Living the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular Music. By Jesse Weaver Shipley. Durham, NC: Duke University Press, 2013. [xiii, 344 p. ISBN 9780822353669. $24.95.] Illustrations, notes, bibliography, index.
Reviewed by Jesse D. Ruskin
Unfree Masters: Recording Artists and the Politics of Work. By Matt Stahl. Durham: Duke University Press, 2012. [xi, 312 p. ISBN 9780822353430. $22.46.] Bibliography, Index.
Reviewed by Whitney Slaten
Music, Culture, and Conflict in Mali: Music, Mausoleums, Ancient Manuscripts, Literature, Film, Theatre and Islamism in Mali by Andy Morgan. Copenhagen, Denmark: Freemuse, 2013.
Applied ethnomusicology is making inroads towards recognition as a valued contribution within professional organizations beside traditional academic research and/or teaching careers. Its embrace by some organizations is reflected by publication opportunities dedicated to the topic and by active branches of members with this shared interest.
Empire of Song: Europe and Nation in the Eurovision Song Contest. Edited by Dafni Tragaki. Lanham, Maryland: Scarecrow Press.[xiv, 321 p. ISBN 9780810888173. $85.] Bibliographical references, index.
Reviewed by Kristina Nielsen
Rhymin’ and Stealin’: Musical Borrowing in Hip-Hop. By Justin A. Williams. Ann Arbor: University of Michigan Press, 2013. [viii, 256 p. ISBN 978-0-472-11892-2 $65.]
Reviewed by Sarah Lappas
Music and Globalization: Critical Encounters. Edited by Bob W. White. Bloomington: Indiana University Press, 2012. [viii, 233 p. ISBN 9780253223654. ebook $20.00, cloth $70.00.] Bibliography, index, companion web site.
Reviewed by Logan Clark
Happy 2014, fellow ethnomusicologists! My name is Alex W. Rodriguez, and it is with great pleasure that I am stepping into the position of Editor In Chief for Volume 19 of Ethnomusicology Review, in our 30th year of publication.
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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 These postings are not peer reviewed and do not reflect the opinion of Ethnomusicology Review.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.
