Editor: Katherine M. Brucher


Current Volume: 68 (2024)
Issued three times per year (Winter, Spring/Summer, and Fall)
ISSN: 0014-1836
eISSN: 2156-7417


Official journal of the Society for Ethnomusicology

As the official journal of the Society for EthnomusicologyEthnomusicology is the premier publication in the field. Its scholarly articles represent current theoretical perspectives and research in ethnomusicology and related fields, while playing a central role in expanding the discipline in the United States and abroad. This journal is intended for a diverse audience including musicologists, anthropologists, folklorists, cultural studies scholars, musicians, and others. Peer-reviewed by the Society’s international membership, Ethnomusicology has been published three times a year since the 1950s.


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For individual and student memberships, please contact the Society for Ethnomusicology.

Institutions, click here to subscribe to the 'Print Only' format.

Institutions:1 Year
Print Only$173
Online Only $202*
Print + Online$223*
*Institutional 'Online Only' and 'Print + Online' subscriptions must be purchased through the Scholarly Publishing Collective.

Non-U.S. Postage: $22 Canada/Mexico, $22 Other Non-U.S. Locations

Single Issues: $18.50 Institutions


The print ad rates for all our titles can be found in the 2024 journals catalog/rate card.

Click here to download the PDF version


Journal Editor
Katherine M. Brucher
School of Music, DePaul University
804 W. Belden Ave.
Chicago, IL  60614
(734) 734-904-6629

Assistant Editor
Abby Rehard
Florida State University

Book Review Co-Editor
Andrew Mall
Northeastern University Department of Music
360 Huntington Ave
351 Ryder
Boston, MA 02115
Note: Send books for review to Andrew Mall

Book Review Co-Editor
Sarah Morelli
University of Denver
Newman Performing Arts Center
2344 East Iliff Ave
Denver, CO 80208

Recording Review Editor

Film, Video, and Multimedia Review Editor

Jennie Gubner
Fred Fox School of Music
University of Arizona 
1017 N Olive Rd #109, Tucson, AZ 85719

Editorial Board

  • Aaron Allen
  • Jessica Bissett Perea
  • Deonte Harris
  • Travis Jackson
  • Damascus Kafumbe
  • Siv B. Lie
  • Katherine Meizel
  • Junko Oba
  • Cathy Ragland
  • Matthew Rahaim
  • Fernando Rios
  • Deborah Wong

PDF Policy

In an effort to increase access to the scholarship of its members and colleagues, the Society for Ethnomusicology has established the following policy regarding authors’ deposit of their Ethnomusicology contributions (articles, reviews, notes, etc.) in personal websites and non-commercial repositories.


These definitions are based on those on the SHERPA/RoMEO website (

This policy applies to pre-printspost-prints, and the publisher’s version.

pre-print is a work-in-progress contribution not yet accepted, or perhaps even submitted, to Ethnomusicology.

post-print is the version of a contribution after peer review and acceptance by Ethnomusicology, with revisions completed.

The publisher’s version is the PDF file of a contribution as it appears in Ethnomusicology.


Author may post pre-print or post-print on a personal website, until 12 months after the publisher’s version appears in Ethnomusicology.

Author may deposit publisher’s version (PDF file) in a non-commercial repository 12 months after its publication in Ethnomusicology.

Author deposit of publisher’s version must include a link to the article in JSTOR.

Author must remove pre-print and post-print after depositing publisher’s version.



Manuscript Submission

Article Manuscripts and inquiries should be submitted to the Editor, Katherine M. Bucher (DePaul University), at

1. Submit one electronic copy (see item 6 below) of all material related to the article, a brief biographical data sheet, and an abstract of no more than 100 words. Authors must obtain in writing all permissions for the publication of material under copyright and submit a copy of the permissions file when the manuscript is first sent to the editor. Authors hold the editor and the Society for Ethnomusicology harmless against copyright claims.

2. Manuscripts must be typed double-spaced (including endnotes, quotations, song texts, references cited, indented material, and captions for illustrations). Copies using single line or one and a half line spacing are not acceptable. Leave 1 1/2” margins on all sides with only the left-hand margin justified.

3. Do not submit original artwork for review; submit copies. Original artwork may be requested upon acceptance for publication, in which case it must be of sufficient quality to permit direct reproduction.

4. All illustrations should be labeled and numbered consecutively. We use three labels: "Table," for tables, "Music Example," for musical example, and "Figure," for everything else, including photographs, maps, diagrams, line art, etc. Captions should be typed on a separate sheet. A callout, i.e., , should indicate clearly where in the text the illustration should go. Please include three to five keywords.

5. Citations are carried within the text, as in (Rhodes 1955:262). References should be typed double spaced at the end of the article, alphabetically by author and chronologically for each author (most recent, first). A recent issue of Ethnomusicology or Fig. 15.1, p.788, of the Chicago Manual of Style, 17th ed. (Chicago: University of Chicago Press, 2017) will serve as a model. SEM style differs from the Chicago Manual example in the use of US postal codes for state abbreviations, and in the placement of page numbers for edited collections after the editor's name, preceded by a comma, and with no "pp.”

6. The electronic copy should be sent as a .doc or .docx file, with personal identification and copyright protection removed. Please do not send PDFs. Each file should be smaller than 1 MB.

7. Acknowledgments are to be presented in a separate paragraph, thusly labeled, at the end of the text, preceding endnotes. (See also Manuscript Processing, item 2.) Authors whose articles are accepted for publication are encouraged to include their email addresses in the Acknowledgements.

8. Manuscripts submitted to Ethnomusicology should not have been published elsewhere--including in electronic form, other than on personal web pages--nor should they simultaneously be under review or scheduled for publication in another journal or in a book. Further, if an author submits a paper to Ethnomusicology that is based on material closely related to that in other published or submitted papers or books, the author should explain the relationships among them, in a cover letter to the editor.

9. Manuscripts must be in English and observe United States conventions of usage, spelling, and punctuation. This journal maintains the principles of gender-neutral discourse and the editors thus request authors and reviewers to adhere to these practices. A set of guidelines developed by the Society for Music Theory (SMT) has been adopted by the Society for Ethnomusicology and is posted on the SEM web site.

10. In principle, the journal prefers articles to be no longer than 10,000 words, including notes and references.

11. Book, record, and film reviews ordinarily are solicited by the respective review editors, from whom authors will receive instructions. Authors should try to work endnotes into the body of the review and limit references cited. Authors should submit reviews as electronic copies (.doc or .docx files) to the appropriate review editor.

12. In order to preserve anonymity in the review process, authors should refrain from using headers or footers that include their name. When possible, authors should submit reviews electronically as e-mail attachments, or as directed by the review editor.

Manuscript Processing

1. A manuscript is read first by the editor, who determines if it is of sufficient interest to proceed further. If not, the editor notifies the author that this is the case. If the manuscript is of sufficient interest, it is sent to outside referees who send written evaluations and recommendations, sometimes with suggestions for revision, to the editor. The editor may reject the manuscript, delay a decision while encouraging revisions, or accept it substantially as is. Ordinarily, the editor will forward the referees evaluations (anonymously) along with their decisions. Authors of articles may suggest names of appropriate (and inappropriate) referees.

2. The review process is intended to be a "double blind" peer-review. Authors have the responsibility for removing information that might reveal their identity to reviewers, and may choose to omit or abbreviate acknowledgements or notes that contain personal information such as the names of advisors, institutions, or spouses/partners. (If the article is accepted for publication, this information can be reinserted.) Requests by authors or reviewers to have their names revealed to the other party will, of course, be honored.

3, The review process is generally completed within six months. Authors will be notified if there is a delay.

4. Articles and reviews are accepted for publication subject to editing for style. Authors of articles will have an opportunity to make final changes after copyediting, and to correct printer's errors in page proofs.

5. Authors of articles will receive three copies of the journal free of charge; authors of reviews will receive one copy. Authors will also receive a PDF file of their article or review.


For authorization to photocopy from Ethnomusicology for uses exceeding those permitted by Sections 107 and 108 of the U.S. Copyright Law, contact the Copyright Clearance Center (CCC), 222 Rosewood Drive, Danvers, MA 01923. The CCC code for Ethnomusicology is 0014-1836. The CCC will send an invoice for permissions fees. Permissions given above do not extend to copying for advertising or promotional purposes or to creating new collective works.

For permission to reprint or translate material from Ethnomusicology, please contact Stephen Stuempfle, Executive Director, Society for Ethnomusicology, Indiana University, 800 E. 3rd Street, Bloomington, IN 47405-3657. Email:


View our Publications Ethics and Malpractice Statement

Featured Articles

From the Editor
Frank Gunderson

Whale Calling
Gavin Steingo

Walking as Fieldwork Method in Ethnomusicology
Ama Oforiwaa Aduonum

“Out of Time” and “Out of Tune”: Reflections of an Oud Apprentice in Somaliland
Christina J. Woolner

Arching over the Atlantic: Exploring Links between Brazilian and Angolan Musical Bows
Juan Diego Diaz, Matthias Röhrig Assunção and Gregory Beyer

Music under the Ground: Ethnomusicological Research on the Ground-Bow in Africa
Jennifer Kyker

A Humble Blind Singer's Autobiographical Song: Oral Creation Facing a Hong Kong Teahouse Audience
Bell Yung

More than Gold: Embodying the Human Cost of Mining in Maroon Popular Music
Corinna Campbell

Recitations on the Threshold: The Ethics and Virtue Affects of Pakistani Shiʿi Qaṣīda
Timothy P. A. Cooper

“Now We're Actually Playing Music”: Sones and Parental Transformation in Mexican Chicago
Joseph Maurer

Teaching Talent: Beginning and/as Method in Two American Violin Studios
Lindsay Wright

Government-Mandated Coolness: Education Policy, the Koto, and Music Teacher Retraining in Japan
Garrett Groesbeck

The Hidden Music of a Hidden People: The Case of Amakhuwa of Northern Mozambique
Luca Bussotti; Laura António Nhaueleque

Rímur in the Nuclear Age: Sveinbjörn Beinteinsson and Icelandic Traditional Music
Kimberly Cannady

Ugly Publics
Nadia Chana

On Survival
Philip V. Bohlman

“The Leaves of Our Flag Surrounding the World”: Barbara B. Smith and the Sovereign Voices of a Pacific Trust Territory, 1958–1964
Brian Diettrich

“The War Songs Continue ’til They Find Peace”: Music and the Politics of Death on the Ethio-South Sudanese Border
Sarah J. Bishop

“We Should Be Louder”: Rastafari, Amplified Spirituality, and Spacemaking in Shashemene, Ethiopia
David Aarons

Mizrahi Rap in Israel: Ethnicity and Intertextuality in the Cosmopolitan Post-Genre Era
Uri Dorchin; Miranda Crowdus