Traditional African musical forms have long been accepted as fundamental to the emergence of blues and jazz. Yet there has been little effort at compiling recorded evidence to document their development. This discography brings together hundreds of recordings that trace in detail the evolution of the African American musical experience, from early wax cylinder recordings made in West Africa to voodoo rituals from the Carribean Basin to the songs of former slaves in the American South.

This work provides access to information on the rich and often little known legacy of anthropological scholarship preserved in a diversity of archives, libraries and museums. Selected anthropological manuscripts, papers, fieldnotes, site reports, photographs and sound recordings in more than 150 repositories are described. Coverage of resources in North American repositories is extensive while Great Britain, France, the Netherlands, Australia and certain other countries are more selectively represented. Entries are arranged by repository location and most contributors draw upon a special knowledge of the resources described. Contributors include James R. Glenn (National Anthropological Archives), Elizabeth Edwards and Veronica Lawrence (Pitt Rivers Museum, University of Oxford), Francisco Demetrio, S.J. (Museum and Archives, Xavier University, Philippines) and many others. The guide covers selected documentation in social and cultural anthropology, physical anthropology, archaeology and folklore. Some major area studies collections (such as the Asia Collections, Cornell University Libraries, and the Melanesian Archive at the University of California, San Diego) are also represented. Web URLs have been cited when available and personal, and ethnic name indexes are provided.

The Oxford Handbook of Musical Repatriation is a significant edited volume that critically explores issues surrounding musical repatriation, chiefly of recordings from audiovisual archives. The Handbook provides a dynamic and richly layered collection of stories and critical questions for anyone engaged or interested in repatriation or archival work. Repatriation often is overtly guided by an ethical mandate to "return" something to where it belongs, by such means as working to provide reconnection and Indigenous control and access to cultural materials. Essential as these mandates can be, this remarkable volume reveals dimensions to repatriation beyond those which can be understood as simple acts of "giving back" or returning an archive to its "homeland." Musical repatriation can entail subjective negotiations involving living subjects, intangible elements of cultural heritage, and complex histories, situated in intersecting webs of power relations and manifold other contexts. The forty-eight expert authors of this book's thirty-eight chapters engage with multifaceted aspects of musical repatriation, situating it as a concept encompassing widely ranging modes of cultural work that can be both profoundly interdisciplinary and embedded at the core of ethnographic and historical scholarship. These authors explore a rich variety of these processes' many streams, making the volume a compelling space for critical analysis of musical repatriation and its wider significance. The Handbook presents these chapters in a way that offers numerous emergent perspectives, depending on one's chosen trajectory through the volume. From retracing the paths of archived collections to exploring memory, performance, research goals, institutional power, curation, preservation, pedagogy and method, media and transmission, digital rights and access, policy and privilege, intellectual property, ideology, and the evolving institutional norms that have marked the preservation and ownership of musical archives-The Oxford Handbook of Musical Repatriation addresses these key topics and more in a deep, richly detailed, and diverse exploration.

Music in the USA: A Documentary Companion charts a path through American music and musical life using as guides the words of composers, performers, writers and the rest of us ordinary folks who sing, dance, and listen. The anthology of primary sources contains about 160 selections from 1540 to 2000. Sometimes the sources are classics in the literature around American music, for example, the Preface to the Bay Psalm Book, excerpts from Slave Songs of the United States, and Charles Ives extolling Emerson. But many other selections offer uncommon sources, including a satirical story about a Yankee music teacher; various columns from 19th-century German American newspapers; the memoirs of a 19th-century diva; Lottie Joplin remembering her husband Scott; a little-known reflection of Copland about Stravinsky; an interview with Muddy Waters from the Chicago Defender; a letter from Woody Guthrie on the "spunkfire" attitude of a folk song; a press release from the Country Music Association; and the Congressional testimony around "Napster." "Sidebar" entries occasionally bring a topic or an idea into the present, acknowledging the extent to which revivals of many kinds of music play a role in American contemporary culture. This book focuses on the connections between theory and practice to enrich our understanding of the diversity of American musical experiences. Designed especially to accompany college courses which survey American music as a whole, the book is also relevant to courses in American history and American Studies.