This is an edited volume of music histories of peoples, places, and institutions that refuses to shy away from the geopolitical realities of a global musicology. With an ironic undertone to the elsewhere in the book s title, the volume s contributors grapple with the ethical and democratizing potentials of musicology s recent global turn. The book s primary objective is to center perspectives from outside the Euro-American mainstream to create a material difference to the frequent scarcity of non-Western scholarship in the Euro-American conception and practice of music studies. By bringing together a small group of scholars work in a more readily available space given by a sizable Anglo-American publisher, the book aims to enable more multidirectional exchanges and connections to take place in the future.
1. Introduction.- Part 1: Patchworking Theory.- 2. Beyond Self-Exoticism: How to Situate Latin America in a Global History of Music.- 3. Toward a Musicological Suturing: A Non-Central Perspective on Global Music History and Global Musicology.- 4. A Universe of Sounds: Lessons in Listening from the Field in Bengal .- Part 2: Disciplines and Institutions.- 5. Half a Century of Musicology in Tunisia: A Prosopographical Study.- 6. Writing and Rewriting Music Histories: Nationalist Ideology in Communist Romania.- 7. Singing the Rainbow Nation: Opera as Transformative Art in Post-Apartheid South Africa.- Part 3: Colonial Entanglements.- 8. Becoming to Being Filipino in the Press: Acts of Visuality and Aurality Toward Identity and Nation in the Music of Manila 1860 1940.- 9. Music in Brazil or Brazilian Music? Reflections on the Musical Construction of Nationalism in Brazil during the First Republic (1889 1934).- 10. Global Vaporwave, Globalized Japan .
Amanda Hsieh is Assistant Professor of Musicology at Durham University (UK).
Vera Wolkowicz is Lecturer in Musicology at the University of Glasgow (UK).
