MUSIC, THEATRE & PERFORMANCE

Gender, Sexuality, and Race in Irish Traditional Music By Tes Slominski A nuanced exploration of nationalism in traditional Irish music.

Just how “Irish” is traditional Irish music? This study combines ethnography, oral history, and archival research to challenge the longstanding practice of using ethnic nationalism as a framework for understanding vernacular music traditions. It discusses early-twentieth century women whose musical lives were shaped by Ireland’s struggles to become a nation; follows the career of Julia Clifford, a fiddler who lived much of her life in England, and explores the experiences of women, LGBTQ+ musicians, and musicians of colour in the earlytwenty-first century.

Wesleyan University Press • 9780819579287 • Paperback • 12 illus. 279 x 216mm • 244 pages • July 2020 • £20.95

ALSO AVAILABLE IN HARDBACK 9780819579270 • £62.50

Parameters and Peripheries of Culture

Interpreting Maroon Music and Dance in Paramaribo, Suriname By Corinna Campbell

A vital contribution to knowledge about the cultural map of the African diaspora. How do people in an intensely multicultural city live alongside one another while maintaining clear boundaries? This question is at the core of this book, which illustrates how the Maroons (descendants of escaped slaves) of Suriname, on the northern coast of South America, have used culture-representational performance to sustain their communities within Paramaribo, the capital.

Wesleyan University Press • 9780819579553 • Paperback • 25 illus., 15 tables and graphs • 203 x 152mm • 250 pages • July 2020 • £22.50

ALSO AVAILABLE IN HARDBACK 9780819579546 • £70.00

Resounding Spaces

Approaching Musical Atmospheres Edited by Federica Scassillo

A collection of papers examining music and atmospheres. This book is the result of an international conference that took place in Rome on September 13th-14th 2019, entitled “Resounding Spaces: Music and Atmospheres”. The main topic was the relationship between music(s) and concepts like resonance, atmosphere, and mood. Talking about “music(s)” and not “music” (in singular) reflects the academic backgrounds of its authors: philosophers, musicologists, ethnomusicologists, aestheticians of music, composers, all of whom enrich the volume with contributions from their own perspective.