As the official journal of the Society for Ethnomusicology, Ethnomusicology 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. Aimed at a diverse audience of musicologists, anthropologists, folklorists, cultural studies scholars, musicians, and others, this inclusive journal also features book, recording, film, video, and multimedia reviews. Peer-reviewed by the Society's international membership, Ethnomusicology has been published three times a year since the 1950s. Editor: J. Lawrence Witzleben, University of Maryland Complete listing of Ethnomusicology Editors and Editorial Board

Founded in 1918, the University of Illinois Press (www.press.uillinois.edu) ranks as one of the country's larger and most distinguished university presses. The Press publishes more than 120 new books and 30 scholarly journals each year in an array of subjects including American history, labor history, sports history, folklore, food, film, American music, American religion, African American studies, women's studies, and Abraham Lincoln. The Press is a founding member of the Association of American University Presses as well as the History Cooperative, an online collection of more than 20 history journals.

Note: This article is a review of another work, such as a book, film, musical composition, etc. The original work is not included in the purchase of this review.

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