Dilla Time: The Life and Afterlife of J Dilla, the Hip-Hop Producer who Reinvented Rhythm. By Dan Charnas. New York: Farrar, Strauss and Giroux. 2022.
Reviewed by Aisha Gallion
Submitted by HHSWG on May 5, 2021 - 6:48am
Hearing the Crimean War: Wartime Sound and the Unmaking of Sense. Ed. by Gavin Williams. New York: Oxford University Press, 2019. li, 268. Bibliography. Index. $41.95, paper.
24 Bars to Kill: Hip Hop, Aspiration, and Japan’s Social Margins. By Andrew B. Armstrong. New York: Berghahn Books, 2019. 193pp. ISBN: 9781789202670
Reviewed by Anthony Bak Buccitelli
Submitted by Super User on October 5, 2020 - 2:00am
Savage (2019) paints a devastating portrait of the music industry’s current state. In the United States, record sales have dropped about 80% in the last decade: from 450 to 89 million, and its plight continues. From 2017 to 2018, worldwide record sales percentage plummeted an additional 23%. At the latest Grammy Awards, two of the nominees for best album never had a physical release.
Singing Ideas: Performance, Politics, and Oral Poetry. By Tríona Ní Shíocháin. New York: Berghahn Books, 2017. 214 pp. ISBN: 9781785337673
Reviewed by Emily Hynes
Sound-Politics in São Paulo. By Leonardo Cardoso. Oxford: Oxford University Press, 2019. 247 pp. ISBN: 9780190660109
When UCLA announced on March 13 that we would transition to remote instruction for the entirety of spring quarter, I had to quickly reconceptualize my graduate seminar. Like so many other instructors at my institution and elsewhere, I needed a crash course in the mechanics of online teaching.
Ethnomusicology Review is now accepting submissions for Volume 23, scheduled for publication in Fall 2020. Started as Pacific Review of Ethnomusicology (PRE) in 1984, Ethnomusicology Review is an annual peer-reviewed journal managed by UCLA graduate students and a faculty advisory board.
As the managing editor of the Sounding Board, I would like to say: happy new year! We are excited to continue to provide a platform for a variety of voices from throughout the world of ethnomusicology in 2020. Over the last few months, we've gone through a few staff changes, and so the new editorial team is listed below.
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"Sounding Board" is intended as a space for scholars to publish thoughts and observations about their current work. These postings are not peer reviewed and do not reflect the opinion of Ethnomusicology Review. We support the expression of controversial opinions, and welcome civil discussion about them. We do not, however, tolerate overt discrimination based on race, sex, gender, sexual orientation, or religion, and reserve the right to remove posts that we feel might offend our readers.
