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The chapters tie anti-colonial advocacy to the creation of spaces where creativity can flourish, show how creative applied ethnomusicology benefits communities, and address the creative pedagogies required to situate diverse musical cultures in the context of academia, while overcoming gaps in student and faculty understanding
List of contents
List of FiguresSeries ForewordAcknowledgementsNotes on ContributorsIntroduction / Brenda M. Romero and Jennifer LaRue
1. Embodiment as a Step Toward a De/Anti-Colonial Study of Music / Jennifer LaRue
2. Rethinking Japanese Music Ensemble / Jay Keister and Mami Itasaka Keister
3. Gamelan in the Mountain West: Our Stories / I Madé Lasmawan, Victoria Lindsay Levine, Elizabeth McLean Macy, and Ni Ketut Marni
4. "Where I'm From, Creativity Needs No Repositioning" / Putu Tangkas Adi Hiranmayena
5. Ethnomusicology as Interdiscipline: Bridging Gaps through Collaboration and Co-Mentorship / Jocelyn Nelson and Brenda M. Romero
6. Folk Performance as Indigenous Social Commentary: Stories from Karnataka, India, and Gilgit-Baltistan, Pakistan / Deepak Paramashivan and Amelia Maciszewski
Epilogue / Jennifer LaRue and Brenda M. Romero
Index
About the author
Jennifer LaRue served as postdoctoral scholar in musicology at Florida State University (2023-2025). Her research interests include intercultural music, African art music, popular music, and decolonial approaches to music in academia. She is Director of the consulting site, "Jennifer LaRue Writing."
Brenda M. Romero is a professor emerita at the University of Colorado Boulder. She holds a Ph.D. in ethnomusicology (University of California, Los Angeles) and BMus and MMus in music theory/composition (University of New Mexico). She is a recipient of the Fulbright García-Robles Scholar (2000-01) and Fulbright Colombia Scholar (Spring 2011). She coedited
Dancing across Borders: Danzas y bailes mexicanos and originated and coedited/coauthored
At the Crossroads of Music and Social Justice.
