About the world of music (new series)


the world of music (new series) is an international peer-reviewed journal seeking a critical understanding of performing arts and cultural practices involving music, dance and theater worldwide, as well as the many contexts in which they come into being.

In this, it provides scholars from a multiplicity of academic backgrounds a forum for the discussion of musics from around the world, their dynamics and their many meanings, manifested in a variety of ever changing forms ranging from highly particular and localized systems of musical thinking in traditional musics to global (musical) cultural flows and consumption.

the world of music (new series)

.:: embraces a wide variety of approaches to the analytical study of the musics of the world, including indigenous methodologies, post-colonial, critical and queer perspectives and different indigenous methodologies.

.:: thinks across disciplinary boundaries; and

.:: strongly encourages theoretical and methodological reflections on the study of the musics of the world.

Each issue focuses on a specific topic. In a firmly established practice of the world of music and the world of music (new series), high-profile guest editors are invited to design issues and see them through the entire preparation process.


People behind the world of music (new series) 

Editor: Prof Dr Birgit Abels, Department of Musicology, Georg August University Göttingen, Germany 
Birgit Abels is full professor of Cultural Musicology at the Musicology Department of the Georg August University Göttingen, Germany. She focusses attention on post-colonial and spatial theory and their usefulness for understanding musical processes, the investigation of musical meaning and the dynamics of cultural identity. The geographic foci of her research are the Pacific Ocean (particularly Micronesia), the Southeast Asian island world and North India. 

Co-editor: Dr Barbara Titus, Universiteit van Amsterdam, The Netherlands 
Dr. Barbara Titus studied musicology at Utrecht University and gained her doctorate from Oxford University in the United Kingdom with a dissertation entitled ‘Conceptualizing music: Friedrich Theodor Vischer and Hegelian currents in German music criticism, 1848-1871.’ (Leuven University Press [2016). In 2007, she shifted her attention from German metaphysics to South African street music (maskanda), with the explicit aim to question the polarity that these two fields of investigation still seem to represent. Articles about subjects ranging from 19th-century German music criticism to contemporary popular musics in Southern Africa have been published in journals such as Acta Musicologica, Ethnomusicology, SAMUS: South African Music Studies and the Dutch Journal of Music Theory. Her book about maskanda is currently under review with the University of Chicago Press. From 2008 to 2013, Barbara worked as an assistant professor teaching European music history post-1800 at Utrecht University. In 2013, she was appointed associate professor of cultural musicology at the University of Amsterdam. During two extensive field trips for her research into maskanda in 2008 and 2009, she was a visiting professor at the University of KwaZulu-Natal in Durban, South Africa.

Book reviews editor: Dr. Eva-Maria Alexandra van Straaten studied at the University of Amsterdam, where she was awarded an M.A. in Cultural Analysis in 2011. She received her PhD in cultural musicology for her dissertation on Listening out for Sangīt Encounters: Dynamics of Knowledge and Power in Hindustani Classical Instrumental Music from Georg-August-University Göttingen in 2018. She is currently a post-doctoral researcher at Göttingen's Cultural Musicology department.

Recording reviews editor: Dr. Rehanna Kheshgi is Assistant Professor of Music at St. Olaf College, currently pursuing research on music and politics in the Bodoland tribal sovereignty movement in Assam, India as a 2017-18 Fulbright Scholar. Her research focuses on gender, sexuality, and the body at the intersections of popular, folk, and sacred music and dance performance in India, and has received support from the American Institute of Indian Studies, the American Association for University Women, and the Institute of Sacred Music at Yale University where she was a 2016-17 Postdoctoral Fellow. She earned her Ph.D. in ethnomusicology in 2016 from the University of Chicago, and her first book is entitled Sounding Rural Modernities: Gender, Performance, and the Body in Assam, India.


Advisory Board:

Linda Barwick
Professor and Associate Dean (Research), Sydney Conservatorium of Music, University of Sydney, Australia

Dan Bendrups
Member, Queensland Conservatorium Research Centre, Deputy Director (Research), Queensland Conservatorium Griffith University, Australia

Martin Boiko
Associated professor, Faculty of Education and Psychology, University of Latvia, Latvia

Rafael José de Menezes Bastos
Professor, Department of Anthropology, Federal University of Santa Catarina, Florianopolis, Brazil

Shubha Chaudhuri,
Director, Archives and Research Center for Ethnomusicology, New Delhi, India

Scheherazade Qassim Hassan
Lecturer, Department of Ethnology and Comparative Sociology, University of Paris X-Nanterre, Paris, France

Josep Martí i Pérez
Professor, Department of Musicology, Instituto Milà i Fontanals, C.S.I.C., Barcelona, Spain

Svanibor Pettan
Professor, Music Academy, University of Ljubljana, Slovenia

Suzel Ana Reily
Reader, School of Creative Arts, Queen´s University Belfast, Northern Ireland, U.K

Adelaida Reyes
Professor, Jersey City State College, Jersey City, N.J., USA

Francis Saighoe
Professor, Department of Music, University of Cape Coast, Cape Coast, Ghana

Huib Schippers
Professor Queensland Conservatorium (Griffith University), Brisbane, Australia

Yosihiko Tokumaru
Professor, Department of Music, Ochanomizu University, Tokyo, Japan

Bell Yung
Professor, Department of Music, University of Hong Kong, Hong Kong

Bonnie Wade
Professor, Department of Music, University of California at Berkeley, USA



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