New Books in Music

A vivid and intricate study of dance music traditions that reveals the many contradictions of being Syrian in the 21st century Dabke, one of Syria's most beloved dance music traditions, is at the center of the country's war and the social tensions that preceded conflict. Drawing on almost two decades of ethnographic, archival, and digital research, Shayna M. Silverstein shows how dabke dance music embodies the fraught dynamics of gender, class, ethnicity, and nationhood in an authoritarian state. Fraught Balance: The Embodied Politics of Dabke Dance Music in Syria (Wesleyan UP, 2024) situates dabke politically, economically, and historically in a broader account of expressive culture in Syria's recent (and ongoing) turmoil. Silverstein shows how people imagine the Syrian nation through dabke, how the state has coopted it, how performances of masculinity reveal--and play with--the tensions and complexities of the broader social imaginary, how forces opposed to the state have used it resistively, and how migrants and refugees have reimagined it in their new homes in Europe and the United States. She offers deeply thoughtful reflections on the ethnographer's ethical and political dilemmas on fieldwork in an authoritarian state. Silverstein's study ultimately questions the limits of authoritarian power, considering the pleasure and play intrinsic to dabke circles as evidence for how performance cultures sustain social life and solidify group bonds while reproducing the societal divides endemic to Syrian authoritarianism. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In Defending Rumba in Havana: The Sacred and the Black Corporeal Undercommons (Duke University Press, 2025), anthropologist and dancer Maya J. Berry examines rumba as a way of knowing the embodied and spiritual dimensions of Black political imagination in post-Fidel Cuba. Historically a Black working-class popular dance, rumba, Berry contends, is a method of Black Cuban struggle that provides the community, accountability, sustenance, and dignity that neither the state nor the expanding private market can. Berry’s feminist theorization builds on the notion of the undercommons to show how rumba creates a space in which its practitioners enact deeply felt and dedicatedly defended choreographies of reciprocity, refusal, sovereignty, devotion, and pleasure, both on stage and in their daily lives. Berry demonstrates that this Black corporeal undercommons emphasizes mutual aid and refuses neoliberal development logics, favoring instead a collective self-determination rooted in African diasporic spiritual practices through which material compensation and gendered power dynamics are negotiated. By centering rumba to analyze how poor Black Cubans navigate gendered and racialized life, Berry helps readers better understand the constraints and yearnings that move diasporic Black struggles to seek refuge beyond the bounds of the nation-state. Maya J. Berry is Assistant Professor of African, African American, and Diaspora Studies at the University of North Carolina at Chapel Hill. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Michael Broyles examines a wide variety of musical, technological, and social currents that helped to shape American music in Revolutions in American Music: Three Decades that Changed a Country and Its Sounds (Norton, 2024), but he accomplishes this by focusing on just thirty years. Broyles discusses three pivotal decades in US musical history: the 1840s, the 1920s, and the 1950s. He argues that these decades fundamentally remade the American cultural landscape in enduring ways. Although Revolutions in American Music describes the ruptures caused by new musical and technological innovations such as the development of jazz or rock 'n roll, Broyles also revisits deep cultural and social fissures that affected America and American music in all three time periods. Throughout the book, Broyles introduces important figures who have been overlooked and tells stories that illuminate the messy, complex, sometimes dark, but always fascinating history of music in the United States. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

When Leah Lax was asked to write an opera to celebrate local immigrants, she began by spending a year listening to accounts of upheaval, migration, and arrival told her in confidence by people from around the globe. She felt she had discovered America, found its great beating heart. In interludes between the astounding and powerful stories in Not From Here: the Song of America (Pegasus Elliot MacKenzie, 2024), Leah uncovers the lost history of her Jewish family and finds a larger context for her own story. "In a way," she writes, "we Americans are all immigrants." Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

We all know about art forgeries, but why write fake classical music? In Forgery in Musical Composition: Aesthetics, History, and the Canon (Oxford University Press, 2025), Dr. Frederick Reece investigates the methods and motives of mysterious musicians who sign famous historical names like Haydn, Mozart, and Schubert to their own original works. Analyzing a series of genuinely fake sonatas, concertos, and symphonies in detail, Dr. Reece's study exposes the shadowy roles that forgeries have played in shaping perceptions of authenticity, creativity, and the self within classical music culture from the 1790s to the 1990s.Holding a magnifying glass to a wide array of phony works, Forgery in Musical Composition explains how skillful fakers have succeeded in the past while also proposing active steps that scholars and musicians can take to better identify deceptive compositions in the future. Pursuing his topic from case to case, Dr. Reece observes that fake historical masterpieces have often seduced listeners not simply by imitating old works, but rather by mirroring modern cultural beliefs about innovation, identity, and meaning in music. Here forged compositions have important truths to tell us about knowing and valuing works of art precisely because they are not what they appear. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

A memoir-in-essays on transness, dad rock, and the music that saves us. When Wilco's 2007 album Sky Blue Sky was infamously criticized as "dad rock," Niko Stratis was a twenty-five-year-old closeted trans woman working in her dad's glass shop in the Yukon Territory. As she sought escape from her hypermasculine environment, Stratis found an unlikely lifeline amid dad rock's emotionally open and honest music. Listening to dad rock, Stratis could access worlds beyond her own and imagine a path forward. In taut, searing essays rendered in propulsive and unguarded prose, Stratis delves into the emotional core of bands like Wilco and The National, telling her story through the dad rock that accompanied her along the way. She found footing in Michael Stipe's allusions to queer longing, Radiohead's embrace of unknowability, and Bruce Springsteen's very trans desire to "change my clothes my hair my face"--and she found in artists like Neko Case and Sharon Van Etten that the label transcends gender. A love letter to the music that saves us and a tribute to dads like Stratis's own who embody the tenderness at the genre's heart, The Dad Rock That Made Me a Woman (University of Texas Press, 2025) rejoices in music unafraid to bare its soul. Niko Stratis is an award-winning writer from Toronto by way of the Yukon, where she spent years working as a journeyman glazier before coming out as trans in her thirties and being forced to abandon her previous line of work. Her writing has appeared in publications like Catapult, Spin, Paste and more. She's a Cancer, and a former smoker. Niko Stratis on Bluesky. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Rowman & Littlefield, 2021) and Frank Zappa's America (LSU Press, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books is U2: Until the End of the World (Gemini Books, October 2025). Bradley Morgan on Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

How can cultural organisations better support diversity? In Achieving Creative Justice in the U.S. Creative Sector antonio c. cuyler, Professor of Music in Entrepreneurship & Leadership and Faculty Associate in Voice & Opera in the School of Music, Theatre & Dance (SMTD), and Faculty Associate in the African Studies Center at the University of Michigan, explores a series of practical interventions that can shape creative institutions implementation of access, diversity, equity, and inclusion (ADEI) policy and practices. The book is framed by the call for creative justice, against a backdrop of threats to both civil rights and cultural freedoms across the world. Rich with case studies, as well as detailed research and theory, the book is a must read text for both academics and arts practitioners. The book is available open access here Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

William L. Dawson (University of Illinois Press, 2024) by Gwynne Kuhner Brown is a biography of the Black American composer, conductor and pedagogue. She gives equal weight to the different aspects of Dawson’s career from his early training at Tuskegee Institute (now University) to his twenty-five years as director of choirs and composer at the same school and ending with his thirty years as a free-lance conductor. Dawson was part of the same generation of Black classical musicians that produced Florence Price and William Grant Still. His most famous composition is probably the Negro Folk Symphony, but he wrote other music including choral arrangements of spirituals that are a staple of college choral programs. Recently, in part because of work by people like Gwynne Kuhner Brown, Dawson’s other compositions are beginning to be heard in concert halls once again. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In this episode Pat speaks with Dr Timothy Deane-Freeman. Dr Timothy Deane-Freeman works as a teacher and researcher in philosophy in Naarm/Melbourne. His work is primarily focussed on the intersection of politics and art, and the ways in which sensible materials can be combined to produce different forms of thought. He is currently co-editing a book on philosophical accounts of artistic agency. They discuss bourgeoise culture, shock, chronopolitics, and Afrofuturism as the place of the new. A transcript of this episode will be available on the Concept : Art website (www.conceptart.fm). Concept : Art is produced on muwinina Country, lutruwita Tasmania. Always was, always will be Aboriginal land. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Sound Pedagogy: Radical Care in Music (University of Illinois Press, 2024) is a collected edition about Pedagogies of Care edited by Colleen Renihan, John Spilker-Beed, and Trudi Wright are experienced music history educators working in the United States and Canada. They have curated a collection of essays that explore what it means to prioritize care when teaching, interacting with students, developing course syllabi, and curricula. Far more than simply treating students with dignity and compassion, pedagogies of care can infiltrate every aspect of teaching and higher education by centering the interests of students, instructors, and the larger communities to which they belong. As the essays in Sound Pedagogy show, the structural aspects of music study in higher education present obstacles to caring and kindness. The contributors draw from personal experience to address issues including radical kindness through universal design; public musicology as a forum for social justice discourse; and radical approaches to teaching about race through music. The premise of the book is that care-based approaches to pedagogy can facilitate the systemic transformation that remains both possible and necessary for musicology, other disciplines, and institutions of higher education. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music