Philip V. Bohlman's impact on the scope and meaning of ethnomusicology is difficult to overstate. His influence is manifest not only in his numerous publications, his service to the discipline, and his presence at institutions and gatherings across the globe, but also in the work of his students. This volume, featuring essays written by his students and peers, honors his enormous contributions to the discipline by focusing on three analytic lenses through which Bohlman's work has excavated the complexities of encounter - ethics, memory, and performance. The essays engaging ethics treat topics including scholarship as activism, the power/politics of knowledge, and the ethics of musical practice and performance. Memory is explored through essays exploring issues related to modernity, commemoration, the nation, and historiography. The essays concerned with performance interrogate historical, symbolic, and experiential aspects of musical performance and wrestle with the enduring questions of belonging that often accompany such performances. Throughout, it is clear that each contribution draws inspiration and methodological strength from the authors' formative encounters with Bohlman's body of work. Timothy Rommen is Professor of Music and Africana Studies at University of Pennsylvania. Philip V. Bohlman's impact on the scope and meaning of ethnomusicology is profound. This volume, featuring essays written by his students and peers, honors his enormous contributions to the discipline by focusing on the complexities of encounter. Part I: Ethics addresses scholarship as activism, the power/politics of knowledge, and the ethics of musical practice and performance. Part II: Memory examines commemoration, the nation, and historiography. Part III: Performance interrogates historical, symbolic, and experiential aspects of musical performance, wrestling with enduring questions of belonging.

Philip V. Bohlman's impact on the scope and meaning of ethnomusicology is difficult to overstate. His influence is manifest not only in his numerous publications, his service to the discipline, and his presence at institutions and gatherings across the globe, but also in the work of his students. This volume, featuring essays written by his students and peers, honors his enormous contributions to the discipline by focusing on three analytic lenses through which Bohlman's work has excavated the complexities of encounter - ethics, memory, and performance. The essays engaging ethics treat topics including scholarship as activism, the power/politics of knowledge, and the ethics of musical practice and performance. Memory is explored through essays exploring issues related to modernity, commemoration, the nation, and historiography. The essays concerned with performance interrogate historical, symbolic, and experiential aspects of musical performance and wrestle with the enduring questions of belonging that often accompany such performances. Throughout, it is clear that each contribution draws inspiration and methodological strength from the authors' formative encounters with Bohlman's body of work. Michael A. Figueroa is Associate Professor of Music at University of North Carolina at Chapel Hill. Jaime Jones is Associate Professor of Ethnomusicology at University College Dublin. Timothy Rommen is Professor of Music and Africana Studies at University of Pennsylvania. Philip V. Bohlman's impact on the scope and meaning of ethnomusicology is profound. This volume, featuring essays written by his students and peers, honors his enormous contributions to the discipline by focusing on the complexities of encounter. Part I: Ethics addresses scholarship as activism, the power/politics of knowledge, and the ethics of musical practice and performance. Part II: Memory examines commemoration, the nation, and historiography. Part III: Performance interrogates historical, symbolic, and experiential aspects of musical performance, wrestling with enduring questions of belonging. Michael A. Figueroa is Associate Professor of Music at University of North Carolina at Chapel Hill. Jaime Jones is Associate Professor of Ethnomusicology at University College Dublin. Timothy Rommen is Professor of Music and Africana Studies at University of Pennsylvania.

Designed as a tribute to Robert Garfias, who has conducted field work in more cultures than any other living ethnomusicologist, this volume explores the originating encounter in field work of ethnomusicologists with the musicians and musical traditions they study. The nineteen contributors provide case studies from nearly every corner of the world, including biographies of important musicians from the Philippines, Turkey, Lapland, and Korea; interviews with, and reports of learning from, musicians from Ireland, Bulgaria, Burma, and India; and analyses of how traditional musicians adapt to the encounter with modernity in Japan, India, China, Turkey, Afghanistan, Morocco, and the United States. The book also provides a window into the history of ethnomusicology since all the contributors have had a relationship with the University of Washington, home to one of the oldest programs in ethnomusicology in the United States. Inspired by the example of Robert Garfias, they are all indefatigable field researchers and among the leading authorities in the world on their particular musical cultures. The contributions illustrate the core similarities in their approach to the discipline of ethnomusicology and at the same time deal with a remarkably wide range of perspectives, themes, issues, and theoretical questions. Readers should find this collection of essays a fascinating, indeed surprising, glimpse into an important aspect of the history of ethnomusicology.

Music and Encounter at the Mediterranean Crossroads: A Sea of Voices explores the musical practices that circulate the Mediterranean Sea. Collectively, the authors relate this musical flow to broader transnational flows of people and power that generate complex encounters, bringing the diverse cultures of Europe, Africa, and the Middle East into new and challenging forms of contact. Individually, the chapters offer detailed ethnographic and historiographic studies of music’s multifaceted roles in such interactions. From collaborations between Moroccan migrant and Spanish Muslim convert musicians in Granada, to the incorporation of West African sonorities and Hasidic melodies in the musical liturgy of Abu Ghosh Abbey, Jerusalem, these communities sing, play, dance, listen, and record their diverse experiences of encounter at the Mediterranean crossroads.

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar's "Alright," J. Cole's "Be Free," D'Angelo and the Vanguard's "The Charade," The Game's "Don't Shoot," Janelle Monae's "Hell You Talmbout," Usher's "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In this collection of critical studies, contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world.

In this vivid musical ethnography, Timothy Rice documents and interprets the history of folk music, song, and dance in Bulgaria over a seventy-year period of dramatic change. From 1920 to 1989, Bulgaria changed from a nearly medieval village society to a Stalinist planned industrial economy to a chaotic mix of capitalist and socialist markets and cultures. In the context of this history, Rice brings Bulgarian folk music to life by focusing on the biography of the Varimezov family, including the musician Kostadin and his wife Todora, a singer. Combining interviews with his own experiences of learning how to play, sing and dance Bulgarian folk music, Rice presents one of the most detailed accounts of traditional, aural learning processes in the ethnomusicological literature. Using a combination of traditionally dichotomous musicological and ethnographic approaches, Rice tells the story of how individual musicians learned their tradition, how they lived it during the pre-Communist era of family farming, how the tradition changed with industrialization brought under Communism, and finally, how it flourished and evolved in the recent, unstable political climate. This work—complete with a compact disc and numerous illustrations and musical examples—contributes not only to ethnomusicological theory and method, but also to our understanding of Slavic folklore, Eastern European anthropology, and cultural processes in Socialist states.