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Selected Bibliography

  • Page ID
    172107

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    I list here the writings that have been of primary use in the writing of this book. Sources that do not appear here can be found in the endnotes, where those sources are cited in full.

    Abbott, Lynn, and Doug Seroff. Ragged but Right: Black Traveling Shows, “Coon Songs,” and the Dark Pathway to Blues and Jazz. Jackson: University Press of Mississippi, 2007.

    Agawu, V. Kofi. The African Imagination in Music. Oxford: Oxford University Press, 2016.

    Agawu, V. Kofi. Representing African Music: Postcolonial Notes, Queries, Positions. New York: Routledge, 2003.

    Ahiska, Meltem. “Occidentalism: The Historical Fantasy of the Modern.” South Atlantic Quarterly 102, no. 2/3 (Spring-Summer 2003): 351–79.

    Ahn, Jiwon. “Signifying Nations: Cultural Institutions and the Korean Community in Los Angeles.” In The Sons and Daughters of Los: Culture and Community in L.A., edited by David E. James, 153–73. Philadelphia: Temple University Press, 2003.

    American Folklife Center. Ethnic Recordings in America: A Neglected Heritage. Washington, DC: Library of Congress, 1982.

    Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. 1983. Rev. ed. New York: Verso, 1991.

    Anderson, Reynaldo, and Charles E. Jones, eds. Afrofuturism 2.0: The Rise of Astro-Blackness. Lanham, MD: Lexington Books, 2016.

    Andrejevic, Mark. “Surveillance in the Digital Enclosure.” Communication Review 10 (2007): 295–317.

    Appadurai, Arjun. “Disjuncture and Difference in the Global Cultural Economy.” Theory, Culture & Society 7 (1990): 295–310.

    Appadurai, Arjun. Fear of Small Numbers: An Essay on the Geography of Anger. Durham: Duke University Press, 2006.

    Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press, 1996.

    Appiah, Kwame Anthony. The Ethics of Identity. Princeton: Princeton University Press, 2005.

    Appiah, Kwame Anthony. “Whose Culture Is It, Anyway?” In Cultural Heritage Issues: The Legacy of Conquest, Colonization, and Commerce, edited by James A. R. Nafziger and Ann M. Nigorski, 209–21. Leiden: Martinus Nijhoff, 2010.

    Aracı, Emre. “The Life and Works of Ahmed Adnan Saygun.” PhD diss., University of Edinburgh, 1999.

    Page 280 →Aracı, Emre. “The Turkish Music Reform: From Late Ottoman Times to the Early Republic.” In Turkey’s Engagement with Modernity: Conflict and Change in the Twentieth Century, edited by Celia Kerslake, Kerem Öktem, and Philip Robins, 336–45. Basingstoke: Palgrave Macmillan, 2010.

    Askew, Kelly M. Performing the Nation: Swahili Music and Cultural Politics in Tanzania. Chicago: University of Chicago Press, 2002.

    Baldwin, Kate. Beyond the Color Line and the Iron Curtain. Durham: Duke University Press, 2002.

    Banting, Keith, and Will Kymlicka, eds. The Strains of Commitment: The Political Sources of Solidarity in Diverse Societies. Oxford: Oxford University Press, 2017.

    Baraka, Amiri. Black Music. New York: Apollo, 1968.

    Baraka, Amiri, and Amina Baraka. The Music: Reflections on Jazz and Blues. New York: William Morrow, 1987.

    Barretto, Saulo Faria Almeida, Renata Piazalunga, Dalton Martins, Claudio Prado, and Célio Turino. “Digital Culture and Sharing: Theory and Practice of a Brazilian Cultural Public Policy.” In Information Resources Management: Global Challenges, edited by Wai K. Law, 146–60. Hershey, PA: Idea Group, 2007.

    BBC Wales, NJN Public Television, and NVC Arts. Speak of Me as I Am: The Rise and Fall of an American Legend. 1998. DVD: Kultur, 2007.

    Beardslee, Thomas. “Questioning Safeguarding: Heritage and Capabilities at the Jemaa el Fnaa.” PhD diss., Ohio State University, 2014.

    Bellman, Jonathan. Introduction to The Exotic in Western Music, edited by Jonathan Bellman, ix–xiii. Boston: Northeastern University Press, 1998.

    Bellman, Jonathan. The Style Hongrois in the Music of Western Europe. Boston: Northeastern University Press, 1993.

    Belmonte, Laura. Selling the American Way: U.S. Propaganda and the Cold War. Philadelphia: University of Pennsylvania Press, 2008.

    Benhabib, Seyla. The Claims of Culture: Equality and Diversity in the Global Era. Princeton: Princeton University Press, 2002.

    Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” In Illuminations, edited by Hannah Arendt, translated by Harry Zohn, 217–52. New York: Schocken, 1968.

    Berman, Stephen. “Gypsies: A National Group or a Social Group?” Refugee Survey Quarterly 13, no. 4 (Dec. 1994): 51–61.

    Bhabha, Homi. The Location of Culture. New York: Routledge, 1994.

    Bhabha, Jacqueline, Andrzej Mirga, and Margareta Matache, eds. Realizing Roma Rights. Philadelphia: University of Pennsylvania Press, 2017.

    Bindé, Jérôme, ed. Keys to the 21st Century. New York: Berghahn, 2001.

    Bishop, Jack. “Building International Empires of Sound: Concentrations of Power and Property in the ‘Global’ Music Market.” Popular Music and Society 28, no. 4 (2005): 443–71.

    Bishop, John Fredrick. “Who Are the Pirates? Power Relationships in a Globalized Music Market, Ethnomusicological Perspectives.” PhD diss., University of California, Los Angeles, 2005.

    Page 281 →Bloechl, Olivia, Melanie Lowe, and Jeffrey Kallberg, eds. Rethinking Difference in Music Scholarship. New York: Cambridge University Press, 2015.

    Blum, Stephen. “Music in an Age of Cultural Confrontation.” In Kartomi and Blum, Music-Cultures in Contact, 250–77.

    Bohlman, Philip V. World Music: A Very Short Introduction. New York: Oxford University Press, 2002.

    Bonnette, Lakeyta M. Pulse of the People: Political Rap Music and Black Politics. Philadelphia: University of Pennsylvania Press, 2015.

    Born, Georgina, and David Hesmondhalgh, eds. Western Music and Its Others. Berkeley: University of California Press, 2000.

    Brown, Julie, ed. Western Music and Race. Cambridge: Cambridge University Press, 2007.

    Buchanan, Donna A. Performing Democracy: Bulgarian Music and Musicians in Transition. Chicago: University of Chicago Press, 2006.

    Burbank, Jane, and Frederick Cooper. Empires in World History: Power and the Politics of Difference. Princeton: Princeton University Press, 2010.

    Calhoun, Craig. “Imagining Solidarity: Cosmopolitanism, Constitutional Patriotism, and the Public Sphere.” Public Culture 14, no. 1 (Winter 2002): 147–71.

    Campbell, Jennifer L. “Creating Something Out of Nothing: The Office of Inter-American Affairs Music Committee (1940–1941) and the Inception of a Policy for Musical Diplomacy.” Diplomatic History 36, no. 1 (Jan. 2012): 29–39.

    Canclini, Nestór García. Hybrid Cultures: Strategies for Entering and Leaving Modernity. Translated by Christopher L. Chiappari and Silvia L. López. Minneapolis: University of Minnesota Press, 1995.

    Cantillon, Sinéad. “Property for Free? An Analysis of Music and Copyright in the Digital Age.” Hibernian Law Journal 11 (2012): 35–62.

    Carter, Marva Griffin. “The ‘New Negro’ Choral Legacy of Hall Johnson.” In Chorus and Community, edited by Karen Ahlquist, 185–201. Urbana: University of Illinois Press, 2006.

    Castillo, Greg. “Peoples at an Exhibition: Soviet Architecture and the National Question.” In Socialist Realism without Shores, edited by Thomas Lahusen and Evgeny Dobrenko, 91–119. Durham: Duke University Press, 1997.

    Chakrabarty, Dipesh. “The Legacies of Bandung: Decolonization and the Politics of Culture.” In Making a World after Empire: The Bandung Moment and Its Political Afterlives, edited by Christopher J. Lee, 45–68. Athens: Ohio University Press, 2010.

    Chang, Hyun Kyong (Hannah). “Musical Encounters in Korean Christianity: A Trans-Pacific Narrative.” PhD diss., University of California, Los Angeles, 2014.

    Craig, Dale A. “Transcendental World Music.” Asian Music 2, no. 1 (1971): 2–7.

    Cusick, Suzanne G. “‘You Are in a Place That Is Out of the World . . .’: Music in the Detention Camps of the ‘Global War on Terror.’” Journal of the Society for American Music 2, no. 1 (2008): 1–26.

    Da Lage-Py, Emilie. “Les collections de disques de musiques du monde entre patrimonialisation et marchandisation.” Culture & musées, no. 1 (2003): 89–107.

    Davis, Connie C. “Copyright and Antitrust: The Effects of the Digital Performance Rights Page 282 →in Sound Recordings Act of 1995 in Foreign Markets.” Federal Communications Law Journal 52, no. 2, article 6 (2000): 411–27.

    Davis, Glenton. “When Copyright Is Not Enough: Deconstructing Why, as the Modern Music Industry Takes, Musicians Continue to Make.” Chicago-Kent Journal of Intellectual Property 16, no. 2 (21 June 2017): 373–407.

    de Kloet, Jeroen. China with a Cut: Globalisation, Urban Youth and Popular Music. Amsterdam: Amsterdam University Press, 2010.

    de Kloet, Jeroen. “Popular Music and Youth in Urban China: The Dakou Generation.” China Quarterly 183 (Sept. 2005): 609–26.

    de Marchi, Leonardo. “Structural Transformations of the Music Industry in Brazil, 1999–2009.” In Made in Brazil: Studies in Popular Music, edited by Martha Tupinambá de Ulhôa, Cláudia Azevedo, and Felipe Trotta, 173–86. New York: Routledge, 2015.

    de Zengotita, Thomas. Mediated: How the Media Shapes Your World and the Way You Live in It. New York: Bloomsbury, 2005.

    Dibia, I Wayan. Kecak: The Vocal Chant of Bali. Denpasar, Indonesia: Hartanto Art Books Studio, 1996.

    Drew, Rob. “New Technologies and the Business of Music: Lessons from the 1980s Home Taping Hearings.” Popular Music and Society 37, no. 3 (2014): 253–72.

    Drott, Eric. “Music as a Technology of Surveillance.” Journal of the Society for American Music 12, no. 3 (August 2018): 233–67.

    Drott, Eric. “Why the Next Song Matters: Streaming, Recommendation, Scarcity.” Twentieth-Century Music 15, no. 3 (2018): 325–57.

    Dutton, William H., ed. The Oxford Handbook of Internet Studies. Oxford: Oxford University Press, 2013.

    Eltis, David, ed. Trans-Atlantic Slave Trade Database. www.slavevoyages.org

    Elton, Serona. “A Survey of Graduated Response Programs to Combat Online Piracy.” MEIEA Journal 14, no. 1 (2014): 89–122.

    Eppstein, Ury. The Beginnings of Western Music in Meiji Era Japan. Lewiston, NY: Edward Mellen Press, 1994.

    Epstein, Dena. “African Music in British and French America.” Musical Quarterly 59, no. 1 (1973): 61–91.

    Epstein, Dena. Sinful Tunes and Spirituals: Black Folk Music to the Civil War. Urbana: University of Illinois Press, 1977.

    Erlmann, Veit. “‘Africa Civilised, Africa Uncivilised’: Local Culture, World System, and South African Music.” Journal of Southern African Studies 20, no. 2 (June 1994): 165–79.

    Erlmann, Veit. “Notes on World Beat.” Public Culture Bulletin 1, no. 1 (Fall 1988): 31–37.

    Erol, Ayhan. “Music, Power and Symbolic Violence: The Turkish State’s Music Policies during the Early Republican Period.” European Journal of Cultural Studies 15, no. 1 (2015): 138–61.

    Everett, Yayoi Uno, and Frederick Lau, eds. Locating East Asia in Western Art Music. Middletown, CT: Wesleyan University Press, 2004.

    Eversley, Shelley. The Real Negro: The Question of Authenticity in Twentieth-Century African American Literature. London: Routledge, 2004.

    Fanon, Frantz. Toward the African Revolution. Translated by Haakon Chevalier. New York: Grove Press, 1967.

    Page 283 →Fauser, Annegret. “New Media, Source-Bonding, and Alienation: Listening at the 1889 Exposition Universelle.” In French Music, Culture, and National Identity, 1870–1939, edited by Barbara L. Kelly, 40–57. Rochester, NY: University of Rochester Press, 2008.

    Fay, Laurel. Shostakovich: A Life. New York: Oxford University Press, 2000.

    Felgata, Raja, and Margo de Haas. Soultana Raps for Change in Morocco. YouTube, Dec. 20, 2013. www.youtube.com/watch?v=QTjM8wQ64nM

    Fernandes, Sujatha. Close to the Edge: In Search of the Global Hip Hop Generation. London: Verso, 2011.

    Finger, J. Michael, and Philip Schuler, eds. Poor People’s Knowledge: Promoting Intellectual Property in Developing Countries. Washington, DC: World Bank and Oxford University Press, 2004.

    Fosler-Lussier, Danielle. Music Divided: Bartók’s Legacy in Cold War Culture. Berkeley: University of California Press, 2007.

    Fosler-Lussier, Danielle. Music in America’s Cold War Diplomacy. Oakland: University of California Press, 2015.

    Fosler-Lussier, Danielle. “Music Pushed, Music Pulled: Cultural Diplomacy, Globalization, and Imperialism.” Diplomatic History 36, no. 1 (2012): 53–64.

    Fox, Aaron. “Repatriation as Reanimation through Reciprocity.” In The Cambridge History of World Music, edited by Philip V. Bohlman, 522–54. Cambridge: Cambridge University Press, 2013.

    Freeman, Graham. “‘It Wants All the Creases Ironing Out’: Percy Grainger, the Folk Song Society, and the Ideology of the Archive.” Music and Letters 92, no. 3 (2011): 410–36.

    Freeman, Graham. “‘That Chief Undercurrent of My Mind’: Percy Grainger and the Aesthetics of English Folk Song.” Folk Music Journal 9, no. 4 (2009): 581–617.

    Friedman, Jonathan C., ed. The Routledge History of Social Protest in Popular Music. New York: Routledge, 2013.

    Frolova-Walker, Marina. “‘National in Form, Socialist in Content’: Musical Nation-Building in the Soviet Republics.” Journal of the American Musicological Society 51, no. 2 (1998): 331–71.

    Fung, Anthony. “Deliberating Fandom and the New Wave of Chinese Pop: A Case Study of Chris Li.” Popular Music 32, no. 1 (Jan. 2013): 79–89.

    Fung, Anthony Y. H. “The Emerging (National) Popular Music Culture in China.” Inter-Asia Cultural Studies 8, no. 3 (2007): 425–37.

    Galliano, Luciana. Yōgaku: Japanese Music in the Twentieth Century. Translated by Martin Mayes. Lanham, MD: Scarecrow, 2002.

    Gaonkar, Dilip Parameshwar. “Toward New Imaginaries: An Introduction.” Public Culture 14, no. 1 (Winter 2002): 1–19.

    Garcia, Luis-Manuel. “‘Can You Feel It, Too?’: Intimacy and Affect at Electronic Dance Music Events in Paris, Chicago, and Berlin.” PhD diss., University of Chicago, 2011.

    Garcia, Luis-Manuel. “On and On: Repetition as Process and Pleasure in Electronic Dance Music.” Music Theory Online 11, no. 4 (Oct. 2005): www.mtosmt.org/issues/mto.05.11.4/mto.05.11.4.garcia.pdf

    Garcia-Solek, Helene. “Sampling as Political Practice: Gilberto Gil’s Cultural Policy in Brazil and the Right to Culture in the Digital Age.” Volume! 11, no. 1 (2015): 51–63.

    Page 284 →Gates, Henry Louis. “Editor’s Introduction: Writing ‘Race’ and the Difference It Makes.” Critical Inquiry 12, no. 1 (Autumn 1985): 1–20.

    Gilliam, Dorothy Butler. Paul Robeson: All-American. Washington, DC: New Republic, 1976.

    Gilman, Lisa. The Dance of Politics: Gender, Performance, and Democratization in Malawi. Philadelphia: Temple University Press, 2009.

    Gilman, Lisa. My Music, My War: The Listening Habits of U.S. Troops in Iraq and Afghanistan. Middletown, CT: Wesleyan University Press, 2016.

    Goldschmitt, K. E. “From Rio to São Paulo: Shifting Urban Landscapes and Global Strategies for Brazilian Music.” In Sounds and the City, vol. 2, edited by Brett Lashua, Stephen Wagg, Karl Spracklen, and M. Selim Yavuz, 103–22. London: Palgrave Macmillan, 2019.

    Gooley, Dana. The Virtuoso Liszt. Cambridge: Cambridge University Press, 2004.

    Gopinath, Sumanth. “Contraband Children: The Politics of Race and Liberation in the Music of Steve Reich.” PhD diss., Yale University, 2005.

    Gopinath, Sumanth, and Jason Stanyek, eds. The Oxford Handbook of Mobile Music Studies. Vol. 1. New York: Oxford University Press, 2014.

    Graham, Sandra Jean. Spirituals and the Birth of a Black Entertainment Industry. Champaign-Urbana: University of Illinois Press, 2017.

    Grainger, Percy. “Collecting with the Phonograph.” Journal of the Folk-Song Society 3, no. 12 (May 1908): 147–62.

    Gray, Briahna Joy. “The Question of Cultural Appropriation.” Current Affairs, 6 Sept. 2017, www.currentaffairs.org/2017/09/the-question-of-cultural-appropriation

    Green, Emily H., and Catherine Mayes, eds. Consuming Music: Individuals, Institutions, Communities, 1730–1830. Rochester, NY: University of Rochester Press, 2017.

    Greenblatt, Stephen, ed. Cultural Mobility: A Manifesto. New York: Cambridge University Press, 2010.

    Hall, Stuart. “Race: The Floating Signifier.” Transcript. Media Education Foundation, https://shop.mediaed.org/race-the-floating-signifier-p173.aspx

    Hall, Stuart, Jessica Evans, and Sean Nixon, eds. Representation: Cultural Representations and Signifying Practices. Milton Keynes: Open University, 1997.

    Harrison, Anthony Kwame. “Post-Colonial Consciousness, Knowledge Production, and Identity Inscription within Filipino American Hip Hop Music.” Perfect Beat 13, no. 1 (2012): 29–48.

    Harvey, David. “Time-Space Compression and the Postmodern Condition.” In Held and McGrew, The Global Transformations Reader, 82–91.

    Harvey, Penelope. Hybrids of Modernity: Anthropology, the Nation-State, and the Universal Exhibition. London: Routledge, 1996.

    Head, Matthew. “Haydn’s Exoticisms: Difference and the Enlightenment.” In The Cambridge Companion to Haydn, edited by Caryl Clark, 77–92. Cambridge: Cambridge University Press, 2011.

    Helbig, Adriana. “‘Play for Me, Old Gypsy’: Music as Political Resource in the Roma Rights Movement in Ukraine.” PhD diss., Columbia University, 2005.

    Held, David, and Anthony McGrew, eds. The Global Transformations Reader. Cambridge: Polity Press, 2000.

    Page 285 →Hess, Carol. Representing the Good Neighbor: Music, Difference, and the Pan-American Dream. New York: Oxford University Press, 2013.

    Hesselink, Nathan. P’ungmul: South Korean Drumming and Dance. Chicago: University of Chicago Press, 2006.

    Hilder, Thomas R. “Repatriation, Revival and Transmission: The Politics of a Sámi Musical Heritage.” Ethnomusicology Forum 21, no. 2 (August 2012): 161–79.

    Hobsbawm, Eric, and Terence Ranger, eds. The Invention of Tradition. Cambridge: Cambridge University Press, 1983.

    Hooker, Lynn M. “Dancing on the Edge of a Volcano: East European Roma Performers Respond to Social Transformation.” Hungarian Studies 25, no. 2 (2011): 287–302.

    Hooker, Lynn M. Redefining Hungarian Music from Liszt to Bartók. New York: Oxford University Press, 2013.

    Hooker, Lynn M. “Turks, Hungarians, and Gypsies on Stage: Exoticism and Auto-Exoticism in Opera and Operetta.” Hungarian Studies 27, no. 2 (2013): 291–311.

    Horne, Gerald. Paul Robeson: The Artist as Revolutionary. London: Pluto Press, 2016.

    Howard-Spink, Samuel. “The Political Economy of Music Networks and Glocal Hybrid Social Imaginaries: A Comparative Study of the United States, Canada, and Brazil.” PhD diss., New York University, 2012.

    Huang, Hao. “Voices from Chinese Rock, Past and Present Tense: Social Commentary and Construction of Identity in Yaogun Yinyue, from Tiananmen to the Present.” Popular Music and Society 26, no. 2 (2003): 183–202.

    Hurston, Zora Neale. The Sanctified Church. Berkeley, CA: Turtle Island, 1981.

    Hwang, Okon. Western Art Music in South Korea: Everyday Experience and Cultural Critique. Saarbrücken: VDM, 2009.

    Imre, Anikó. “Roma Music and Transnational Homelessness.” Third Text 22, no. 3 (May 2008): 325–36.

    Johnsen, Andreas, Ralf Christensen, and Henrik Moltke. Good Copy, Bad Copy. Copenhagen: Rosforth Films, 2007.

    Jones, Andrew F. Like a Knife: Ideology and Genre in Contemporary Chinese Music. Ithaca: Cornell University East Asia Program, 1992.

    Jones, Geoffrey. “The Gramophone Company: An Anglo-American Multinational.” Business History Review 59, no. 1 (Spring 1985): 76–100.

    Jones, LeRoi [Amiri Baraka]. Blues People: Negro Music in White America. New York: William Morrow, 1963.

    Jones, Richard. “Technology and the Cultural Appropriation of Music.” International Review of Law, Computers & Technology 23, no. 1–2 (March–July 2009): 109–22.

    Kartomi, Margaret J., and Stephen Blum, eds. Music-Cultures in Contact: Convergences and Collisions. Basel, CH: Gordon and Breach, 1994.

    Kassabian, Anahid. “Would You Like Some World Music with Your Latte? Starbucks, Putumayo, and Distributed Tourism.” Twentieth-Century Music 1, no. 2 (Sept. 2004): 209–23.

    Katz, Mark. Build: The Power of Hip Hop Diplomacy in a Divided World. New York: Oxford University Press, 2019.

    Katz, Mark. Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press, 2004.

    Page 286 →Katz, Mark. “The Case for Hip-Hop Diplomacy.” American Music Review 46, no. 2 (Spring 2017): 1–5, www.brooklyn.cuny.edu/web/aca_centers_hitchcock/AMR_46-2_Katz.pdf

    Katz, Mark. Groove Music: The Art and Culture of the Hip Hop DJ. New York: Oxford University Press, 2012.

    Keil, Charles. “Participatory Discrepancies and the Power of Music.” Cultural Anthropology 2, no. 3 (August 1987): 275–83.

    Kelly, John D., and Martha Kaplan. Represented Communities: Fiji and World Decolonization. Chicago: University of Chicago Press, 2001.

    Kim, Soo-Jin. “Diasporic P’ungmul in the United States: A Journey between Korea and the United States.” PhD diss., Ohio State University, 2011.

    Kirshenblatt-Gimblett, Barbara. Destination Culture: Tourism, Museums, and Heritage. Berkeley: University of California Press, 1988.

    Kirshenblatt-Gimblett, Barbara. “Intangible Heritage as Metacultural Production.” Museum International 56, no. 1–2 (2004): 52–65.

    Kirshenblatt-Gimblett, Barbara. “Theorizing Heritage.” Ethnomusicology 39, no. 3 (Autumn 1995): 367–79.

    Klein, Christina. Cold War Orientalism: Asia in the Middlebrow Imagination, 1945–1961. Berkeley: University of California Press, 2003.

    Komiya, Toyotaka, ed. Japanese Music and Drama in the Meiji Era. Translated and adapted by Edward G. Seidensticker and Donald Keene. Tokyo: Ōbunsha, 1956.

    Kotler, Philip, and David Gertner. “Country as Brand, Product, and Beyond: A Place Marketing and Brand Management Perspective.” Brand Management 4, no. 5 (2002): 249–61.

    Kovalcsik, Katalin. “The Music of the Roma in Hungary.” Rombase, Sept. 2003, 1–10. http://rombase.uni-graz.at/cd/data/music/countries/data/hungary.en.pdf

    Koymen, Erol. “A Musical Minefield: Composing the Turkish Nation-State.” Paper delivered at the Joint Conference of the AMS-Southwest Chapter & SEM-Southern Plains Chapters. http://ams-sw.org/Proceedings/AMS-SW_V3Spring2014Koymen.pdf

    Kroes, Rob. “American Empire and Cultural Imperialism: A View from the Receiving End.” Diplomatic History 23, no. 3 (1999): 463–77.

    Kubik, Gerhard. Africa and the Blues. Jackson: University Press of Mississippi, 1999.

    Kunej, Drago. “Intertwinement of Croatian and Slovenian Musical Heritage on the Oldest Gramophone Records.” Croatian Journal of Ethnology and Folklore Research 51, no. 1 (2014): 131–53.

    Kunej, Drago, and Rebeka Kunej. Music from Both Sides: Gramophone Records Made by Matija Arko and the Hoyer Trio. Ljubljana: Založba ZRC, 2017.

    Kwon, Donna Lee. Music in Korea: Experiencing Music, Expressing Culture. New York: Oxford University Press, 2012.

    Lancefield, Robert C. “Musical Traces’ Retraceable Paths: The Repatriation of Recorded Sound.” Journal of Folklore Research 35, no. 1 (Jan.–April 1998): 47–68.

    Lee, Byong Won, and Yong-Shik Lee, eds. Music of Korea. Seoul: National Center for Korean Traditional Performing Arts, 2007.

    Lee, Katherine In-Young. “The Drumming of Dissent during South Korea’s Democratization Movement.” Ethnomusicology 56, no. 2 (Spring/Summer 2012): 179–205.

    Page 287 →Lee, Katherine In-Young. Dynamic Korea and Rhythmic Form. Middletown, CT: Wesleyan University Press, 2018.

    Legman, Gershon. “Who Owns Folklore?” Western Folklore 21, no. 1 (Jan. 1962): 1–12.

    Lemon, Alaina. Between Two Fires: Gypsy Performance and Romani Memory from Pushkin to Post-Socialism. Durham: Duke University Press, 2000.

    Lewis, George E. “Foreword: After Afrofuturism.” Journal of the Society for American Music 2, no. 2 (2008): 139–53.

    Lim, Louisa. The People’s Republic of Amnesia: Tiananmen Revisited. New York: Oxford University Press, 2014.

    Locke, Ralph. Musical Exoticism: Images and Reflections. Cambridge: Cambridge University Press, 2009.

    MacLachlan, Heather. Burma’s Pop Music Industry: Creators, Distributors, Censors. Rochester, NY: University of Rochester Press, 2011.

    Madrid, Alejandro. Nor-tec Rifa! Electronic Dance Music from Tijuana to the World. New York: Oxford University Press, 2008.

    Madrid, Alejandro L., ed. Transnational Encounters: Music and Performance at the U.S.-Mexico Border. New York: Oxford University Press, 2011.

    Mahler, Anne Garland. “The Global South in the Belly of the Beast: Viewing African American Civil Rights through a Tricontinental Lens.” Latin American Research Review 50, no. 1 (2015): 95–116.

    Malm, William. “Modern Music of Meiji Japan.” In Tradition and Modernization in Japanese Culture, edited by Donald H. Shively, 259–65. Princeton: Princeton University Press, 2015.

    Maultsby, Portia K., and Mellonee V. Burnim, eds. Issues in African American Music: Power, Gender, Race, Representation. London: Routledge, 2017.

    May, Christopher. The World Intellectual Property Organization: Resurgence and the Development Agenda. New York: Routledge, 2007.

    Mayes, Catherine. “Turkish and Hungarian-Gypsy Styles.” In The Oxford Handbook of Topic Theory, edited by Danuta Mirka, 214–37. New York: Oxford University Press, 2014.

    McConnell, Lauren. “Understanding Paul Robeson’s Soviet Experience.” Theatre History Studies 30 (2010): 139–53.

    McCormick, Lisa. Performing Civility: International Competitions in Classical Music. Cambridge: Cambridge University Press, 2015.

    McGinley, Paige A. Staging the Blues: From Tent Shows to Tourism. Durham: Duke University Press, 2014.

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