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Community Music Therapy (PDF)

Music therapists from around the world working in conventional and unconventional settings have offered their contributions to this exciting new book, presenting spirited discussion and practical examples of the ways music therapy can reflect and encourage social change. From working with traumatized refugees in Berlin, care-workers and HIV/AIDS orphans in South Africa, to adults with neurological disabilities in south-east England and children in paediatric hospitals in Norway, the contributors present their global perspectives on finding new ways forward in music therapy. Reflecting on traditional approaches in addition to these newer practices, the writers offer fresh perceptions on their identity and role as music therapists, their assumptions and attitudes about how music, people and context interact, the sites and boundaries to their work, and the new possibilities for music therapy in the 21st century. As the first book on the emerging area of Community Music Therapy, this book should be an essential and exciting read for music therapists, specialists and community musicians.

Stand and Deliver: My Autobiography

One of the most successful pop stars of the 80s, his face adorning posters on teenager's walls from Acton to Akron, Adam Ant was a phenomenon. Now in this frank and revealing autobiography, he tells the full story of his amazing life from his dysfunctional childhood to his key role in the punk movement and creation of a unique musical style that brought him a string of hits (both singles and albums). At one point he was so famous other stars sought his company and advice - even Michael Jackson called in the dead of night to ask about music and clothes. His many girlfriends included Jamie Lee Curtis and Heather Graham and for a time he lived in LA, acting in fifteen films. Adam also writes honestly about his life-long battle with manic depression. His first episodes were triggered by the stress of living with a violent, alcoholic father, and he tried to commit suicide when he was at art school. A gruelling episode with a stalker in LA precipitated a mental breakdown, and a stalker in London led to his well-publicised arrest and hospitalization in 2001. At times funny and at other times tragic, this is gripping account of the turbulent life and times of one of music's most fascinating figures. 'A whirlwind story of sex, drugs, rock 'n' roll, suicide attempts and deranged stalkers' Time Out 'With plenty of lessons to be learned about fame's downside, [this] is an intriguing tale, well and honestly told' Q Magazine

The Oxford Handbook of Dance and Ethnicity (Oxford Handbooks)

Dance intersects with ethnicity in a powerful variety of ways and at a broad set of venues. Dance practices and attitudes about ethnicity have sometimes been the source of outright discord, as when African Americans were - and sometimes still are - told that their bodies are 'not right' for ballet, when Anglo Americans painted their faces black to perform in minstrel shows, when 19th century Christian missionaries banned the performance of particular native dance traditions throughout much of Polynesia, and when the Spanish conquistadors and church officials banned sacred Aztec dance rituals. More recently, dance performances became a locus of ethnic disunity in the former Yugoslavia as the Serbs of Bosnia attended dance concerts but only applauded for the Serbian dances, presaging the violent disintegration of that failed state. The Oxford Handbook of Dance and Ethnicity brings together scholars from across the globe in an investigation of what it means to define oneself in an ethnic category and how this category is performed and represented by dance as an ethnicity. Newly-commissioned for the volume, the chapters of the book place a reflective lens on dance and its context to examine the role of dance as performed embodiment of the historical moments and associated lived identities. In bringing modern dance and ballet into the conversation alongside forms more often considered ethnic, the chapters ask the reader to contemplate previous categories of folk, ethnic, classical, and modern. From this standpoint, the book considers how dance maintains, challenges, resists or in some cases evolves new forms of identity based on prior categories. Ultimately, the goal of the book is to acknowledge the depth of research that has been undertaken and to promote continued research and conceptualization of dance and its role in the creation of ethnicity. Dance and ethnicity is an increasingly active area of scholarly inquiry in dance studies and ethnomusicology alike and the need is great for serious scholarship to shape the contours of these debates. The Oxford Handbook of Dance and Ethnicity provides an authoritative and up-to-date survey of original research from leading experts which will set the tone for future scholarly conversation.

Class of '88: Find the warehouse. Lose the hitmen. Pump the beats.

Organised crime puts on a smiley face.When the Summer of Love hit Britain in ’88, Wayne embraced the bright new world of dance music, MDMA and all-night celebrations. But alongside the ecstasy, his natural East End entrepreneurial instincts kicked in, and he began to organise the infamous Genesis dance parties for thousands of kids. Wayne soon became a key figure in the high octane, technicolour rave scene. But beneath the shiny, smiley surfaces, he quickly found himself in a vicious world of violence, police harassment and organised crime, for which he was totally unsuited and unprepared. He was beaten by ex-paratroopers, menaced by gangsters, kidnapped, confronted with sawn off shotguns and threatened with murder, all so Britain could party like never before.When Class of ’88 was first published, it was so popular that Foyles dedicated an entire window to the book for a month. Now, re-issued for the 30th anniversary, this is Wayne’s very lively, highly individual account of the two years he spent as an illegal party promoter, leading the rave revolution which was sweeping the UK, changing lives, music and popular culture forever.

Rethinking Music through Science and Technology Studies

This volume seeks to offer a new approach to the study of music through the lens of recent works in science and technology studies (STS), which propose that facts are neither absolute truths, nor completely relative, but emerge from an intensely collective process of construction. Applied to the study of music, this approach enables us to reconcile the human, social, factual, and technological aspects of the musical world, and opens the prospect of new areas of inquiry in musicology and sound studies. Rethinking Music through Science and Technology Studies draws together a wide range of both leading and emerging scholars to offer a critical survey of STS applications to music studies, considering topics ranging from classical music instrument-making to the ethos of DIY in punk music. The book’s four sections focus on key areas of music study that are impacted by STS: organology, sound studies, music history, and epistemology. Raising crucial methodological and epistemological questions about the study of music, this book will be relevant to scholars studying the interactions between music, culture, and technology from many disciplinary perspectives.

Musical Symbolism in the Operas of Debussy and Bartok

Musical Symbolism in the Operas of Debussy and Bartók explores the means by which two early 20th century operas - Debussy's Pelléas et Mélisande (1902) and Bartók's Duke Bluebeard's Castle (1911) - transformed the harmonic structures of the traditional major/minor scale system into a new musical language. It also looks at how this language reflects the psychodramatic symbolism of the Franco-Belgian poet, Maurice Maeterlinck, and his Hungarian disciple, Béla Balázs. These two operas represent the first significant attempts to establish more profound correspondences between the symbolist dramatic conception and the new musical language. Duke Bluebeard's Castle is based almost exclusively on interactions between pentatonic/diatonic folk modalities and their more abstract symmetrical transformations (including whole-tone, octatonic, and other pitch constructions derived from the system of the interval cycles). The opposition of these two harmonic extremes serve as the basis for dramatic polarity between the characters as real-life beings and as instruments of fate. The book also explores the new musico-dramatic relations within their larger historical, social psychological, philosophical, and aesthetic contexts.

A History of Twentieth-Century Music in a Theoretic-Analytical Context

A History of Twentieth-Century Music in a Theoretic-Analytical Context is an integrated account of the genres and concepts of twentieth-century art music, organized topically according to aesthetic, stylistic, technical, and geographic categories, and set within the larger political, social, economic, and cultural framework. While the organization is topical, it is historical within that framework. Musical issues interwoven with political, cultural, and social conditions have had a significant impact on the course of twentieth-century musical tendencies and styles. The goal of this book is to provide a theoretic-analytical basis that will appeal to those instructors who want to incorporate into student learning an analysis of the musical works that have reflected cultural influences on the major musical phenomena of the twentieth century. Focusing on the wide variety of theoretical issues spawned by twentieth-century music, A History of Twentieth-Century Music in a Theoretic-Analytical Context reflects the theoretical/analytical essence of musical structure and design.

A History of Twentieth-Century Music in a Theoretic-Analytical Context

A History of Twentieth-Century Music in a Theoretic-Analytical Context is an integrated account of the genres and concepts of twentieth-century art music, organized topically according to aesthetic, stylistic, technical, and geographic categories, and set within the larger political, social, economic, and cultural framework. While the organization is topical, it is historical within that framework. Musical issues interwoven with political, cultural, and social conditions have had a significant impact on the course of twentieth-century musical tendencies and styles. The goal of this book is to provide a theoretic-analytical basis that will appeal to those instructors who want to incorporate into student learning an analysis of the musical works that have reflected cultural influences on the major musical phenomena of the twentieth century. Focusing on the wide variety of theoretical issues spawned by twentieth-century music, A History of Twentieth-Century Music in a Theoretic-Analytical Context reflects the theoretical/analytical essence of musical structure and design.

Rethinking Debussy

Rethinking Debussy

Composer, pianist, and critic Claude Debussy's musical aesthetic represents the single most powerful influence on international musical developments during the long fin de siècle period. The development of Debussy's musical language and style was affected by the international political pressures of his time, beginning with the Franco-Prussian War of 1871 and the rise of the new Republic in France, and was also related to the contemporary philosophical conceptualization of what constituted art. The Debussy idiom exemplifies the ways in which various disciplines - musical, literary, artistic, philosophical, and psychological - can be incorporated into a single, highly-integrated artistic conception. Rethinking Debussy draws together separate areas of Debussy research into a lucid perspective that reveals the full significance of the composer's music and thought in relation to the broader cultural, intellectual, and artistic issues of the twentieth century. Ranging from new biographical information to detailed interpretations of Debussy's music, the volume offers significant multidisciplinary insight into Debussy's music and musical life, as well as the composer's influence on the artistic developments that followed. Chapters include: "Russian Imprints in Debussy's Piano Music"; "Music as Encoder of the Unconscious in Pelléas et Mélisande"; "An Artist High and Low, or Debussy and Money"; "Debussy's Ideal Pelléas and the Limits of Authorial Intent"; "Debussy in Daleville: Toward Early Modernist Hearing in the United States"; and more. Rethinking Debussy will appeal to students and scholars of French music, opera, and modernism, and literary and French studies scholars, particularly concerned with Symbolism and theatre. General readers will be drawn to the book as well, particularly to chapters focusing on Debussy's finances, dramatic works, and reception.

Music Interventions for Neurodevelopmental Disorders

This book explores how music can improve skills that are impaired in some neurodevelopmental disorders, including ADHD (attention deficit hyperactivity disorder), autism, and Rett syndrome. Rehabilitation interventions based on the use of music, termed “music therapy”, are relatively widespread, but not all are supported by empirical evidence. This book offers readers an updated and scientifically grounded perspective on this theory and argues that music can be effective in promoting the acquisition of some basic mental abilities. Chapters present some of the latest research and data on how musical activities can lead children affected by neurodevelopmental disorders to improve those skills, including examples of training programs and exercises. The book will be a valuable resource for therapists, rehabilitators, psychologists, educators, musicians, researchers, as well as anyone interested in exploring the potential in music for human growth.

Music Interventions for Neurodevelopmental Disorders

This book explores how music can improve skills that are impaired in some neurodevelopmental disorders, including ADHD (attention deficit hyperactivity disorder), autism, and Rett syndrome. Rehabilitation interventions based on the use of music, termed “music therapy”, are relatively widespread, but not all are supported by empirical evidence. This book offers readers an updated and scientifically grounded perspective on this theory and argues that music can be effective in promoting the acquisition of some basic mental abilities. Chapters present some of the latest research and data on how musical activities can lead children affected by neurodevelopmental disorders to improve those skills, including examples of training programs and exercises. The book will be a valuable resource for therapists, rehabilitators, psychologists, educators, musicians, researchers, as well as anyone interested in exploring the potential in music for human growth.

Musical Migrations: Transnationalism and Cultural Hybridity in Latin/o America, Volume I

A dynamic and original collection of essays on the transnational circulation and changing social meanings of Latin music across the Americas. The transcultural impact of Latin American musical forms in the United States calls for a deeper understanding of the shifting cultural meanings of music. Musical Migrations examines the tensions between the value of Latin popular music as a metaphor for national identity and its transnational meanings as it traverses national borders, geocultural spaces, audiences, and historical periods. The anthology analyzes, among others, the role of popular music in Caribbean diasporas in the United States and Europe, the trans-Caribbean identities of Salsa and reggae, the racial, cultural, and ethnic hybridity in rock across the Americas, and the tensions between tradition and modernity in Peruvian indigenous music, mariachi music in the United States, and in Trinidadian music.

Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures (Music / Culture)

Winner of the MLA's Katherine Singer Kovacs Prize for an outstanding book published in English in the field of Latin American and Spanish literatures and culture (1999)For Anglos, the pulsing beats of salsa, merengue, and bolero are a compelling expression of Latino/a culture, but few outsiders comprehend the music's implications in larger social terms. Frances R. Aparicio places this music in context by combining the approaches of musicology and sociology with literary, cultural, Latino, and women's studies. She offers a detailed genealogy of Afro-Caribbean music in Puerto Rico, comparing it to selected Puerto Rican literary texts, then looks both at how Latinos/as in the US have used salsa to reaffirm their cultural identities and how Anglos have eroticized and depoliticized it in their adaptations.Aparicio's detailed examination of lyrics shows how these songs articulate issues of gender, desire, and conflict, and her interviews with Latinas/os reveal how they listen to salsa and the meanings they find in it. What results is a comprehensive view "that deploys both musical and literary texts as equally significant cultural voices in exploring larger questions about the power of discourse, gender relations, intercultural desire, race, ethnicity, and class."

Body Count's Body Count (33 1/3)

On Ice-T's 1991 classic O.G. Original Gangster, he introduced his all-Black hardcore band Body Count with lead guitarist Ernie C, bringing them on the first-ever Lollapalooza tour that summer. The next year, Body Count's self-titled debut album, rounded out by rhythm guitarist D-Roc the Executioner, bassist Mooseman, and drummer Beatmaster V, made them the most incendiary band in the world, confronting white supremacy and police brutality with pulverizing songs that shattered musical boundaries. Body Count's rage and shock humor sparked nationwide protests and boycotts, including death threats, censure from the federal government, a spot on the FBI National Threat list, and a denunciation by the President of the United States. The album was removed from stores and remains banned to this day, but decades later Body Count are performing to theirbiggest audiences and greatest acclaim, pulling off one of the most remarkable comebacks in punk or metal history.Drawn from years of research and dozens of new interviews, this is the story of a band of high school friends who revolutionized modern music, brought explosive live performances, and raised questions America's lawmakers didn't want to answer, overcoming some of the country's most powerful forces to reshape the world's cultural conversation.

Body Count's Body Count (33 1/3)

On Ice-T's 1991 classic O.G. Original Gangster, he introduced his all-Black hardcore band Body Count with lead guitarist Ernie C, bringing them on the first-ever Lollapalooza tour that summer. The next year, Body Count's self-titled debut album, rounded out by rhythm guitarist D-Roc the Executioner, bassist Mooseman, and drummer Beatmaster V, made them the most incendiary band in the world, confronting white supremacy and police brutality with pulverizing songs that shattered musical boundaries. Body Count's rage and shock humor sparked nationwide protests and boycotts, including death threats, censure from the federal government, a spot on the FBI National Threat list, and a denunciation by the President of the United States. The album was removed from stores and remains banned to this day, but decades later Body Count are performing to theirbiggest audiences and greatest acclaim, pulling off one of the most remarkable comebacks in punk or metal history.Drawn from years of research and dozens of new interviews, this is the story of a band of high school friends who revolutionized modern music, brought explosive live performances, and raised questions America's lawmakers didn't want to answer, overcoming some of the country's most powerful forces to reshape the world's cultural conversation.

Freedom Girls: Voicing Femininity in 1960s British Pop

Freedom Girls: Voicing Femininity in 1960s British Pop shows how the vocal performances of girl singers in 1960s Britain defined-and sometimes defied-ideas about what it meant to be a young woman in the 1960s British pop music scene. The singing and expressive voices of Sandie Shaw, Cilla Black, Millie Small, Dusty Springfield, Lulu, Marianne Faithfull, and P.P. Arnold, reveal how vocal sound shapes access to social mobility, and consequently, access to power and musical authority. The book examines how Sandie Shaw and Cilla Black's ordinary girl personas were tied to whiteness and, in Black's case, her Liverpool origins. It shows how Dusty Springfield and Jamaican singer Millie Small engaged with the transatlantic sounds of soul and and ska, respectively, transforming ideas about musical genre, race, and gender. It reveals how attitudes about sexuality and youth in rock culture shaped the vocal performances of Lulu and Marianne Faithfull, and how P.P. Arnold has re-narrated rock history to center Black women's vocality. Freedom Girls draws on a broad array of archival sources, including music magazines, fashion and entertainment magazines produced for young women, biographies and interviews, audience research reports, and others to inform analysis of musical recordings (including such songs as "As Tears Go By," "Son of a Preacher Man," and others) and performances on television programs such as Ready Steady Go!, Shindig, and other 1960s music shows. These performances reveal the historical and contemporary connections between voice, social mobility, and musical authority, and demonstrate how singers used voice to navigate the boundaries of race, class, and gender.

Pop weiter denken: Neue Anstöße aus Jazz Studies, Philosophie, Musiktheorie und Geschichte (Beiträge zur Popularmusikforschung #44)

Pop weiter denken versammelt Aufsätze, die sich diesem Motto auf zwei Weisen nähern: Zum einen wollen sie populäre Musik weiter denken, den Begriff also öffnen und einen stilistisch breiteren und historisch umfassenderen Zugang abbilden. Zum anderen will der Band Ansätze der Popforschung weiterdenken, also wieder aufgreifen und fortspinnen, die einst selbstverständliche Bestandteile des Denkens über Musik waren, in den letzten Jahren aber aus unserem Blickfeld geraten sind: die aktuelle Jazzforschung und die Musikphilosophie. In diesem Kontext werden auch musiktheoretische Zugänge zu populärer Musik weiter gedacht, die in den USA seit vielen Jahren selbstverständlich und fruchtbar, hierzulande indes kaum gebräuchlich sind.

Song Interpretation in 21st-Century Pop Music (Ashgate Popular and Folk Music Series)

Existing books on the analysis of popular music focus on theory and methodology, and normally discuss parts of songs briefly as examples. The impression often given is that songs are being chosen simply to illuminate and exemplify a theoretical position. In this book the obverse is true: songs take centre stage and are given priority. The authors analyse and interpret them intensively from a variety of theoretical positions that illuminate the song. Thus, methods and theories have to prove their use value in the face of a heterogeneous, contemporary repertoire. The book brings together researchers from very different cultural backgrounds and encourages them to compare their different hearings and to discuss the ways in which they make sense of specific songs. All songs analysed are from the new millennium, most of them not older than three years. Because the most widely popular styles are too often ignored by academics, this book aims to shed light on how million sellers work musically. Therefore, it encompasses a broad palette, highlighting mainstream pop (Lady Gaga, Ke$ha, Lucenzo, Amy McDonald), but also accounting for critically acclaimed ’indie’ styles (Fleet Foxes, Death Cab for Cutie, PJ Harvey), R&B (Destiny’s Child, Janelle Monae), popular hard rock (Kings of Leon, Rammstein), and current electronic music (Andrés, Björk). By concentrating on 13 well-known songs, this book offers some model analyses that can very easily be studied at home or used in seminars and classrooms for students of popular music at all academic levels.

Song Interpretation in 21st-Century Pop Music (Ashgate Popular and Folk Music Series)

Existing books on the analysis of popular music focus on theory and methodology, and normally discuss parts of songs briefly as examples. The impression often given is that songs are being chosen simply to illuminate and exemplify a theoretical position. In this book the obverse is true: songs take centre stage and are given priority. The authors analyse and interpret them intensively from a variety of theoretical positions that illuminate the song. Thus, methods and theories have to prove their use value in the face of a heterogeneous, contemporary repertoire. The book brings together researchers from very different cultural backgrounds and encourages them to compare their different hearings and to discuss the ways in which they make sense of specific songs. All songs analysed are from the new millennium, most of them not older than three years. Because the most widely popular styles are too often ignored by academics, this book aims to shed light on how million sellers work musically. Therefore, it encompasses a broad palette, highlighting mainstream pop (Lady Gaga, Ke$ha, Lucenzo, Amy McDonald), but also accounting for critically acclaimed ’indie’ styles (Fleet Foxes, Death Cab for Cutie, PJ Harvey), R&B (Destiny’s Child, Janelle Monae), popular hard rock (Kings of Leon, Rammstein), and current electronic music (Andrés, Björk). By concentrating on 13 well-known songs, this book offers some model analyses that can very easily be studied at home or used in seminars and classrooms for students of popular music at all academic levels.

**Missing** (Beiträge zur Popularmusikforschung #45)

Populäre Musik macht Angebote zur soziokulturellen Orientierung und Positionierung ihrer Hörer*innen. Damit verbunden sind Machtstrukturen - etwa im Verhältnis der Geschlechter, der Generationen, Ethnien oder sozialen Milieus -, die populäre Musik reproduzieren, aber auch aufbrechen kann, sodass Des- oder Neuorientierungen entstehen können. Die Beiträge dieses Bandes analysieren solche Prozesse kritisch und auf mehreren Ebenen: vom Neosexismus in Indie Rock und feministischen Gegenstrategien, über sexualisierte Afrika-Bilder und osteuropäische Hardbass-Szenen bis zum Entwurf posthumaner Welten in Videoclips. Darüber hinaus werden Leitvorstellungen der Musikpädagogik hinterfragt und Vorschläge für methodologische Neuorientierungen der wissenschaftlichen Auseinandersetzung mit populärer Musik formuliert.

One Nation Under a Groove - »Nation« als Kategorie populärer Musik (Beiträge zur Popularmusikforschung #46)

Popmusik wirkt mit an der Affirmation und Repräsentation nationaler Gemeinschaften und ihrer Werte. Daher ist in Zeiten des vielerorts erstarkenden Nationalismus und Rechtspopulismus ein wissenschaftlich-kritischer Blick auf die Beziehungen von Pop und »Nation« dringend geboten. Neben grundsätzlichen Gedanken zum Konzept »Nation« liefern die Beiträger*innen des Bandes Fallstudien zum deutschen Blick auf (vermeintlich) französische, irische und italienische Popmusik, zu österreichischen Genres und deren Verhältnis zur internationalen Musikwelt sowie zu Zuschreibungen des »typisch Deutschen«. Als gemeinsamer Nenner zeigt sich dabei immer wieder, wie konstruiert die Vorstellungen von »Nation« und des »Typischen« sind.

»All the Things You Are« - Die materielle Kultur populärer Musik (Beiträge zur Popularmusikforschung #47)

Wie wird die Musikkultur durch die konkrete materielle Beschaffenheit von alltäglichen Gegenständen und Orten geprägt? Die Beiträger*innen unterziehen Flyer für Club Nights, Totenkopf-Shirts, Fotos auf LP-Hüllen, Bierbänke in Festzelten oder Sammlungen historischer Abspielgeräte einer genauen Analyse, um kulturelle Implikationen, überraschende Sinnpotenziale und Effekte offenzulegen. Sie entwickeln dabei eine gesteigerte Sensibilität für die ästhetisch und praktisch wirksame Beschaffenheit von Bedeutungsträgern, die nur zu leicht unterschätzt werden - und machen kulturwissenschaftliche Materialitäts-Diskurse so für das Verständnis populärer Musik fruchtbar.

In Hip Hop Time: Music, Memory, and Social Change in Urban Senegal

In the twenty-first century, Senegalese hip hop--"Rap Galsen"--has reverberated throughout the world as an exemplar of hip hop resistance in its mobilization against government corruption during a series of tumultuous presidential elections. Yet Senegalese hip hop's story goes beyond resistance; it is a story of globalization, of diasporic movement and memory, of imagined African pasts and contemporary African realities, and of urbanization and the banality of socio-economic struggle. At particular moments in Rap Galsen's history, origin narratives linked hip hop to a mythologized Africa through the sounds of indigenous oralities. At other times, contrasting narratives highlighted hip hop's equally mythologized roots in the postindustrial U.S. inner city and African American experience. As Senegalese youth engage these globally circulating narratives, hip hop performance and its stories negotiate their place in a rapidly changing world. In Hip Hop Time explores this relationship between popular music and social change, framing Senegalese hip hop as a musical movement deeply tied to both indigenous performance practices and changing social norms in urban Africa. Author Catherine Appert takes us from Senegalese hip hop's beginnings among cosmopolitan youth in Dakar's affluent neighborhoods in the 1980s, to its spread throughout the city's ghettoized working class neighborhoods in the mid- to late-'90s, and into the present day, where political activism and hip hop musicality vie for position in local and global arenas. An ethnography of the inextricability of musical and social meaning in hip hop practice, In Hip Hop Time charts new intellectual territory in the scholarship of African and global hip hop.

IN HIP HOP TIME C: Music, Memory, and Social Change in Urban Senegal

In the twenty-first century, Senegalese hip hop--"Rap Galsen"--has reverberated throughout the world as an exemplar of hip hop resistance in its mobilization against government corruption during a series of tumultuous presidential elections. Yet Senegalese hip hop's story goes beyond resistance; it is a story of globalization, of diasporic movement and memory, of imagined African pasts and contemporary African realities, and of urbanization and the banality of socio-economic struggle. At particular moments in Rap Galsen's history, origin narratives linked hip hop to a mythologized Africa through the sounds of indigenous oralities. At other times, contrasting narratives highlighted hip hop's equally mythologized roots in the postindustrial U.S. inner city and African American experience. As Senegalese youth engage these globally circulating narratives, hip hop performance and its stories negotiate their place in a rapidly changing world. In Hip Hop Time explores this relationship between popular music and social change, framing Senegalese hip hop as a musical movement deeply tied to both indigenous performance practices and changing social norms in urban Africa. Author Catherine Appert takes us from Senegalese hip hop's beginnings among cosmopolitan youth in Dakar's affluent neighborhoods in the 1980s, to its spread throughout the city's ghettoized working class neighborhoods in the mid- to late-'90s, and into the present day, where political activism and hip hop musicality vie for position in local and global arenas. An ethnography of the inextricability of musical and social meaning in hip hop practice, In Hip Hop Time charts new intellectual territory in the scholarship of African and global hip hop.