway into scholarly explanation of a key region in Eastern Europe. An introduction provides an overview and background on popular music in Yugoslavia, followed by chapters in four thematic sections: Zabavna-Pop; Rock, Punk, and New Wave; Narodna (Folk) and Neofolk Music; and the Politics of Popular Music Under Socialism.