Music and Empire is a single-semester module that currently focuses on South and Southeast Asia, especially the Indian subcontinent and the Malay world, in the transition to and through European colonialism c. 1750–1950. As a historian of music in Mughal India and the paracolonial Indian Ocean, I have taught this course in the Music Department at King’s College London in various iterations since 2011 (at the time of writing, it was last taught in Semester 2 of 2021/22). Its original concept and design was closely linked to the European Research Council (ERC) Starting Grant of which I was Principal Investigator 2011–15/16, “Musical Transitions to European Colonialism in the Eastern Indian Ocean” (MUSTECIO).11

Until the 2020/21 academic year,Music and Empire was taught solely as a graduate seminar option, taken for credit by Master of Music (MMus) students (as well as SOAS MMus students and KCL students from, e.g., the Departments of History, Comparative Literature, and Religious Studies) and audited by PhD students and postdoctoral fellows. But in the past two years it has been taught to both third-year undergraduates and graduate students, with a single joint lecture and separate seminars and assessments (the undergraduates have weekly quizzes, a coursework essay, and a 24-hour online open-book examination; the graduates have a verbal presentation and a coursework essay). The module generally attracts thirty to forty students in total each year. Annual cohorts frequently include students of South, Southeast, and East Asian heritages and other Global Majority students.

Students should emerge from this course with a sound, comparative understanding of the cultural history of music under empire in specific regions, with a focus on the interplay of Asian and European cultures in the context of asymmetrical power relations. This entails the ability to differentiate between a variety of European and Asian empires, as well as related historiographical paradigms and issues. Students should develop a wider ability to use evidence from studying the musical field to contribute to, challenge, and critique pre-existing historical paradigms, rather than merely interpreting musical culture through them. They acquire knowledge of musicological and ethnomusicological approaches, as well as a range of available sources in music research, in a module that emphasizes the study of music and empire in relation to social, political, mercantile, ideological, and music-specific issues.

The module is conceptually innovative, in that it is designed to remove the colonial-era split between musicology and ethnomusicology by focusing primarily on the histories of Asian and mixed-race performing arts, artists, and audiences in the eastern Indian Ocean and South China Sea, instead of on Orientalist representations of “Asia” in Western music or on European music in its Asian colonies. The second approach has, to date, dominated scholarship and teaching on this topic. Music and empire has customarily been taught in one of two ways. Either, and most commonly, it has been taught by “musicologists” as the history of music in/of Europe and its settler colonies, using European-language sources, with very little reference to the realities of musical lives and economies in the colonised world, and even less use, if any, of Asian source materials for the period. Alternatively, and more recently, “ethnomusicologists” have taught music and empire from a postcolonial ethnographic perspective, looking back at empire’s legacies from/in the long twentieth century, using Asian source materials but going back no further than the birth of the sound recording, c. 1890, an advent that occurred very late in colonial history.

Neither approach is able to tackle the question of how colonialism changed musical fields in South and Southeast Asia:¹ the first neglects, often to the point of ignoring, the colonised world; and the second does not go back remotely far enough.

This module aims to break down these conceptual, geographical, and chronological barriers by: (1) exploring historical work on the music, dance, and sound of the region under colonialism; (2) extending the time period from before European colonial rule to the point of decolonisation; and (3) using relevant secondary literature from a range of disciplines that draws on Asian-language sources dating back as far as the seventeenth century, in parallel with relevant European-language sources.

In line with this approach,Music and Empire has long attempted to bring to the fore in its reading lists as many historical and contemporary voices as possible from South and Southeast Asia, especially citizen and diaspora scholars working on source materials in Asian languages and visual cultures. Scholars from the Global North working in Asian languages continue to feature inevitably; as you will see from the length of the current reading list, nobody and nothing has been “replaced.” One continuing obstacle to diversity and inclusion is that the module has to be taught in English, so readings on the formal syllabus are restricted to the English language.² But I encourage students to use any other languages they are able to work in, either of the region or of the relevant colonising powers, in their choice of sources for their essays, exams, and presentations.

The rationale behind these choices is threefold.

First, coloniality is fundamental to and inherent in the institutionalised split between musicology and ethnomusicology. I base my argument on the insights of two rather disparate scholars: Lydia Goehr and Walter Mignolo. Goehr argued in her seminal essay of 1992 that Western art music is, and is studied as, an imaginary museum of musical works; her insight largely remains true today.³ I then build onto that Mignolo’s compelling observation that when Europeans devised the colonial-modern museum, they divided it into two kinds: the art museum, which focuses on the history of the “people with history,” i.e., Europeans, “us”; and the ethnological museum, which focuses on the “timeless” ethnography of the “people without history,” or those “outside ‘our’ history,” such as the Chinese.⁴

At the peak of European colonial power, as is well known, academic music studies were conceptually divided into the historical study of the music of the “people with history”—historical musicology—and the anthropological study of the “people without/outside ‘our’ history”—ethnomusicology (at the time called “comparative musicology”).⁵ That original division has hardened into an institutionalised fissure that endures unrepaired to this day. The parallels with Mignolo’s art museum/ethnological museum division are blatantly clear, and they have serious implications for the entire discipline. Because of the split, neither musicology nor ethnomusicology has, until recently, been especially open to the fact that the “without/outside” cultures that are the customary remit of musical anthropologists have accessible and relevant histories, and that the sources that document those histories are plentiful, even via secondary literature, if we spread our interdisciplinary net wide enough.⁶

Such histories are not “decolonial,” and studying them is not inherently “decolonising” work, a term I prefer to use solely for the processes of sovereign nations becoming independent from colonising powers. Decolonisation should never be a metaphor.⁷ If music studies were to take its radical implications seriously, we would need to tear down the institutional silos of musicology and ethnomusicology altogether and start from undivided ground. I do not believe that is ever going to happen; it is an unrealisable utopian vision. But by insisting that we train our scholarly focus on the histories of performing arts under colonialism 8in the region, from their own sources, written by colonised peoples, we go some way towards at least tipping the balance.

Secondly, representation and citation practices matter. Because it has largely only been possible to pursue ethnomusicology professionally in certain institutions of the Global North, the canonical academic literature on South and Southeast Asian music and dance, including the small minority of publications of a historical nature, has historically tended to be written by Northern white authors (with noteworthy exceptions; see reading lists below). This is changing as a new generation of doctoral students from South and Southeast Asian heritages are filling academic ethnomusicology and global musicology jobs and publishing their research. But there is also a large amount of relevant work in several disciplines beyond music studies that expands, deepens, and challenges our narrow disciplinary perspectives of what performing-arts histories might be in the region. It takes sustained, regular revision and lateral thinking to move beyond the old favorites on a reading list and locate, read, and set work by junior and Global Majority scholars and by researchers in fields beyond card-carrying music studies. But a commitment to global equality, diversity, and inclusion requires such labor as an absolute minimum. (You will see from this syllabus that there is a long way to go.)

The final major rationale behind this module is to introduce students to our emerging theoretical work with the concept of the “paracolonial,” as first articulated by Stephanie Newell.⁸ Crucially, Asian-language and visual primary sources from the timeframe we conveniently mark off as the “colonial period” frequently give us entirely different perspectives (plural) than top-down models of European hegemony, built largely on colonial and privileged nationalist sources, allow. Paracolonial denotes “alongside” and “beyond” the colonial, and when applied to performing-arts histories it opens up revolutionary historical vistas, allowing for a range of subaltern and articulated voices to interact with each other in a variety of ways. My ERC team and I theorised the paracolonial in 2015–2017 to refer to systems of musical knowledge and practice that operated alongside and beyond the colonial state throughout this period. These systems were frequently facilitated by colonial infrastructures, technologies, and presence in South and Southeast Asia, such as railways, print, and the gramophone; but they were 9not, necessarily or indeed even often, dependent upon colonial epistemologies. Rather, they coexisted in differing relations and tensions with colonial thought and action regarding music, “noise,” and their place in society.⁹

Unlike much postcolonial historiography of Asian musics in the region to date, which takes the overpowering voices of the colonisers and their Western-educated nationalist mirror images at their own estimation, the paracolonial opens up much more room for the autonomous agency of South and Southeast Asian music makers and listeners within the conditions of possibility they were afforded in the transcolonial Indian Ocean c.–1950.

This syllabus is a work in progress and represents the state of the field in 2021–2022 in the no-doubt blinkered eyes of one particular historian of South and Southeast Asia. I look forward to it being superseded.

Module Description

In this module, you will develop a deeper understanding of the diverse ways in which European imperialism and colonialism changed musical culture in South and Southeast Asia through a detailed, comparative examination of changing contexts for music making in the Indian Ocean region c. 1750–1950. We will focus mainly on British imperialism and colonialism in the Indian subcontinent and the Malay world; our major themes will be transition and interplay between cultures, over time, and geographically across the Indian Ocean. Topics to be covered may include, but are not restricted to, different approaches to music and empire; postcolonial and paracolonial; Orientalism and race; circulation; musical knowledge; sound and affect; religion; gender and sexuality; sovereignty and decolonisation. Throughout, this module aims to bring ethnomusicological, musicological, and historical approaches to pre-colonial and colonial musical pasts back into creative dialogue, in order to consider how a more nuanced history of changing musical fields can contribute to the wider historical debate on European imperialism and colonialism.

Student Outcomes

By the end of the module, the students will be able to demonstrate:

• a sound, comparative understanding of the cultural history of music under empire in specific regions, with a focus on the interplay of European and Asian cultures in the context of asymmetrical power relations.
• a detailed knowledge of musicological and ethnomusicological approaches to music and empire.
• a detailed knowledge of the available sources for the study of music and empire, and an understanding of how to read them.
• an ability to differentiate between different kinds of European and Asian empires and to apply that understanding to musical contexts.
• an ability to differentiate between and to critique different historiographical paradigms and issues in relation to specific European and extra-European empires.
• an ability to discuss aspects of musical culture within the framework of these issues and paradigms, including but not restricted to social, political, mercantile, ideological, and music-specific issues.
• a wider ability to use evidence from studying the musical field to contribute to, challenge, and critique pre-existing historical paradigms, rather than merely interpreting musical culture through them.
• all these skills in written argument and seminar discussions.

Seminar Topics

[Here follows practical information on weekly assignments, assessment, faculty word length and plagiarism policy, office hours, email policy, etc.]

Assigned Weekly Readings

These must be read before each seminar;undergraduates only have to read the starred readings; MMus students must read all of them. You may choose which supplementary readings (beginning on p. X below) you wish to read, and may read them at your own pace.

Seminar 1. Music, Empires, Entangled Histories

**Bose, Sugata, “Space and Time on the Indian Ocean Rim.” InModernity and Culture: From the Mediterranean to the Indian Ocean, edited by L. T. Fawaz and C. A. Bayly, 365–88. New York: Columbia University Press, 2002.

**Schofield, Katherine Butler, “Archives Differing: Global Music Histories and the Paracolonial Indian Ocean, c. 1760–1860,” essay in progress.

**Newell, Stephanie, “‘Paracolonial’ Networks: Some Speculations on Local Readerships in Colonial West Africa.”Interventions: International Journal of Postcolonial Studies 3, no. 3 (2011): 336–54.

Subrahmanyam, Sanjay, “Introduction: Revisiting Empires and Connecting Histories.” InEmpires between Islam and Christianity, 1500–1800, by Sanjay Subrahmanyam, 1–25. Albany: SUNY Press: 2019.

Rempe, Martin, and Claudius Torp. “Cultural Brokers and the Making of Glocal Soundscapes, 1880s to 1930s.”Itinerario 41, no. 2 (2017): 223–33.

Seminar 2. Paracolonial Contexts 1: South Asia

**Bakhle, Janaki.Two Men and Music: Nationalism in the Making of an Indian Classical Tradition. Oxford: Oxford University Press, 2005. pp. 20–95.

**Walker, Margaret E. “National Purity and Postcolonial Hybridity in India’s Kathak Dance Revival.” InOxford Handbook of Music Revival, edited by Caroline Bithell and Juniper Hill, 205–27. Oxford: Oxford University Press, 2014.

Schofield, Katherine Butler. “The Orpheus of Delhi: The Maestro Khushhal Khan and the Mughal War of Succession, 1657–1658.” Podcast. Soundcloud, 2018.https://soundcloud.com/user-513302522/the-orpheus-of-delhi-the-maestro-khushhal-khan-and-the-mughal-war-of-succession-1657-8http://blogs.bl.uk/asian-and-african/2018/03/canonical-hindustani-music-treatises-of-aurangzeb-alamgirs-reign.html

Soneji, Davesh.Unfinished Gestures: Devadasis, Memory, and Modernity in South India. Chicago: University of Chicago Press, 2012. pp. 27–69.

Seminar 3. Paracolonial Contexts 2: Southeast Asia

**Sumarsam. “Chapter 1: Performing Colonialism.” InJavanese Gamelan and the West, by Sumarsam. Rochester, NY: University of Rochester Press, 2013.

**Lunn, David, and Julia Byl. “‘One Story Ends and Another Begins’: Reading the Syair Tabut of Encik Ali.”Indonesia and the Malay World 45, no. 133 (2017): 391–420.

Byl, Julia, Raja Iskandar bin Raja Halid, David Lunn, and Jenny McCallum. “The Syair Tabut of Encik Ali: A Malay Account of Muharram at Singapore, 1864.”Indonesia and the Malay World 45, no. 133 (2017): 421–38.

Cohen, Matthew Isaac. “On the Origin of the Komedie Stamboel: Popular Culture, Colonial Society, and the Parsi Theatre Movement.”Bijdragen tot de Taal-, Land- en Volkenkunde 157, no. 2 (2001): 313–57.

Seminar 4. Orientalism and Race

**Head, Matthew. “Musicology on Safari: Orientalism and the Spectre of Postcolonial Theory.”Music Analysis 22, no. 1-2 (2003): 211–30.

**Cohen, Brigid, et al. “Round Table: Edward Said and Musicology Today.”Journal of the Royal Musical Association 141, no. 1 (2016): 203–32.

Ghuman, Nalini. “Elephants and Mughals.” InResonances of the Raj: India in the English Musical Imagination, 1897–1947, by Ghuman, 53–104. Oxford: Oxford University Press, 2014.

Radano, Ronald, and Philip V Bohlman, eds.Music and the Racial Imagination. Chicago: Chicago University Press, 2000. pp. 1–56.

Seminar 5. Circulation

**Weidman, Amanda. “Gone Native? Travels of the Violin in South India.” InSinging the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India, by Weidman, 25–58. Durham, NC: Duke University Press, 2006.

**Hilarian, Larry Francis. “The Structure and Development of the Gambus (Malay-Lutes).”The Galpin Society Journal 58 (2005): 66–82, 215–16.

meLê yamomo, “Global Currents, Musical Streams: European Opera in Colonial Southeast Asia.”Nineteenth Century Theatre and Film 44, no. 1 (2017): 54–74.

Van Der Putten, Jan. “Wayang Parsi, Bangsawan and Printing: Commercial Cultural Exchange between South Asia and the Malay World.” InIslamic Connections: Studies of Muslim South and Southeast Asia, edited by Michael Feener and Terenjit Sevea, 86–108. Singapore: Institute of Southeast Asian Studies, 2009.

Cohen, Matthew Isaac. “Greater India.” InPerforming Otherness: Java and Bali on International Stages, 1905–1952, by Cohen, 153–74. London: Palgrave Macmillan, 2010.

Seminar 6. Knowledge

**Sumarsam.Gamelan: Cultural Interaction and Musical Development in Central Java. Chicago: Chicago University Press, 1995. pp. 41–130.

**Schofield, Katherine Butler. “Reviving the Golden Age Again: ‘Classicization,’ Hindustani Music, and the Mughals.”Ethnomusicology 54, no. 3 (2010): 484–517.

Atarthi, Sagnik. “Whither Musicology? Amateur Musicologists and Music Writing in Bengal.”Ethnomusicology Forum26, no. 2 (2017): 247–68.Ethnomusicology Forum 26, no. 2 (2017): 247–68.

Goodman, Glenda. “Sounds Heard, Meaning Deferred: Music Transcription as Imperial Technology.”Eighteenth-Century Studies 52, no. 1 (2018): 39–45.

Seminar 7. Sound and Affect

**McCallum, Jenny. “Beguiling Voices: Traces of Vocality in the Malay Literary Tradition of the Riau Islands.”Ethnomusicology Forum 26, no. 1 (2017): 93–115.

**Sykes, Jim. “Sound as Promise and Threat: Drumming, Collective Violence and Colonial Law in British Ceylon.” InCultural Histories of Noise, Sound and Listening in Europe, 1300–1918, edited by Ian Biddle and Kirsten Gibson, 127-151. London: Routledge, 2016.

Andaya, Barbara. “Audible Pasts: History, Sound and Human Experience in Southeast Asia.”KEMANUSIAAN 25, no. 1 (2018): 1–19.

Das, Santanu.India, Empire, and First World War Culture: Writings, Images, and Songs. Cambridge: Cambridge University Press, 2018. pp. 4–11, 203–38.

Seminar 8. Religion

**Kapuria, Radha. “Music and Its Many Memories: Complicating 1947 for the Punjab.” InPartition and the Practice of Memory, edited by Charnjeet Mahn and Anne Murphy, 17–42. London: Palgrave Macmillan, 2017.

**Van Der Putten, Jan. “Woe from Wit: Burlesquing Muharram Processions into Carnivalesque Boria.” InMengharungi Laut Sastera Melayu. Kumpulan Esei Penghargaan Profesor V.I. Braginsky. – Crossing The Sea Of Malay Literature. A Collection Of Essays In Honour Of Professor V.I. Braginsky,edited by Jelani Harun and Ben Murtagh, 533–61. Kuala Lumpur: Dewan Bahasa dan Pustaka, 2011.Mengharungi Laut Sastera Melayu. Kumpulan Esei Penghargaan Profesor V.I. Braginsky. – Crossing The Sea Of Malay Literature. A Collection Of Essays In Honour Of Professor V.I. Braginsky, edited by Jelani Harun and Ben Murtagh, 533–61. Kuala Lumpur: Dewan Bahasa dan Pustaka, 2011.

Hughes, Stephen. “Play it Again Saraswathi: Gramophone, Religion, and Devotional Music in Colonial South India.” InMore than Bollywood: Studies in Indian popular music, edited by Gregory D. Booth and Bradley Shope, 114–41. New York: Oxford University Press, 2014.

Sumarsam. “Past and Present Issues of Islam within the Central Javanese Gamelan and Wayang Kulit.” InDivine Inspirations: Music and Islam in Indonesia, edited by David Harnish and Anne K Rasmussen, 45–79. Oxford: Oxford University Press, 2011.

Seminar 9. Gender and Sexuality

**Soneji, Davesh.Unfinished Gestures: Devadasis, Memory, and Modernity in South India. Chicago: Chicago University Press, 2012. pp. 112–60.

**Lim, Eng-Beng. “A Colonial Dyad in Balinese Performance.” InBrown Boys and Rice Queens, by Lim, 41–90. New York: New York University Press, 2014.

Tan Sooi Beng. “Breaking Tradition: Women Stars of Bangsawan Theatre.”Bijdragen tot de Taal-, Land- en Volkenkunde 151, no. 4 (1995): 602–16.

Hinchy, Jessica. “Obscenity, Moral Contagion and Masculinity: Hijras in Public Space in Colonial North India.”Asian Studies Review 38, no. 2 (2014): 274–94.

Afzal-Khan, Fawzia. “The Respectable Courtesan: Malka Pukhraj, Music and the Postcolonial Nation.”Performing Islam 6, no. 1 (2017): 41–59.

Seminar 10. Sovereignty and Decolonisation

**Andaya, Barbara. “Distant Drums and Thunderous Cannon: Affirming Identity and Sounding Authority in Traditional Malay Society.”International Journal of Asian and Pacific Studies 7, no. 2 (2011): 19–35.

**Johan, Adil. “Scoring Tradition, Making Tation: Zubir Said’s Traditionalised Film Music for Dang Anom.”Malaysian Journal of Music 6, no. 1 (2017): 50–72.

**Ramnarine, Tina K. “Dance, Music and Cultures of Decolonisation in the Indian Diaspora: Towards a Pluralist Reading.”South Asian Diaspora 11, no. 2 (2019): 109–25.

**Chávez, Luis, and Russell P Skelchy. “Decolonization for Ethnomusicology and Music Studies in Higher Education.”Action, Criticism, and Theory for Music Education 18, no. 3 (2019): 115–43.

Supplementary Readings by Topic

Music, Empires, Entangled Histories

Amrith, Sunil. “Tamil Diasporas across the Bay of Bengal.”The American Historical Review 114, no. 3 (2009): 547–72.

Amrith, Sunil S.Crossing the Bay of Bengal: The Furies of Nature and the Fortunes of Migrants. Cambridge: Harvard University Press, 2013.

Andaya, Barbara. “Oceans Unbounded: Transversing Asia across ‘Area Studies,’”Journal of Asian Studies 65, no. 4 (2006): 669–90.

Banfield, Stephen. “Towards a History of Music in the British Empire: Three Export Studies.” InBritishness Abroad: Transnational Movements and Imperial Cultures, edited by Kate Darian-Smith and Stuart Macintyre, 63–89. Melbourne: Melbourne University Press, 2007.

Bayly, C. A.The Birth of the Modern World, 1780–1914: Global Connections and Comparisons. Hoboken, NJ: Wiley-Blackwell, 2004.

Bentley, Jerry H, Sanjay Subrahmanyam, and Merry Wiesner-Hanks, eds.The Cambridge World History. Vol. 6, parts 1 and 2, The Construction of a Global World, 1400–1800 CE. Cambridge: Cambridge University Press, 2015.

Bose, Sugata.A Hundred Horizons: The Indian Ocean in the Age of Global Empire. Cambridge: Harvard University Press, 2006.

Chien-Chang Yang and Tobias Janz, eds.Decentering Musical Modernity: Perspectives on East Asian and European Music History. New York: Columbia University Press, 2019.

Clayton, Martin, and Bennett Zon, eds.Music and Orientalism in the British Empire, 1780-1940s. Farnham: Ashgate, 2007.

Green, Nile.Bombay Islam. Cambridge: Cambridge University Press, 2011.

Harper, Timothy N., and Sunil S Amrith.Sites of Asian Interaction: Ideas, Networks and Mobility. Cambridge: Cambridge University Press, 2014.

Engseng Ho. “Empire Through Diasporic Eyes: A View from the Other Boat.”Comparative Studies in Society and History 46, no. 2 (2004): 210–46.

Hall, Kenneth. “Ports of Trade, Maritime Diasporas, and Networks of Trade and Cultural Integration in the Bay of Bengal Region of the Indian Ocean: c. 1300-1500.”Journal of the Economic and Social History of the Orient 53 (2010): 109–45.

Irving, David R. M. “Music and Empire,” InThe Encyclopedia of Empire, edited by John Mackenzie. Hoboken, NJ: Wiley-Blackwell, 2016. https://onlinelibrary.wiley.com/doi/10./9781118455074.wbeoe181

———. “Music and Cosmopolitanism in the Early Modern Lusophone World.” InCosmopolitanism in the Portuguese-Speaking World, edited by Francisco Bethencourt, 109–31. Leiden: Brill, 2018.

Joyce, John. “The Globalization of Music: Expanding Spheres of Influence.” InThe Global History Reader, edited by B. Mazlish and A. Iriye, 222–31. London: Routledge, 2005.

Liebersohn, Harry.Music and the New Global Culture: From the Great Exhibitions to the Jazz Age. Chicago: University of Chicago Press, 2019.

Lubinski, Christina, and Andrea Sten. “Traveling Entrepreneurs, Traveling Sounds: The Early Gramophone Business in India and China.”Itinerario41, no. 2 (2017): 275–303.Itinerario 41, no. 2 (2017): 275–303.

Moro, Pamela. “Constructions of Nation and the Classicisation of Music.”Journal of Southeast Asian Studies 35, no. 2 (2004): 187–211.

Osterhammel, Jürgen. “Globale Horizonte europäischer Kunstmusik, 1860–1930.”Geschichte und Gesellschaft38, no. 1 (2012): 86–132.Geschichte und Gesellschaft 38, no. 1 (2012): 86–132.

Pernau, Margrit. “Whither Conceptual History? From National to Entangled Histories.”Contributions to the History of Concepts 7, no. 1 (2012): 1–11.

Potter, Simon J. Broadcasting Empire: The Schofield, Katherine Butler. “Musical Transitions to European Colonialism in the Eastern Indian Ocean,” unpublished grant proposal, European Research Council, 2010.

Sheriff, Abdul.Dhow Cultures of the Indian Ocean. London: Hurst, 2010.

Sheriff, Abdul, and Engseng Ho, eds.The Indian Ocean: Oceanic Connections and the Creation of New Societies. London: Hurst, 2014.

Sivasundaram, Sujit.Waves across the South: A New History of Revolution and Empire. London: William Collins, 2020.

Solis, Gabriel. “Transpacific Excursions: Multi-Sited Ethnomusicology, the Black Pacific, and Nettl’s Comparative (Method).” InThis Thing Called Music: Essays in Honor of Bruno Nettl, edited by Victoria Lindsay Levine and Philip V. Bohlman, 354-365. Lanham, MD: Rowman and Littlefield, 2015.

Smith, David. “Colonial Encounters through the Prism of Music.”International Review of the Aesthetics and Sociology of Music 33, no. 1 (2002): 31–55.

Van Der Linden, Bob.Music and Empire in Britain and India: Identity, Internationalism, and Cross-Cultural Communication. London: Palgrave Macmillan, 2013.

Western, Tom. “National Phonography in the Musical Past: Empire, Archive, and Overlapping Musical Migrations in Britain.” InConfronting the National in the Musical Past, edited by Elaine Kelly, Markus Mantere, and Derek Scott, 124–137. London: Routledge, 2018.

meLê yamomo. “Global Currents, Musical Streams: European Opera in Colonial Southeast Asia.”Nineteenth Century Theatre and Film 44, no. 1 (2017): 54–74.

Paracolonial Contexts 1: South Asia

Allen, Matthew Harp. “Rewriting the Script for South Indian Dance.”Drama Review 41, no. 3 (1997): 63–100.

Atarthi, Sagnik. “Whither Musicology? Amateur Musicologists and Music Writing in Bengal.”Ethnomusicology Forum 26, no. 2 (2017): 247–68.

Bakhle, Janaki.Two Men and Music: Nationalism in the Making of an Indian Classical Tradition. Oxford: Oxford University Press, 2005.

Barlow, Jon, and Lakshmi Subramanian. “Music and Society in North India: From the Mughals to the Mutiny.”Economic and Political Weekly 42, no. 19 (May 12, 2007): 1779–87.

Bayly, C. A.Empire and Information. Cambridge: Cambridge University Press, 1996.

Becker, Tobias. “Entertaining the Empire: Theatrical Touring Companies and Amateur Dramatics in Colonial India.”Historical Journal 57, no. 3 (2014): 699–725.

Bor, Joep, et al., eds.Hindustani Music: Thirteenth to Twentieth Centuries. New Delhi: Manohar, 2010.

Brown [Schofield], Katherine Butler. “If Music Be the Food of Love: Masculinity and Eroticism in the Mughal Mehfil.” InLove in South Asia: A Cultural History, edited by Francesca Orsini, 61–86. Cambridge: Cambridge University Press, 2006.

Capwell, Charles. “Musical Life in Nineteenth-Century Calcutta as a Component in the History of a Secondary Urban Center.”Asian Music 18, no. 1 (1986): 139–63.

Dalrymple, William.The Anarchy: The Relentless Rise of the East India Company. London: Bloomsbury, 2019.

Das, Santanu.India, Empire, and First World War Culture: Writings, Images, and Songs. Cambridge: Cambridge University Press, 2018.

Das Gupta, Ashin. “India and the Indian Ocean in the Eighteenth Century.” InIndia and the Indian Ocean, 1500-1800, edited by Ashin Das Gupta and M. N. Pearson, 131-161. Calcutta: Oxford University Press, 1987.

Deshpande, G. P. “Dialectics of Defeat: Some Reflections on Literature, Theatre, and Music in Colonial India.”Economic and Political Weekly 22, no. 50 (Dec 12, 1987): 2170–6.

Dirks, Nicholas.Castes of Mind: Colonialism and the Making of Modern India. Princeton: Princeton University Press, 2001.

Farrell, Gerry.Indian Music and the West. Oxford: Clarendon Press, 1997.

Fernandes, Naresh.Taj Mahal Foxtrot: The Story of Bombay’s Jazz Age. New Delhi: Roli, 2017.

Field, Garrett.Modernizing Composition: Sinhala Song, Poetry, and Politics in Twentieth-Century Sri Lanka. Oakland: University of California Press, 2017.

Ghuman, Nalini.Resonances of the Raj: India in the English Musical Imagination, 1897–1947. Oxford: Oxford University Press, 2014.

Head, Raymond. “Corelli in Calcutta: Colonial Music-Making in India during the 17th and 18th Centuries.”Early Music 13, no. 4 (1985): 548–53.

Hansen, Kathryn. “Parsi Theatre and the City: Locations, Patrons, Audiences.”Sarai Reader 2002: The Cities of Everyday Life (2002): 40–48.

Kapuria, Radha. “Rethinking Musical Pasts: The Harballabh Festival of Punjab, c. 1875–1950.”Social Scientist 43, no. 5-6 (2015): 77–91.

Katz, Max.Lineage of Loss: Counternarratives of North Indian Music. Middletown, CT: Wesleyan University Press, 2017.

Kosambi, Meera.Gender, Culture, and Performance: Marathi Theatre and Cinema before Independence. London: Routledge, 2015.

Lelyveld, David. “Upon the Subdominant: Administering Music on All-India Radio.”Social Text 39 (1994): 111–27.

Lunn, David, and Katherine Butler Schofield. “Desire, Devotion, and the Music of the Monsoon at the Court of the Emperor Shah Alam II.” InMonsoon Feelings: A History of Emotions in the Rain, edited by Imke Rajamani, Margrit Pernau, and Katherine Butler Schofield, 220–54. New Delhi: Niyogi, 2018.

Niranjana, Tejaswini. “Musicophilia and the Lingua Musica in Mumbai.”Cultural Studies 32, no. 2 (2017): 261–85.

Niranjana, Tejaswini.Music, Modernity, and Publicness in India. Oxford: Oxford University Press, 2020.

O’Hanlon, Rosalind, and David Washbrook. “Histories in Transition.”History Workshop Journal 32, no. 1 (1991): 110–27.

Orsini, Francesca,Print and pleasure: popular literature and entertaining fictions in colonial North India (2017).

Orsini, Francesca, and Katherine Butler Schofield, eds.Tellings and Texts: Music, Literature, and Performance in North India. Cambridge: Open Book, 2015.

Ranade, Ashok D.Stage Music of Maharashtra. New Delhi: Sangeet Natak Akademi, 1986.

Roy, Tirthankar. “Music and Society in Late Colonial India: A Study of Esraj in Gaya.”Journal of Asian Studies 79, no. 1 (2020): 25–49.

Ruckert, George E.Music in North India. Oxford: Oxford University Press, 2004.

Saha, Poulomi. “Singing Bengal into a Nation: Tagore the Colonial Cosmopolitan?”Journal of Modern Literature 36, no. 2 (2013): 1–24.

Schofield, Katherine Butler. “Learning to Taste the Emotions: The Mughal Rasika.” InTellings and Texts: Music, Literature, and Performance in North India, edited by Francesca Orsini and Katherine Butler Schofield, 407–22. Cambridge: Open Book, 2015.

———. “‘Words without Songs’: The Social History of Hindustani Song Collections in India’s Muslim Courts c. 1770–1830.” InTheory and Practice in the Music of the Islamic World, edited by Rachel Harris and Martin Stokes, 407–22. London: Routledge, 2018.

———. “Histories of the Ephemeral.” Podcast. Soundcloud, 2018–2019.https://soundcloud.com/user-513302522

Shope, Bradley.American Popular Music in Britain’s Raj. Eastman Studies in Music 131. Rochester: University of Rochester Press, 2016.

———. “The Public Consumption of Western Music in Colonial India.”South Asia: Journal of South Asian Studies 31, no. 2 (2008): 271–89.

Sykes, Jim. “Sound as Promise and Threat: Drumming, Collective Violence and Colonial Law in British Ceylon.” InCultural Histories of Noise, Sound, and Listening in Europe, 1300–1918, edited by Ian Biddle and Kirsten Gibson, 127–151. London: Routledge, 2016.

Subramanian, Lakshmi.From the Tanjore Court to the Madras Music Academy: A Social History of Music in South India. Oxford: Oxford University Press, 2011.

———.Singing Gandhi’s India: Music and Sonic Nationalism. New Delhi: Roli, 2020.

Van Der Linden, Bob.Music and Empire in Britain and India: Identity, Internationalism, and Cross-Cultural Communication. London: Palgrave Macmillan, 2013.

———.Arnold Bake: A Life with South Asian Music. London: Routledge, 2018.

Vanita, Ruth.Dancing with the Nation: Courtesans in Bombay Cinema. London: Bloomsbury, 2018.

Viswanathan, T., and Matthew Allen.Music in South India. Oxford: Oxford University Press, 2004.

Walker, Margaret E.India’s Kathak Dance in Historical Perspective. London: Routledge, 2014. India’s Kathak Dance in Historical Perspective. London: Routledge, 2014.

Weidman, Amanda J.Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India. Durham, NC: Duke University Press, 2006.

Wilson, Jon E.India Conquered: Britain’s Raj and the Chaos of Empire. London: Simon and Schuster, 2016.

———. “Early Colonial India beyond Empire.”Historical Journal 50, no. 4 (2007): 951–70.

Woodfield, Ian.Music of the Raj. Oxford: Oxford University Press, 2000.

Paracolonial Contexts 2: Southeast Asia

Aljunied, Syed Muhd Khairudin. “A Theory of Colonialism in the Malay World.”Postcolonial Studies 14, no. 1 (2011): 7–21.

Andaya, Barbara Watson. “Distant Drums and Thunderous Cannon: Affirming Identity and Sounding Authority in Traditional Malay Society.”International Journal of Asian and Pacific Studies 7, no. 2 (2011): 19–35.

———.A History of Early Modern Southeast Asia, 1400–1830. Cambridge: Cambridge University Press, 2015.

———. “Audible Pasts: History, Sound, and Human Experience in Southeast Asia.”KEMANUSIAAN 25, no. 1 (2018): 1–19.

Barandregt, Bart A., ed.Sonic Modernities in the Malay World: A History of Popular Music, Social Distinction, and Novel Lifestyles (1930s–2000s). Leiden: Brill, 2014.

Barandregt, Bart A., and Els Bogaerts, eds.Recollecting Resonances: Indonesian–Dutch Musical Encounters. Leiden: Brill, 2013.

Barendregt, Bart A., Peter Keppy, and Henk Schulte Nordholt, eds.Popular Music in Southeast Asia: Banal Beats, Muted Histories. Amsterdam: Amsterdam University Press, 2017.

Brinner, Benjamin, et al.Music in Central Java. Oxford: Oxford University Press, 2007.

Byl, Julia.Antiphonal Histories: Resonant Pasts in the Toba Batak Musical Present. Middletown, CT: Wesleyan University Press, 2014.

Cohen, Matthew Isaac.Performing Otherness: Java and Bali on International Stages, 1905–1952. London: Palgrave Macmillan, 2010.

———.Inventing the Performing Arts: Modernity and Tradition in Colonial Indonesia. Honolulu: University of Hawai’i Press, 2016.

Finnegan, Ruth.The Travels and Travails of Music, Lulu.com. 2016.

Irving, David R. M.Colonial Counterpoint: Music in Early Modern Manila. Oxford: Oxford University Press, 2010.

———. “Trading Tunes: Thomas Forrest, Malay Songs, and Musical Exchange in the Malay Archipelago, 1774–84.” InIntercultural Exchange in Southeast Asia: History and Society in the Early Modern World, edited by Tara Alberts and David R. M. Irving, 203–235. London: I. B. Tauris, 2013.

———. “Hybridity and Harmony: Nineteenth-Century British Discourse on Syncretism and Intercultural Compatibility in Malay Music.”Indonesia and the Malay World 42, no. 123 (2014): 197–221.

———. “The Genevan Psalter in Eighteenth-Century Indonesia and Sri Lanka.”Eighteenth-Century Music 11, no. 2 (2014): 235–55.

Johan, Adil. “Scoring Tradition, Making Nation: Zubir Said’s Traditionalised Film Music for Dang Anom.”Malaysian Journal of Music 6, no. 1 (2017): 50–72.

———.Cosmopolitan Intimacies: Malay Film Music of the Independence Era. Singapore: NUS, 2018.

Johan, Adil, and Mayco A Santaella, eds.Made in Nusantara: Studies in Popular Music. London: Routledge, 2021.

Kartomi, Margaret. “A Malay-Portuguese Synthesis on the West Coast of North Sumatra.” InPortugal and the World: The Encounter of Cultures in Music, edited by Salwa El-Shawan Castelo-Branco, 289–321. Lisbon: Publicações Dom Quixote, 1997.

———. “Some Implications of Local Concepts of Space in the Dance, Music, and Visual Arts of Aceh.”Yearbook for Traditional Music 36 (2004): 1–49.

———. “Music in 19th Century Java.”Journal of Southeast Asian Studies 21, no. 1 (1990): 1–34.

———. “Traditional Music Weeps.”Journal of Southeast Asian Studies26, no. 2 (1995): 366–400.Journal of Southeast Asian Studies 26, no. 2 (1995): 366–400.

———. “The Royal Nobat Ensemble of Indragiri in Riau, Sumatra, in Colonial and Post-Colonial Times.”Galpin Society Journal 50 (1997): 3–15.

———. “Indonesian-Chinese Oppression and the Musical Outcomes in the Netherlands East Indies.” InMusic and the Racial Imagination, edited by R. Radano and P. V. Bohlman, 271–317. Chicago: University of Chicago Press, 2000.

Keppy, Peter. “Southeast Asia in the Age of Jazz: Locating Popular Culture in the Colonial Philippines and Indonesia.”Journal of Southeast Asian Studies44, no. 3 (2013): 444–64.Journal of Southeast Asian Studies 44, no. 3 (2013): 444–64.

———.Tales of the Southeast Asia’s Jazz Age: Filipinos, Indonesians, and Popular Culture, 1920–1936. Chicago: University of Chicago Press, 2019.

Liew Kai Khiun, and Brenda Chan. “Vestigial Pop: Hokkien Popular Music and the Cultural Fossilization of Subalternity in Singapore.”Sojourn 28, no. 2 (2013): 272–98.

Eng-beng Lim.Brown Boys and Rice Queens: Spellbinding Performance in the Asias. New York: New York University Press, 2014.

Chua Ai Lin. “‘The Modern Magic Carpet’: Wireless Radio in Interwar Colonial Singapore.”Modern Asian Studies 46, no. 1 (2012): 167–91.

Matusky, Patricia, and Tan Sooi Beng.The Music of Malaysia. Farnham: Ashgate, 2004.

McCallum, Jenny. “Conflict and Compromise over Processional Sound in Nineteenth-Century Singapore.”Indonesia and the Malay World 45, no. 133 (2017): 315–33.

———. “Beguiling Voices: Traces of Vocality in the Malay Literary Tradition of the Riau Islands.”Ethnomusicology Forum 26, no. 1 (2017): 93–115.

Proudfoot, Ian. “From Recital to Sight-Reading: The Silencing of Texts in Malaysia.”Indonesia and the Malay World 30, no. 87 (2002): 117–44.

Ricklefs, Merle C. “Music and Dance Go to War in Java.”Archipel 99 (2020): 143–51.

Sarkissian, Margaret.D’Alburquerque’s Children: Performing Tradition in Malaysia’s Portuguese Settlement. Chicago: Chicago University Press, 2000.

Schechner, Richard. “Wayang Kulit in the Colonial Margin.”The Drama Review34, no. 2 (1990): 25–61.The Drama Review 34, no. 2 (1990): 25–61.

Selth, Andrew. Burma, Kipling and Western Music:The Riff from Mandalay. New York: Routledge, 2016.

Spiller, Henry.Javaphilia: American Love Affairs with Javanese Music and Dance. Honolulu: University of Hawai’i Press, 2017.

Sumarsam.Javenese Gamelan and the West. Rochester, NY: Rochester University Press, 2013.

Sugiyama, Akiko. “Maritime Journeys of European Opera in the Indonesian Archipelago, 1835–1869.”International Journal of Maritime History 31, no. 2 (2019): 248–62.

Sykes, Jim. “Sound Studies, Religion, and Urban Space: Tamil Music and the Ethical Life in Singapore.”Ethnomusicology Forum 24, no. 3 (2015): 380–413.

———. “Towards a Malayan Indian Sonic Geography: Sound and Social Relations in Colonial Singapore.”Journal of Southeast Asian Studies46, no. 3 (2015): 485–513.Journal of Southeast Asian Studies 46, no. 3 (2015): 485–513.

Talusan, Mary.Instruments of Empire: Filipino Musicians, Black Soldiers, and Military Band Music during US Colonization of the Philipines. Jackson: University Press of Mississippi, 2021. Instruments of Empire: Filipino Musicians, Black Soldiers, and Military Band Music during US Colonization of the Philipines. Jackson: University Press of Mississippi, 2021.

Tan Sooi Beng.Bangsawan: A Social and Stylistic History of Popular Malay Opera. Oxford: Oxford University Press, 1993.

———. “From Popular to ‘Traditional Theater’: The Dynamics of Change in Bangsawan of Malaysia.”Ethnomusicology33, no. 2 (1989): 229–74. Ethnomusicology 33, no. 2 (1989): 229–74.

———. “The 78 rpm Record Industry in Malaya Prior to World War II.”Asian Music 28, no. 1 (1996): 1–41.

———. “Cosmopolitan Identities: Evolving Musical Cultures of the Straits-Born Chinese of Pre-World War II Malaya.”Ethnomusicology Forum 25, no. 1 (2016): 35–57.

Thorpe, Ashley.Performing China on the London Stage: Chinese Opera and Global Power, 1759–2008. London: Palgrave Macmillan, 2018.

Tong Soon Lee.Chinese Street Opera in Singapore. Champaign: University of Illinois Press, 2009.

Wang Ying-fen. “The Transborder Dissemination of Nanguan in the Hokkien Quadrangle before and after 1945.”Ethnomusicology Forum 25, no. 1 (2016): 58–85.

Webb, Michael, and Steven Gagau. “‘Music between the Volcanoes’: Notes on Developing a Collaborative Local Performance History of a Colonial Port Town in the South Pacific.”Pacific Dynamics4, no. 2 (2020): 1–12.Webb, Michael, and Steven Gagau. “‘Music between the Volcanoes’: Notes on Developing a Collaborative Local Performance History of a Colonial Port Town in the South Pacific.” Pacific Dynamics 4, no. 2 (2020): 1–12.

Weintraub, Andrew N.Dangdut Stories: A Social and Musical History of Indonesia’s Most Popular Music. Oxford: Oxford University Press, 2010.

meLê yamomo. “Global Currents, Musical Streams: European Opera in Colonial Southeast Asia.”Nineteenth Century Theatre and Film 44, no. 1 (2017): 54–74.

———.Theatre and Music in Manila and the Asia Pacific, 1869–1946: Sounding Modernities. London: Palgrave Macmillan, 2018.

Yampolsky, Philip. “Three Genres of Indonesian Popular Music: Their Trajectories in the Colonial Era and after.”Asian Music 44, no. 2 (2013): 24–80.

———. “Music and Media in the Dutch East Indies: Gramophone Records and Radio in the Late Colonial Era, 1903–1942.” PhD diss., University of Washington, 2013.

Orientalism and Race

Bellman, Jonathan, ed.The Exotic in Western Music. Boston: Northeastern University Press, 1998.

Bloechl, Olivia, Melanie Low, and Jeffrey Kallberg, eds.Rethinking Difference in Music Scholarship. Cambridge: Cambridge University Press, 2015.

Born, Georgina, and David Hesmondhalgh, eds.Western Music and Its Others: Difference, Representation, and Appropriation in Music. Oakland: University of California Press, 2000.

Clayton, Martin, and Bennett Zon, eds.Music and Orientalism in the British Empire, 1780–1940s: Portrayal of the East. Farnham: Ashgate, 2007.

Eng-beng Lim.Brown Boys and Rice Queens: Spellbinding Performance in the Asias. New York: NYU Press, 2014.

Elmarsafy, Ziad, Anna Bernard, and David Attwell, eds.Debating Orientalism. Lodon: Palgrave Macmillan, 2013.

Farrell, Gerry.Indian Music and the West. Oxford: Clarendon Press, 1997.

Fauser, Annegret.Musical Encounters at the 1889 Paris World’s Fair. Rochester: University of Rochester, 2005.

Gould, Clarissa. “‘An Inoffensive Thing’: Edward Elgar,The Crown of India, and Empire.” In Music and Orientalism in the British Empire, 1780–1940s: Portrayal of the East, edited by Martin Clayton and Bennett Zon, 147–164. Farnham: Ashgate, 2007.

Kartomi, Margaret. “Indonesian-Chinese Oppression and the Musical Outcomes in the Netherlands East Indies.” InMusic and the Racial Imagination, edited by R. Radano and P. V. Bohlman, 271–317. Chicago: University of Chicago Press, 2000.

Linhart-Wood, Jennifer.Sounding Otherness in Early Modern Drama and Travel: Uncanny Vibrations in the English Archive. New Transculturalisms, 1400–1800. London: Palgrave Macmillan, 2019.

Locke, Ralph P.Music and the Exotic from the Renaissance to Mozart. Cambridge: Cambridge University Press, 2015.

———. “Aida and Nine Readings of Empire.”Nineteenth-Century Music Review 3, no. 1 (2006): 45–72.

Pritchard, Matthew. “Cultural Autonomy and the ‘Indian Exception’: Debating the Aesthetics of Indian Classical Music in Early 20th-Century Calcutta.” InStudies on a Global History of Music: A Balzan Musicology Project, edited by Reinhard Strohm, 256–273. Abingdon: Routledge, 2018.

Ramachandran, Aishwarya. “Music and Movement, Ragas, and Dances: Orientalism, ‘Jugalbandhi’ and the Shankar Brothers.” Popular Music and Society 43, no. 5 (2020): 523–34. https://doi.org/10./03007766..

Selth, Andrew. “The Road to Mandalay: Orientalism, ‘Burma Girls,’ and Western Music.”Journal of Research in Gender Studies 6, no. 1 (2016): 159–91.

———.Burma, Kipling, and Western Music: The Riff from Mandalay. New York: Routledge, 2016.

Sen, Suddhasheel. “Orientalism and beyond: Tagore, Foulds, and Cross-Cultural Exchanges between Indian and Western Musicians.” InStudies on a Global History of Music: A Balzan Musicology Project, edited by Reinhard Strohm, chapter 14. Abingdon: Routledge, 2018.

Spiller, Henry.Javaphilia: American Love Affairs with Javanese Music and Dance. Honolulu: University of Hawai’i Press, 2017.

Subramanian, Lakshmi. “Negotiating Orientalism: The Kaccheri and the Critic in Colonial South India.” InMusic and Orientalism in the British Empire 1780s–1940s, edited by Martin Clayton and Bennett Zon, 189–208. Aldershot: Ashgate, 2007.

Sumarsam.Javanese Gamelan and the West. Rochester, NY: Rochester University Press, 2013.

Taylor, Timothy.Beyond Exoticism. Durham: Duke University Press, 2007.

Van Der Linden, Bob. “Music, Theosophical Spirituality, and Empire: The British Modernist Composers Cyril Scott and John Foulds.”Journal of Global History 3 (2008): 163–82.

Willson, Rachel Beckles.Orientalism and Musical Mission: Palestine and the West. Cambridge: Cambridge University Press, 2013.

Circulation

Arrighi, Gillian. “The Controversial ‘Case of the Opera Children in the East’: Political Conflict between Popular Demand for Child Actors and Modernizing Cultural Policy on the Child.”Theatre Journal 69, no. 2 (2017): 153–73.

Becker, Tobias. “Entertaining the Empire: Theatrical Touring Companies and Amateur Dramatics in Colonial India.”Historical Journal 57, no. 3 (2014): 699–725.

Bohlman, Philip V. “Representation and Cultural Critique in the History of Ethnomusicology.” InComparative Musicology and Anthropology of Music, edited by Bruno Nettl and Philip V. Bohlman, 131–51. Chicago: Chicago University Press, 1991.

Bor, Joep. “Mamia, Ammani and Other Bayadères: Europe’s Portrayal of India’s Temple Dancers.” InMusic and Orientalism in the British Empire 1780s–1940s, edited by Martin Clayton and Bennett Zon, 39–70. Farnham: Ashgate, 2007.

De Bruijn, Thomas, and Allison Busch, eds.Culture and Circulation: Literature in Motion in Early Modern India. Leiden: Brill, 2014.

Capwell, Charles. “Contemporary Manifestations of Yemeni-Derived Song and Dance in Indonesia.”Yearbook for Traditional Music 27 (1995): 76–89.

Cohen, Matthew Isaac.Performing Otherness: Java and Bali on International Stages, 1905–1952. London: Palgrave Macmillan, 2010.

Dodson, Michael S., and Brian A. Hatcher, eds.Trans-Colonial Modernities in South Asia. London: Routledge, 2012.

Farrell, Gerry. “The Early Days of the Gramophone Industry in India: Historical, Social, and Musical Perspectives.”British Journal of Ethnomusicology2 (1993): 31–53.British Journal of Ethnomusicology 2 (1993): 31–53.

Finnegan, Ruth.The Travels and Travails of Music. Lulu.com, 2016.

Gelvin, James L., and Nile Green, eds.Global Muslims in the Age of Steam and Print. Oakland: University of California Press, 2014.

Green, Nile, ed.Terrains of Exchange: Religious Economies of Global Islam. London: Hurst, 2015.

Gronow, Pekka. “The Record Industry Comes to the Orient.”Ethnomusicology 25, no. 2 (1981): 251–84.

Harper, Timothy N., and Sunil S. Amrith.Sites of Asian Interaction: Ideas, Networks, and Mobility. Cambridge: Cambridge University Press, 2014.

Harrison, Frank.Time, Place and Music: An Anthology of Ethnomusicological Observation c. to c.. Amsterdam: Frits Knuf, 1973.

Hijleh, Mark.Towards a Global Music History: Intercultural Convergence, Fusion, and Transformation in the Human Musical Story. London: Routledge, 2018.

Hilarian, Larry Francis. “The Structure and Development of the Gambus (Malay-Lutes).”The Galpin Society Journal58 (2005): 66–82, 215–16.The Galpin Society Journal 58 (2005): 66–82, 215–16.

Ho, Engseng.The Graves of Tarim: Genealogy and Mobility across the Indian Ocean. Oakland: University of California Press, 2006.

Hofmeyr, Isabel. “The Black Atlantic Meets the Indian Ocean: Forging New Paradigms of Transnationalism for the Global South—Literary and Cultural Perspectives.”Social Dynamics 33, no. 2 (2007): 3–32.

Irving, David R. M. “Comparative Organography in Early Modern Empires.”Music & Letters 90, no. 3 (2009): 372–98.

———. “Trading Tunes: Thomas Forrest, Malay Songs, and Musical Exchange in the Malay Archipelago, 1774–84.” InIntercultural Exchange in Southeast Asia: History and Society in the Early Modern World, edited by Tara Alberts and David R. M. Irving, 203–235. I. B. Tauris, 2013.

———. “Hybridity and Harmony: Nineteenth-Century British Discourse on Syncretism and Intercultural Compatibility in Malay Music.”Indonesia and the Malay World 42, no. 123 (2014): 197–221.

———. “The Genevan Psalter in Eighteenth-Century Indonesia and Sri Lanka.”Eighteenth-Century Music 11, no. 2 (2014): 235–55.

Keppy, Peter. “Southeast Asia in the Age of Jazz: Locating Popular Culture in the Colonial Philippines and Indonesia.”Journal of Southeast Asian Studies 44, no. 3 (2013): 444–64.

Laffan, Michael, ed.Belonging across the Bay of Bengal: Religious Rites, Colonial Migrations, National Rights. London: Bloomsbury, 2017.

Liebersohn, Harry.Music and the New Global Culture: From the Great Exhibitions to the Jazz Age. Chicago: University of Chicago Press, 2019.

Lubinski, Christina, and Andrea Sten. “Traveling Entrepreneurs, Traveling Sounds: The Early Gramophone Business in India and China.”Itinerario 41, no. 2 (2017): 275–303.

Lin, Chua Ai. “‘The Modern Magic Carpet’: Wireless Radio in Interwar Colonial Singapore.”Modern Asian Studies 46, no. 1 (2012): 167–91.

Orsini, Francesca. “Songbooks in Print.” InPrint and Pleasure: Popular Literature and Entertaining Fictions in Colonial North India, by Orsini, 81–105. Hyderabad: Orient Blackswan, 2009.

Orsini, Francesca, Sara Marzagora, and Karima Laachir. “Multilingual Locals and Textual Circulation before Colonialism.”Comparative Studies of South Asia, Africa, and the Middle East 39, no. 1 (2019): 63–7.

Osterhammel, Jürgen. “Globale Horizonte europäischer Kunstmusik, 1860–1930.”Geschichte und Gesellschaft 38, no. 1 (2012): 86–132.

Pearson, M. N. “Littoral Society: The Concept and the Problems.”Journal of World History 17, no. 4 (2005): 353–73.

Ramnarine, Tina K., ed.Global Perspectives on Orchestras: Collective Creativity and Social Agency. Oxford: Oxford University Press, 2017.

Ray, Rajat Kanta. “Asian Capital in the Age of European Expansion: The Rise of the Bazaar, 1800–1914.”Modern Asian Studies 29, no. 3 (1995): 553–54.

Reily, Suzel Ana, and Katherine Brucher, eds.Brass Bands of the World: Militarism, Colonial Legacies, and Local Music Making. Farnham: Ashgate, 2013.

Ricci, Ronit.Islam Translated: Literature, Conversion, and the Arabic Cosmopolis of South and Southeast Asia. Chicago: University of Chicago Press, 2011.

Sachdeva-Jha, Shweta. “Eurasian Women as Tawa’if Singers and Recording Artists: Entertainment and Identity-Making in Colonial India.”African and Asian Studies 8 (2009): 268–87.

Schenker, Frederick J. “Empire of Syncopation: Music, Race, and Labor in Colonial Asia’s Jazz Age.” PhD diss., University of Wisconson–Madison, 2016.

Sheeran, Anne. “Baila Music: European Modernity and Afro-Iberian Popular Music in Sri Lanka.” InThe Hybrid Island: Culture Crossings and the Invention of Identity in Sri Lanka, edited by Neluka Silva, 146–170. London: Bloomsbury, 2002.

Sheriff, Abdul, and Engseng Ho.The Indian Ocean: Oceanic Connections and the Creation of New Societies. London: Hurst, 2014.

Shope, Bradley. “Anglo-Indian Identity, Knowledge, and Power: Western Ballroom Music in Lucknow.”Drama Review 48, no. 4 (2004): 167–82.

Solis, Gabriel. “Transpacific Excursions: Multi-Sited Ethnomusicology, the Black Pacific, and Nettl’s Comparative (Method).” InThis Thing Called Music: Essays in Honor of Bruno Nettl, edited by Victoria Lindsay Levine and Philip V Bohlman, 354-365. Lanham, MD: Rowman and Littlefield, 2015.

Stratton, Jon.When Music Migrates: Crossing British and European Racial Faultlines, 1945–2010. London: Routledge, 2014.

Sugiyama, Akiko. “Maritime Journeys of European Opera in the Indonesian Archipelago, 1835–1869.”International Journal of Maritime History 31, no. 2 (2019): 248–62.

Tagliacozzo, Eric. “An Urban Ocean: Notes on the Historical Evolution of Coastal Cities in Greater Southeast Asia.”Journal of Urban History 33 (2007): 911.

Tan Sooi Beng.Bangsawan: A Social and Stylistic History of Popular Malay Opera. Oxford: Oxford University Press, 1993.

Thorpe, Ashley.Performing China on the London Stage: Chinese Opera and Global Power, 1759–2008. London: Palgrave Macmillan, 2018.

Van Der Linden, Bob. “Non-Western National Music and Empire in Global History: Interactions, Uniformities, and Comparisons.”Journal of Global History 10, no. 3 (2015): 431–56.

Wang Ying-fen. “The Transborder Dissemination ofNanguan in the Hokkien Quadrangle before and after 1945.” Ethnomusicology Forum 25, no. 1 (2016): 58–85.

Western, Tom. “National Phonography in the Musical Past: Empire, Archive, and Overlapping Musical Migrations in Britain.” InConfronting the National in the Musical Past, edited by Elaine Kelly, Markus Mantere, and Derek Scott, 124-137. London: Routledge, 2018.

Woodfield, Ian.English Musicians in the Age of Exploration. Hillsdale: Pendragon, 1995.

yamomo, meLê. “Global Currents, Musical Streams: European Opera in Colonial Southeast Asia.”Nineteenth Century Theatre and Film 44, no. 1 (2017): 54–74.

———.Theatre and Music in Manila and the Asia Pacific, 1869–1946: Sounding Modernities. London: Palgrave Macmillan, 2018.

Knowledge

Agnew, Vanessa. “The Colonialist Beginnings of Comparative Musicology.” InGermany’s Colonial Pasts, edited by Eric Ames, Marcia Klotz, and Lora Wildenthal, 41–60. Lincoln: University of Nebraska Press, 2005.

Atarthi, Sagnik. “Whither Musicology? Amateur Musicologists and Music Writing in Bengal.”Ethnomusicology Forum 26, no. 2 (2017): 247–68.

Bakhle, Janaki.Two Men and Music. Oxford: Oxford University Press, 2005.

Bayly, C. A.Empire and Information. Cambridge: Cambridge University Press, 1996.

Bohlman, Philip V., ed.The Cambridge History of World Music. Cambridge: Cambridge University Press, 2013.

Brinner, Benjamin. “A Musical Time Capsule from Java.”Journal of the American Musicological Society 46, no. 2 (1993): 221–60.

Capwell, Charles. “Marginality and Musicology in Nineteenth-Century Calcutta: The Case of Sourindro Mohun Tagore.” InComparative Musicology and Anthropology of Music, edited by Bruno Nettl and Philip V. Bohlman, 228–43. Chicago: University of Chicago Press, 1991.

Clayton, Martin, and Bennett Zon, eds. Music and Orientalism in the British Empire, 1780–1940s: Portrayal of the East. Farnham: Ashgate, 2007.

Cohen, Matthew Isaac.Inventing the Performing Arts: Modernity and Tradition in Colonial Indonesia. Honolulu: University of Hawai’i Press, 2016.

Dirks, Nicholas.Castes of Mind. Princeton: Princeton University Press, 2001.

Field, Garrett.Modernizing Composition: Sinhala Song, Poetry, and Politics in Twentieth-Century Sri Lanka. Oakland: University of California Press, 2017.

Irving, David R. M. “The British Historiography of Malay Music in the Nineteenth Century.” InProceedings of the Penang and the Indian Ocean Conferences, Sept 16–18, 2011. George Town, Penang: Think City, 2012.

———. “Hybridity and Harmony: Nineteenth-Century British Discourse on Syncretism and Intercultural Compatibility in Malay Music.”Indonesia and the Malay World 42, no. 123 (2014): 197–221.

Johan, Adil. “Scoring Tradition, Making Nation: Zubir Said’s Traditionalised Film Music for Dang Anom.”Malaysian Journal of Music 6, no. 1 (2017): 50–72.

Katz, Max.Lineage of Loss: Counternarratives of North Indian Music. Middletown, CT: Wesleyan University Press, 2017.

McCallum, Jenny. “Beguiling Voices: Traces of Vocality in the Malay Literary Tradition of the Riau Islands.”Ethnomusicology Forum 26, no. 1 (2017): 93–115.

Moyn, Samuel, and Andrew Sartori, eds.Global Intellectual History. New York: Columbia University Press, 2013.

Niranjana, Tejaswini. “Musicophilia and the Lingua Musica in Mumbai.”Cultural Studies 32, no. 2 (2017): 261–85.

Orsini, Francesca, and Katherine Butler Schofield, eds.Tellings and Texts: Music, Literature, and Performance in North India. Cambridge: Open Book, 2015.

Peabody, Norbert. “Cents, Sense, Census.”Comparative Studies in Society and History 43, no. 4 (2001): 819–50.

Pollock, Sheldon.Forms of Knowledge in Early Modern Asia. Durham: Duke University Press, 2011.

Powers, Harold. “Classical Music, Cultural Roots, and Colonial Rule: An Indic Musicologist Looks at the Muslim World.”Asian Music 12, no. 1 (1980): 5–39.

Saha, Poulomi. “Singing Bengal into a Nation: Tagore the Colonial Cosmopolitan?”Journal of Modern Literature 36, no. 2 (2013): 1–24.

Schofield, Katherine Butler. “‘Words without Songs’: The Social History of Hindustani Song Collections in India’s Muslim Courts c. 1770–1830.” InTheory and Practice in the Music of the Islamic World, edited by Rachel Harris and Martin Stokes, 173-198. London: Routledge, 2018.

Walker, Margaret E. “The ‘Nautch’ Reclaimed: Women’s Performance Practice in Nineteenth-Century North India.”South Asia 37, no. 4 (2014): 551–67.

Weidman, Amanda J.Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India. Durham: Duke University Press, 2006.

Winichakul, Thongchai.Siam Mapped: A History of the Geo-Body of a Nation. Honolulu: University of Hawaii, 1997.

Zon, Bennett.Representing Non-Western Music in Nineteenth-Century Britain.Rochester: University of Rochester Press, 2007.Representing Non-Western Music in Nineteenth-Century Britain. Rochester: University of Rochester Press, 2007.

———.Evolution and Victorian Musical Culture. Cambridge: Cambridge University Press, 2017.

Sound and Affect

Barandregt, Bart A., ed.Sonic Modernities in the Malay World: A History of Popular Music, Social Distinction and Novel Lifestyles (1930s–2000s). Leiden: Brill, 2014.

Byl, Julia.Antiphonal Histories: Resonant Pasts in the Toba Batak Musical Present. Middletown, CT: Wesleyan, 2014.

Dillon, Emma.The Sense of Sound: Musical Meaning in France, 1260–1330. Oxford: Oxford University Press, 2012.

Erlmann, Veit, ed.Hearing Cultures: Essays on Sound, Listening and Modernity. Oxford: Berg, 2004.

———.Reason and Resonance: A History of Modern Aurality. Cambridge, MA: MIT Press, 2010.

Fahmy, Ziad. “Coming to Our Senses: Historicizing Sound and Noise in the Middle East.”History Compass 11, no. 4 (2003): 305–15.

Frishkopf, Michael. “Globalizing the Soundworld: Islam and Sufi Music in the West.” InSufis in Western Society: Global Networking and Locality, edited by M. Dressler et al., 46–76. London: Routledge, 2008.

Gibson, Kirsten, and Ian Biddle, eds.Cultural Histories of Noise, Sound, and Listening in Europe, 1300–1918. London: Routledge, 2017.

Hacke, Daniela, and Paul Musselwhite.Empire of the Senses: Sensory Practices of Colonialism in Early America. Leiden: Brill, 2017.

Irvine, Thomas.Listening to China: Sound and the Sino-Western Encounter, 1770–1839. Chicago: University of Chicago Press, 2019.

Jouili, Jeanette S., and Annelies Moors. “Introduction: Islamic Sounds and the Politics of Listening.”Anthropological Quarterly 87, no. 4 (2014): 977–88.

Linhart-Wood, Jennifer.Sounding Otherness in Early Modern Drama and Travel: Uncanny Vibrations in the English Archive. New Transculturalisms, 1400–1800. London: Palgrave Macmillan, 2019.

Lubinski, Christina, and Andrea Steen. “Traveling Entrepreneurs, Traveling Sounds: The Early Gramophone Business in India and China.”Itinerario 41, no. 2 (2017): 275–303.

McCallum, Jennifer. “Conflict and Compromise over Processional Sound in Nineteenth-Century Singapore.”Indonesia and the Malay World 45, no. 133 (2017): 315–33.

Ochoa Gautier, Ana Maria.Aurality: Listening and Knowledge in Nineteenth-Century Colombia. Chapel Hill: University of North Carolina Press, 2014.

Orsini, Francesca, and Katherine Butler Schofield, eds.Tellings and Texts: Music, Literature, and Performance in North India. Cambridge: Open Book, 2015.

Proudfoot, Ian. “From Recital to Sight-Reading: The Silencing of Texts in Malaysia.”Indonesia and the Malay World 30, no. 87 (2002): 117–44.

Radano, Ronald, and Tejumola Olaniyan, eds.Audible Empire: Music, Global Politics, Critique. Durham: Duke University Press, 2016.

Samuels, David W., Louise Meintjes, Ana Maria Ochoa, and Thomas Porcello. “Soundscapes: Towards a Sounded Anthropology.”Annual Review of Anthropology 39 (2010): 329–45.

Schofield, Katherine Butler. “Learning to Taste the Emotions: The MughalRasika.” In Tellings and Texts: Music, Literature, and Performance in North India, edited by Francesca Orsini and Katherine Butler Schofield, 407–22. Cambridge: Open Book, 2015.

Steingo, Gavin, and Jim Sykes.Remapping Sound Studies. Durham: Duke University Press, 2019.

Sterne, Jonathan.The Audible Past: Cultural Origins of Sound Production. Durham: Duke University Press, 2003.

———, ed.The Sound Studies Reader. London: Routledge, 2012.

Sykes, Jim. “Sound Studies, Religion, and Urban Space: Tamil Music and the Ethical Life in Singapore.”Ethnomusicology Forum24, no. 3 (2015): 380–413.Ethnomusicology Forum 24, no. 3 (2015): 380–413.

———. “Towards a Malayan Indian Sonic Geography: Sound and Social Relations in Colonial Singapore.”Journal of Southeast Asian Studies 46, no. 3 (2015): 485–513.

Tomlinson, Gary.The Singing of the New World: Indigenous Voice in the Era of European Contact.Cambridge: Cambridge University Press, 2007.The Singing of the New World: Indigenous Voice in the Era of European Contact. Cambridge: Cambridge University Press, 2007.

Williams, Richard David. “Music, Lyrics, and the Bengali Book: Hindustani Musicology in Calcutta, 1818–1905.”Music and Letters 97, no. 3 (2016): 465–95.

Religion

Andaya, Barbara. “Between Empires and Emporia: The Economics of Christianization in Early Modern Southeast Asia.”Journal of the Economic and Social History of the Orient 53 (2010): 357–92.

Ahmed, Shahab.What is Islam? The Importance of Being Islamic. Princeton: Princeton University Press, 2016.

Bakhle, Janaki.Two Men and Music. Oxford: Oxford University Press, 2005. pp. 96–136.

Bose, Sugata, and Ayesha Jalal.Oceanic Islam: Muslim Universalism and European Imperialism. London: Bloomsbury, 2020.

Byl, Julia, Raja Iskandar bin Raja Halid, David Lunn, and Jenny McCallum. “TheSyair Tabut of Encik Ali: A Malay Account of Muharram at Singapore, 1864.” Indonesia and the Malay World 45, no. 133 (2017): 421–38.

Gelvin, James L., and Nile Green, eds.Global Muslims in the Age of Steam and Print. Oakland: University of California Press, 2014.

Green, Nile, ed.Terrains of Exchange: Religious Economies of Global Islam. London: Hurst, 2015.

Guenther, Alan M. “Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India.” Studies in World Christianity 25, no. 2 (2019): 145–65.

Harnish, David, and Anne K. Rasmussen, eds.Divine Inspirations: Music and Islam in Indonesia. Oxford: Oxford University Press, 2011. pp. 45–79.

Irving, David R. M. “The Genevan Psalter in Eighteenth-Century Indonesia and Sri Lanka.”Eighteenth-Century Music 11, no. 2 (2014): 235–55.

Manuel, Peter. “Music, the Media and Communal Relations in North India, Past and Present.” InMaking India Hindu: Religion, Community, and the Politics of Democracy in India, edited by David Ludden, chapter 5. Oxford: Oxford University Press, 2005.

Laffan, Michael, ed.Belonging across the Bay of Bengal: Religious Rites, Colonial Migrations, National Rights. London: Bloomsbury, 2017.

Lunn, David, and Julia Byl. “‘One Story Ends and Another Begins’: Reading theSyair Tabut of Encik Ali.” Indonesia and the Malay World 45, no. 133 (2017): 391–420.

McCallum, Jenny. “Conflict and Compromise over Processional Sound in Nineteenth-Century Singapore.”Indonesia and the Malay World 45, no. 133 (2017): 315–33.

Qureshi, Regula. “‘Muslim Devotional’: Popular Religious Music and Muslim Identity under British, Indian, and Pakistani Hegemony.”Asian Music 24, no. 1 (1992–1993): 111–21.

Ricci, Ronit.Islam Translated: Literature, Conversion, and the Arabic Cosmopolis of South and Southeast Asia. Chicago: University of Chicago Press, 2011.

Risso, Patricia.Merchants and Faith: Muslim Commerce and Culture in the Indian Ocean. Boulder, CO: Westview, 1995.

Sarkissian, Margaret. “‘Religion Never Had It so Good’: Contemporary Nasyid and the Growth of Islamic Popular Music in Malaysia.”Yearbook for Traditional Music (2005): 124–52.

Sykes, Jim. “Sound Studies, Religion and Urban Space: Tamil Music and the Ethical Life in Singapore.”Ethnomusicology Forum24, no. 3 (2015): 380–413.Ethnomusicology Forum 24, no. 3 (2015): 380–413.

———. “Sound as Promise and Threat: Drumming, Collective Violence and Colonial Law in British Ceylon.” InCultural Histories of Noise, Sound, and Listening in Europe, 1300–1918, edited by Ian Biddle and Kirsten Gibson, 127–151. London: Routledge, 2016.

Sumarsam. “Past and Present Issues of Islam within the Central Javanese Gamelan and Wayang Kulit.” InDivine Inspirations: Music and Islam in Indonesia, edited by David Harnish and Anne K Rasmussen, 45–79. Oxford: Oxford University Press, 2011.

Tschacher, Torsten. “From Local Practice to Transnational Network—Saints, Shrines, and Sufis among Tamil Muslims in Singapore.”Asian Journal of Social Science34, no. 2 (2006): 225–42.Asian Journal of Social Science 34, no. 2 (2006): 225–42.

Van Der Linden, Bob. “Music, Theosophical Spirituality, and Empire: The British Modernist Composers Cyril Scott and John Foulds.”Journal of Global History 3 (2008): 163–82.

Wendt, Reinhard. “Philippine Fiesta and Colonial Culture.”Philippine Studies 46, no. 1 (1998): 3–23.

Gender and Sexuality

Afzal-Khan, Fawzia. “The Respectable Courtesan: Malka Pukhraj, Music, and the Postcolonial Nation.”Performing Islam 6, no. 1 (2017): 41–59.

———. “Roshan Ara Begum: Performing Classical Music, Gender, and Muslim Nationalism in Pakistan.”Drama Review62, no. 4 (2018): 8–22. Drama Review 62, no. 4 (2018): 8–22.

Andaya, Barbara Watson.The Flaming Womb: Repositioning Women in Southeast Asian History. Honolulu: University of Hawai’i Press, 2006.

Appadurai, Arjun et al., eds.Gender, Genre and Power in South Asian Expressive Traditions. Philadelphia: University of Pennsylvania Press, 1991.

Bor, Joep. “The Voice of the Sarangi.”Quarterly Journal of the NCPA 15–16 (1986–1987): http://sarangi.info/2006/09/13/the-voice-of-the-sarangi-by-joep-

bor/

Brown [Schofield], Katherine Butler. “If Music Be the Food of Love: Masculinity and Eroticism in the MughalMehfil.” In Love in South Asia: A Cultural History, edited by Francesca Orsini, 61–83. Cambridge: Cambridge University Press, 2006.

Das Gupta, Amlan. “Women and Music: The Case of North India.” InWomen of India: Colonial and Post-Colonial Periods. History of Science, Philosophy, and Culture in Indian Civilization Vol. 9, part 3, edited by Bharati Ray, 454–484. New Delhi: Sage, 2005.

Dewan, Saba.Tawaifnama. Chennai: Westland, 2019.

Du Perron, Lalita. “‘Thumri’: A Discussion of the Female Voice of Hindustani Music.”Modern Asian studies 36, no. 1 (2002): 173–93.

Hansen, Kathryn. “Making Women Visible: Gender and Race Cross-Dressing in the Parsi Theatre.”Theatre Journal 51, no. 2 (1999): 127–47.

Hinchy, Jessica.Governing Gender and Sexuality in Colonial India: The Hijra, c. 1850–1900. Cambridge: Cambridge University Press, 2019.

Indraganti, Kiranmayi.Her Majestic Voice: South Indian Female Playback Singers and Stardom, 1945–1955.Oxford: Oxford University Press, 2016.Her Majestic Voice: South Indian Female Playback Singers and Stardom, 1945–1955. Oxford: Oxford University Press, 2016.

Kapuria, Radha. “Of Music and the Maharaja: Gender, Affect, and Power in Ranjit Singh’s Lahore.”Modern Asian Studies 54, no. 4 (2020): 654–90.

Kosambi, Meera.Gender, Culture, and Performance: Marathi Theatre and Cinema before Independence. London: Routledge, 2015.

Lim, Eng-beng.Brown Boys and Rice Queens: Spellbinding Performance in the Asias. New York: NYU Press, 2014.

Morcom, Anna.Illicit Worlds of Indian Dance: Cultures of Exclusion. London: Hurst, 2013.

Oldenburg, Veena. “Lifestyle as Resistance? The Case of the Courtesans of Lucknow.”Feminist Studies 16 (1990): 259–87.

Parker, Kunal. “‘A Corporation of Superior Prostitutes’: Anglo-Indian Legal Conceptions of Temple Dancing Girls, 1800–1914.”Modern Asian Studies 32, no. 3 (1998): 559–663.

Sachdeva-Jha, Shweta. “Eurasian Women asTawaif Singers and Recording Artists: Entertainment and Identity Making in Colonial India.” African and Asian Studies 8 (2009): 268–87.

Schofield, Katherine Butler. “The Courtesan Tale: Female Musicians and Dancers in Mughal Historical Chronicles, c. 1556–1748.”Gender & History 24, no. 1 (2012): 150–71.

Srinivasan, Amrit. “Reform and Revival: The Devadasi and Her Dance.”Economic and Political Weekly 20, no. 44 (1985): 1869–76.

Tula, Meenal. “Gentrified Fantasies: Women Singers on the Gramophone in Late Colonial India.”Women’s History Review 30, no. 7 (2021): 1119–40.

Vanita, Ruth.Dancing with the Nation: Courtesans in Bombay Cinema. London: Bloomsbury, 2018.

Waheed, Sarah. “Women of ‘Ill Repute’: Ethics and Urdu Literature in Colonial India.”Modern Asian Studies 48, no. 4 (2014): 986–1023.

Walker, Margaret E.India’s Kathak Dance in Historical Perspective. London: Routledge, 2014.

———. “National Purity and Postcolonial Hybridity in India’sKathak Dance Revival.” In Oxford Handbook of Music Revival, edited by Caroline Bithell and Juniper Hill, 205–227. Oxford: Oxford University Press, 2014.

———. “The ‘Nautch’ Reclaimed: Women’s Performance Practice in Nineteenth-Century North India.”South Asia 37, no. 4 (2014): 551–67.

Weidman, Amanda. “Gender and the Politics of Voice: Colonial Modernity and Classical Music in South India.”Cultural Anthropology 18, no. 2 (2003): 194–232.

Williams, Richard David. “Songs between Cities: Listening to Courtesans in Colonial North India.”Journal of the Royal Asiatic Society 27, no. 4 (2017): 591–610.

Sovereignty and Decolonisation

Anderson, Benedict.Imagined Communities: Reflections on the Origin and Spread of Nationalism. New York: Verso, 2006.

Capwell, Charles. “Sourindro Mohun Tagore and the National Anthem Project.”Ethnomusicology31, no. 3 (1987): 407–30.Ethnomusicology 31, no. 3 (1987): 407–30.

Chopyak, James D., “The Role of Music in Mass Media, Public Education, and the Formation of a Malaysian National Culture.”Ethnomusicology 31, no. 3 (1987): 431–54.

Cohn, Bernard S.Colonialism and Its Forms of Knowledge: The British in India. Princeton: Princeton University Press, 1996.

Farrell, Gerry.Indian Music and the West. Oxford: Clarendon Press, 1997. pp. 45-76.

Field, Garrett.Modernizing Composition: Sinhala Song, Poetry, and Politics in Twentieth-Century Sri Lanka. Oakland: University of California Press, 2017.

Johan, Adil. “Scoring Tradition, Making Nation: Zubir Said’s Traditionalised Film Music for Dang Anom.”Malaysian Journal of Music 6, no. 1 (2017): 50–72.

———.Cosmopolitan Intimacies: Malay Film Music of the Independence Era. Singapore: NUS, 2018.

Lunn, David, and Katherine Butler Schofield. “Desire, Devotion, and the Music of the Monsoon at the Court of the Emperor Shah Alam II.” InMonsoon Feelings: A History of Emotions in the Rain, edited by Imke Rajamani, Margrit Pernau, and Katherine Butler Schofield, 220–54. New Delhi: Niyogi, 2018.

Mitter, Partha.Art and Nationalism in Colonial India, 1850–1922: Occidental Orientations. Cambridge: Cambridge University Press, 1994.

Pemberton, John.On the Subject of ‘Java.’ Ithaca: Cornell University Press, 1994.

Reid, Anthony. “Cosmopolis and Nation in Central Southeast Asia.”Asia Research Institute Working Paper Series 22 (2004).

Ramnarine, Tina K. “Orchestral Connections in the Cultures of Decolonization: Reflections on British, Caribbean, and Indian Contexts.” InGlobal Perspectives on Orchestras: Collective Creativity and Social Agency, edited by Ramnarine, 324-350. Oxford: Oxford University Press, 2017.

Poulomi, Saha. “Singing Bengal into a Nation: Tagore the Colonial Cosmopolitan?”Journal of Modern Literature 36, no. 2 (2013): 1–24.

Sen, Sudipta.Distant Sovereignty: National Imperialism and the Origins of British India. London: Routledge, 2002.

Stokes, Martin. “Music and the Global Rrder.”Annual Review of Anthropology 33 (2004): 47–72.

Tan, Shzr Ee, ed. “Decolonising Music and Music Studies.” Special issue ofEthnomusicology Forum 30, no. 1 (2021).

———. “WhoseDecolonisation? Checking for Intersectionality, Lane-Policing and Academic Privilege from a Transnational (Chinese) Vantage Point.”Ethnomusicology Forum30, no. 1 (2021): 140–62.Whose Decolonisation? Checking for Intersectionality, Lane-Policing and Academic Privilege from a Transnational (Chinese) Vantage Point.” Ethnomusicology Forum 30, no. 1 (2021): 140–62.

Tuck, Eve, and K. Wayne Yang. “Decolonization Is not a Metaphor.”Decolonization: Indigeneity, Education, & Society 1, no. 1 (2012): 1–40.

Turnbull, C. M. “British Colonialism and the Making of the Modern Johor Monarchy.”Indonesia and the Malay World37, no. 109 (2009): 227–48. Indonesia and the Malay World 37, no. 109 (2009): 227–48.

Van Der Linden, Bob. “Non-Western National Music and Empire in Global History: Interactions, Uniformities, and Comparisons.”Journal of Global History 10, no. 3 (2015): 431–56.

Walker, Margaret. “National Purity and Postcolonial Hybridity in India’sKathak Dance Revival.” In Oxford Handbook of Music Revival, edited by Caroline Bithell and Juniper Hill, 205–227. Oxford: Oxford University Press, 2014.

Western, Tom. “National Phonography in the Musical Past: Empire, Archive, and Overlapping Musical Migrations in Britain.” InConfronting the National in the Musical Past, edited by Elaine Kelly, Markus Mantere, and Derek Scott, 124–137. London: Routledge, 2018.

White, Timothy R. “Historical Poetics, Malaysian Cinema, and the Japanese Occupation.”Kinema: A Journal for Film and Audiovisual Media(fall 1996).Kinema: A Journal for Film and Audiovisual Media (fall 1996).

General Bibliography

General History Books

Abu Lughod, Janet.Before European Hegemony: The World System, AD 1250–1350. Oxford: Oxford University Press, 1991.

Ahmed, Shahab.What is Islam? The Importance of Being Islamic. Princeton: Princeton University Press, 2016.

Alpers, Edward A.The Indian Ocean in World History. Oxford: Oxford University Press, 2014.

Amrith, Sunil S.Crossing the Bay of Bengal: The Furies of Nature and the Fortunes of Migrants.Cambridge: Harvard University Press, 2013.Crossing the Bay of Bengal: The Furies of Nature and the Fortunes of Migrants. Cambridge: Harvard University Press, 2013.

Andaya, Barbara Watson.A History of Early Modern Southeast Asia, 1400–1830. Cambridge: Cambridge University Press, 2015.

Armitage, David, Alison Bashford, and Sujit Sivasundaram, eds.Oceanic Histories. Cambridge: Cambridge University Press, 2018.

Bayly, C. A.Imperial Meridian: The British Empire and the World, 1780–1830. London: Routledge, 1989.

———.The Birth of the Modern World, 1780–1914: Global Connections and Comparisons. Hoboken, NJ: Wiley-Blackwell, 2004.

Bentley, Jerry H., Sanjay Subrahmanyam, and Merry Wiesner-Hanks, eds.The Cambridge World History.Vol. 6, parts 1 and 2,The Construction of a Global World, 1400–1800 CE.Cambridge: Cambridge University Press, 2015.The Cambridge World History. Vol. 6, parts 1 and 2, The Construction of a Global World, 1400–1800 CE. Cambridge: Cambridge University Press, 2015.

Bose, Sugata.A Hundred Horizons: The Indian Ocean in the Age of Global Empire. Cambridge: Harvard University Press, 2006.

Bose, Sugata, and Ayesha Jalal.Oceanic Islam: Muslim Universalism and European Imperialism. London: Bloomsbury, 2020.

Chaudhuri, K. N.Trade and Civilisation in the Indian Ocean. Cambridge: Cambridge University Press, 1985.

Dalrymple, William.White Mughals: Love and Betrayal in Eighteenth-Century India. London: Bloomsbury, 2004.

———.The Anarchy: The Relentless Rise of the East India Company. London: Bloomsbury, 2019.

Das, Santanu.India, Empire, and First World War Culture: Writings, Images, and Songs. Cambridge: Cambridge University Press, 2018.

Das Gupta, Ashin, and M. N. Pearson, eds.India and the Indian Ocean, 1500–1800. Oxford: Oxford University Press, 1987.

De Bruijn, Thomas, and Allison Busch, eds.Culture and Circulation: Literature in Motion in Early Modern India. Leiden: Brill, 2014.

Dodson, Michael S., and Brian A. Hatcher, eds.Trans-Colonial Modernities in South Asia. London: Routledge, 2012.

Dutta, Sutapa, and Nilanjana Mukherjee, eds.Mapping India: Transitions and Transformations, 18th–19th Century. London: Routledge, 2019.

Elmarsafy, Ziad, Anna Bernard, and David Attwell, eds.Debating Orientalism. London: Palgrave Macmillan, 2013.

Fawaz, L. T., and C A Bayly, eds.Modernity and Culture: From the Mediterranean to the Indian Ocean. New York: Columbia University Press, 2002.

Frankopan, Peter.The Silk Roads: A New History of the World. London: Bloomsbury, 2015.

Freitag, Ulrike, and W. G. Clarence-Smith.Hadhrami Traders, Scholars, and Statesmen in the Indian Ocean, 1750s–1960s. Leiden: Brill, 1997.

Gelvin, James L., and Nile Green, eds.Global Muslims in the Age of Steam and Print. Oakland: University of California Press, 2014.

Green, Nile,Bombay Islam. Cambridge: Cambridge University Press, 2011.

———, ed.Terrains of Exchange: Religious Economies of Global Islam. London: Hurst, 2015.

Harper, Timothy N., and Sunil S. Amrith.Sites of Asian Interaction: Ideas, Networks and Mobility. Cambridge: Cambridge University Press, 2014.

Hellwig, Timeke, and Eric Tagliacozzo, eds.The Indonesia Reader. Durham: Duke University Press, 2009.

Hoerder, Dirk.Cultures in Contact: World Migrations in the Second Millennium. Durham: Duke University Press, 2002.

Khafipour, Hani, ed.The Empires of the Near East and India: Source Studies of the Safavid, Ottoman, and Mughal Literate Communities. New York: Columbia University Press, 2019.

Kulke, Hermann, and Dietmar Rothermund.A History of India. 4th ed. London: Routledge, 2004.

Laffan, Michael, ed.Belonging across the Bay of Bengal: Religious Rites, Colonial Migrations, National Rights. London: Bloomsbury, 2017.

Metcalf, Barbara D., and Thomas R. Metcalf.A Concise History of Modern India. Cambridge: Cambridge University Press, 2006.

Marshall, Peter J., ed.The Cambridge Illustrated History of the British Empire. Cambridge: Cambridge University Press, 1996.

Moyn, Samuel, and Andrew Sartori, eds.Global Intellectual History. New York: Columbia University Press, 2013.

Orsini, Francesca, ed.The History of the Book in South Asia. London: Routledge, 2016.

Potter, Simon J.Broadcasting Empire: The BBC and the British World, 1922–1970. Oxford: Oxford University Press, 2012.

Ricci, Ronit.Islam Translated: Literature, Conversion, and the Arabic Cosmopolis of South and Southeast Asia. Chicago: University of Chicago Press, 2011.

Richards, John F.The Mughal Empire. Cambridge: Cambridge University Press, 1998.

Said, Edward.Orientalism. London: Penguin, 1978.

Sivasundaram, Sujit.Waves across the South: A New History of Revolution and Empire. London: William Collins, 2020.

Sheriff, Abdul.Dhow Cultures of the Indian Ocean. London: Hurst, 2010.

Sheriff, Abdul, and Engseng Ho, eds.The Indian Ocean: Oceanic Connections and the Creation of New Societies. London: Hurst, 2014.

Subrahmanyam, Sanjay.Explorations in Connected History. Oxford: Oxford University Press, 2005.

Tarling, Nicholas.The Cambridge History of Southeast Asia. Cambridge: Cambridge University Press, 2000.

Wilson, Jon E.India Conquered: Britain’s Raj and the Chaos of Empire. London: Simon & Schuster, 2016.

General Music/Sound Books

Music of the Indian Ocean website:https://sites.google.com/site/musicofthe-

indianocean/

Articles on India, Sri Lanka, Bangladesh, Malaysia, and Indonesia in theNew Grove Dictionary of Music and Musicians.

Articles on India, Sri Lanka, Bangladesh, Malaysia, and Indonesia in theGarland Encyclopedia of World Music.

Pacific

Agnew, Vanessa.Enlightenment Orpheus. Oxford: Oxford University Press, 2008.

Finnegan, Ruth.The Travels and Travails of Music. Lulu.com, 2016.

South Asia

Bakhle, Janaki.Two Men and Music: Nationalism in the Making of an Indian Classical Tradition. Oxford: Oxford University Press, 2005.

Dewan, Saba.Tawaifnama. Chennai: Westland, 2019.

Farrell, Gerry.Indian Music and the West. Oxford: Clarendon Press, 1997.

Fernandes, Naresh.Taj Mahal Foxtrot: The Story of Bombay’s Jazz Age. New Delhi: Roli, 2017.

Field, Garrett.Modernizing Composition: Sinhala Song, Poetry, and Politics in Twentieth-Century Sri Lanka. Oakland: University of California Press, 2017.

Ghuman, Nalini.Resonances of the Raj: India in the English Musical Imagination, 1897–1947. Oxford: Oxford University Press, 2014.

Hinchy, Jessica.Governing Gender and Sexuality in Colonial India: The Hijra, c. 1850–1900. Cambridge: Cambridge University Press, 2019.

Katz, Max.Lineage of Loss: Counternarratives of North Indian music. Middletown, CT: Wesleyan University Press, 2017.

Kosambi, Meera.Gender, Culture, and Performance: Marathi Theatre and Cinema before Independence. London: Routledge, 2015.

Miner, Allyn.Sitar and Sarod in the Eighteenth and Nineteenth Centuries. New Delhi: Manohar, 1993.

Morcom, Anna.Illicit Worlds of Indian Dance: Cultures of Exclusion. London: Hurst, 2013.

Neuman, Daniel M.Life of Music in North India. Chicago: University of Chicago Press, 1980.

Niranjana, Tejaswini.Music, Modernity, and Publicness in India. Oxford: Oxford University Press, 2020.

Orsini, Francesca.Print and Pleasure: Popular Literature and Entertaining Fictions in Colonial North India. Hyderabad: Orient Blackswan: 2017.

Orsini, Francesca, and Katherine Butler Schofield, eds.Tellings and Texts: Music, Literature, and Performance in North India. Cambridge: Open Book, 2015.

Rajamani, Imke, Margrit Pernau, and Katherine Butler Schofield, eds.Monsoon Feelings: A History of Emotions in the Rain. New Delhi: Niyogi, 2018.

Ruckert, George E.Music in North India. Oxford: Oxford University Press, 2004.

Shope, Bradley.American Popular Music in Britain’s Raj. Vol. 131, Eastman Studies in Music. Rochester: University of Rochester Press, 2016.

Subramanian, Lakshmi.From the Tanjore Court to the Madras Music Academy: A Social History of Music in South India. Oxford: Oxford University Press, 2011.

———.New Mansions for Music: Performance, Pedagogy and Criticism. Oxford: Oxford University Press, 2017.

———.Singing Gandhi’s India: Music and Sonic Nationalism. New Delhi: Roli, 2020.

Van Der Linden, Bob.Music and Empire in Britain and India: Identity, Internationalism, and Cross-Cultural Communication. London: Palgrave Macmillan, 2013.

———.Arnold Bake: A Life with South Asian Music. London: Routledge, 2018.

Vanita, Ruth, ed.Queering India: Same-Sex Love and Eroticism in Indian Culture and Society.London: Routledge, 2001.Queering India: Same-Sex Love and Eroticism in Indian Culture and Society. London: Routledge, 2001.

———.Dancing with the Nation: Courtesans in Bombay Cinema. London: Bloomsbury, 2018.

Viswanathan, T., and Matthew Harp Allen.Music in South India. Oxford: Oxford University Press, 2004.

Weidman, Amanda J.Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India. Durham: Duke University Press, 2006.

Walker, Margaret E.India’s Kathak Dance in Historical Perspective. London: Routledge, 2014.

Woodfield, Ian.Music of the Raj. Oxford: Oxford University Press, 2000.

Southeast Asia

Barandregt, Bart A., ed.Sonic Modernities in the Malay World: A History of Popular Music, Social Distinction and Novel Lifestyles (1930s–2000s). Leiden: Brill, 2014.

Barandregt, Bart A, and Els Bogaerts, eds.,Recollecting resonances: Indonesian–Dutch musical encounters. Leiden: Brill, 2013.

Barendregt, Bart A., Peter Keppy, and Henk Schulte Nordholt, eds.Popular Music in Southeast Asia: Banal Beats, Muted Histories. Leiden: Brill: 2017.

Brinner, Benjamin, et al.Music in Central Java. Oxford: Oxford University Press, 2007.

Byl, Julia.Antiphonal Histories: Resonant Pasts in the Toba Batak Musical Present. Middletown, CT: Wesleyan University Press, 2014.

Cohen, Matthew Isaac.Performing Otherness: Java and Bali on International Stages, 1905–1952.London: Palgrave Macmillan, 2010.Performing Otherness: Java and Bali on International Stages, 1905–1952. London: Palgrave Macmillan, 2010.

———.Inventing the Performing Arts: Modernity and Tradition in Colonial Indonesia. Honolulu: University of Hawai’i Press, 2016.

Douglas, Gavin.Music in Mainland Southeast Asia. Oxford: Oxford University Press, 2010.

Gold, Lisa.Music in Bali. Oxford: Oxford University Press, 2004.

Harnish, David, and Anne K. Rasmussen, eds.Divine Inspirations: Music and Islam in Indonesia. Oxford: Oxford University Press, 2011.

Irving, David R. M.Colonial Counterpoint. Oxford: Oxford University Press, 2010.

Johan, Adil.Cosmopolitan Intimacies: Malay Film Music of the Independence Era. Singapore: NUS, 2018.

Johan, Adil, and Mayco A. Santaella, eds.Made in Nusantara: Studies in Popular Music. London: Routledge, 2021.

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

Keppy, Peter.Tales of the Southeast Asian Jazz Age: Filipinos, Indonesians, and Popular Culture, 1920–1936. Chicago: University of Chicago Press, 2019.

Eng-beng Lim.Brown Boys and Rice Queens: Spellbinding Performance in the Asias. New York: New York University, 2014.

Matusky, Patricia, and Tan Sooi Beng.The Music of Malaysia. Farnham: Ashgate, 2004.

Rasmussen, Anne.Women, the Recited Qur’an, and Islamic Music in Contemporary Indonesia. Oakland: University of California Press, 2010.

Sarkissian, Margaret.D’Albuquerque’s Children. Chicago: University of Chicago Press, 2000.

Selth, Andrew.Burma, Kipling, and Western Music: The Riff from Mandalay. New York: Routledge, 2016.

Spiller, Henry.Javaphilia: American Love Affairs with Javanese Music and Dance. Honolulu: University of Hawai’i Press, 2017.

Sumarsam.Gamelan: Cultural Interaction and Musical Development in Central Java. Chicago: University of Chicago Press, 1995.

———.Javanese Gamelan and the West.Rochester, NY: University of Rochester Press, 2013.Javanese Gamelan and the West. Rochester, NY: University of Rochester Press, 2013.

Talusan, Mary.Instruments of Empire: Filipino Musicians, Black Soldiers, and Military Band Music during US Colonization of the Philippines. Jackson: University Press of Mississippi, 2021.

Tong Soon Lee.Chinese Street Opera in Singapore. Champaign: University of Illinois Press. 2009.

Weintraub, Andrew N.Dangdut Stories: A Social and Musical History of Indonesia’s Most Popular Music. Oxford: Oxford University Press, 2010.

East Asia

Chien-Chang Yang, and Tobias Janz, eds.Decentering Musical Modernity: Perspectives on East Asian and European Music History. New York: Columbia University Press, 2019.

Irvine, Thomas.Listening to China: Sound and the Sino-Western Encounter, 1770–1839. Chicago: University of Chicago Press, 2019.

Thorpe, Ashley.Performing China on the London Stage: Chinese Opera and Global Power, 1759–2008.London: Palgrave Macmillan, 2018.Performing China on the London Stage: Chinese Opera and Global Power, 1759–2008. London: Palgrave Macmillan, 2018.

Americas

Hacke, Daniela, and Paul Musselwhite.Empire of the Senses: Sensory Practices of Colonialism in Early America. Leiden: Brill, 2017.

Tomlinson, Gary.The Singing of the New World: Indigenous Voice in the Era of European Contact.Cambridge: Cambridge University Press, 2007.The Singing of the New World: Indigenous Voice in the Era of European Contact. Cambridge: Cambridge University Press, 2007.

Europe

Linhart-Wood, Jennifer.Sounding Otherness in Early Modern Drama and Travel: Uncanny Vibrations in the English Archive. New Transculturalisms, 1400–1800. London: Palgrave Macmillan, 2019.

Stratton, Jon.When Music Migrates: Crossing British and European Racial Faultlines, 1945–2010. London: Routledge, 2014.

Global

Bohlman, Philip V., ed.The Cambridge History of World Music. Cambridge: Cambridge University Press, 2013.

Harrison, Frank.Time, Place, and Music: An Anthology of Ethnomusicological Observation c. 1550 to c. 1800. Amsterdam: Frits Knuf, 1973.

Hijleh, Mark.Towards a Global Music History: Intercultural Convergence, Fusion, and Transformation in the Human Musical Story. London: Routledge, 2018.

Liebersohn, Harry.Music and the New Global Culture: From the Great Exhibitions to the Jazz Age. Chicago: University of Chicago Press, 2019.

Ramnarine, Tina K., ed.Global Perspectives on Orchestras: Collective Creativity and Social Agency. Oxford: Oxford University Press, 2017.

Radano, Ronald, and Philip V. Bohlman, eds.Music and the Racial Imagination. Chicago: University of Chicago Press, 2000.

Radano, Ronald, and Tejumola Olaniyan, eds.Audible Empire: Music, Global Politics, Critique. Durham, NC: Duke University Press, 2016.

Reily, Suzel Ana, and Katherine Brucher, eds.Brass Bands of the World: Militarism, Colonial Legacies, and Local Music Making. Farnham: Ashgate, 2013.

Steingo, Gavin, and Jim Sykes, eds.Remapping Sound Studies. Durham, NC: Duke University Press, 2019.

Strohm, Reinhard, ed.Studies on a Global History of Music: A Balzan Musicology Project. Abingdon: Routledge, 2018.

———, ed.The Music Road: Coherence and Diversity in Music from the Mediterranean to India. Oxford: Oxford University Press, 2019.

European and American Empires

Born, Georgina, and David Hesmondhalgh, eds.Western Music and Its Others: Difference, Representation, and Appropriation in Music. Oakland: University of California Press, 2000.

Biddle, Ian, and Vanessa Knights, eds.Music, National Identity and the Politics of Location: Between the Global and the Local. Farnham: Ashgate, 2007.

Bloechl, Olivia, et al., eds.Rethinking Difference in Music Scholarship. Cambridge: Cambridge University Press, 2015.

Clayton, Martin, and Bennett Zon, eds.Music and Orientalism in the British Empire, 1780–1940s: Portrayal of the East. Farnham: Ashgate, 2007.

Cowgill, Rachel, and Julian Rushton, eds.Europe, Empire and Spectacle in Nineteenth-Century British Music. Farnham: Ashgate, 2006.

Gibson, Kirsten, and Ian Biddle, eds.Cultural Histories of Noise, Sound, and Listening in Europe, 1300–1918. London: Routledge, 2017.

Locke, Ralph P.Music and the Exotic from the Renaissance to Mozart. Cambridge: Cambridge University Press, 2015.

Nettl, Bruno.The Western Impact on World Music: Change, Adaptation, and Survival. New York: Schirmer, 1985.

Richards, Jeffrey.Music and Imperialism: Britain 1876–1953. Manchester: Manchester University Press, [2001] 2017.

Tan, Shzr Ee, ed. “Decolonising Music and Music Studies.” Special issue ofEthnomusicology Forum 30, no. 1 (2021).

Taylor, Timothy.Beyond Exoticism. Durham: Duke University Press, 2007.

Willson, Rachel Beckles.Orientalism and Musical Mission: Palestine and the West. Cambridge: Cambridge University Press, 2013.

1. Sheldon Pollock, “Forms of Knowledge in Early Modern South Asia: Introduction,” Comparative Studies of South Asia, Africa, and the Middle East 24, no. 2 (2004): 19–21, at 19.[↩]
2. I am indebted to current KCL PhD student Javier Rivas for this observation.[↩]
3. Lydia Goehr, The Imagined Museum of Musical Works: An Essay in the Philosophy of Music (Oxford: Clarendon, 1992).[↩]
4. Walter Mignolo, “Museums in the Colonial Horizon of Modernity” (CIMAM annual conference, Museums: Intersections in a Global Scene, São Paulo, Brazil, Nov 21–22, 2005), http://www.forumpermanente.org/en/events/meetings/reports/mignolo_texto.[↩]
5. Erica Mugglestone, “Guido Adler’s ‘The Scope, Method, and Aim of Musicology’ (1885): An English Translation with an Historico-Analytical Commentary,” Yearbook for Traditional Music 13 (1981): 1–21.[↩]
6. See the long reading lists below for literature that demonstrates the ample possibility of music history before the period of recorded sound in South and Southeast Asia.[↩]
7. Eve Tuck and K. Wayne Yang, “Decolonization Is not a Metaphor,” Education and Society 1, no. 1 (2012): 1–40.[↩]
8. Stephanie Newell, “‘Paracolonial’ Networks: Some Speculations on Local Readerships in Colonial West Africa,” Interventions 3 (2001): 336–54.[↩]
9. Schofield, “Musical Transitions to European Colonialism”; David Lunn and Julia Byl, “‘One Story Ends and Another Begins’: Reading the Syair Tabut of Encik Ali,” Indonesia and the Malay World 47, no. 133 (2017): 391–420, at 416–17.[↩]