A recent retiree of the City University of New York Graduate Center, Stephen Blum is an ethnomusicologist and musicologist with broad interests, which include sung poetry, the history of musical scholarship, and ethnomusicological analysis. His articles and encyclopedia entries deal with general topics (composition, improvisation, modern music history, cultural interaction) and with specific musical practices of Iran, Kurdistan, Central Asia, Europe, and North America.
Jocelyne Guilbault is an ethnomusicologist and popular music studies scholar who has been teaching at UC Berkeley since 1999. Stressing a multidisciplinary approach, her research and teaching engages critical theoretical and methodological issues in ethnomusicology and popular music studies. She locates these issues in the scholarly intersections of music, anthropology, cultural studies, and history.
All of my intellectual projects since 1980 have been deeply informed by the distinctive history of the West Indies, where colonial legacies of slavery and of racism have loomed large in all arenas of musical discourse and practice. This has compelled me to focus on diasporic formations, on emergent national identities, and on the politics of representation. And it has compelled me to investigate the postcolonial conditions in which West Indian musicians live and the systemic inequalities they have faced. But my research is not just about oppression, or emancipatory politics, or the status quo. By focusing on creative agency in its multiple forms, I have examined a multitude of ways that musicians, their audiences, and music industry workers confront, enact, deploy, and resist power in its many forms and effects. In this way I have consistently engaged with the politics of aesthetics and with power relations in music production and circulation. These issues inform my earliest fieldwork project on the politics of traditionality and modernity in St. Lucian village music. I developed these issues on a more global scale in a later project on Zouk as a Caribbean “world music.” My last two books draw from a long history of research in Trinidad. In one I explored the ways the calypso music scene became audibly entangled with projects of governing, audience demands, and market incentives. In the most recent publication, an experiment in dialogic co-authorship with a reputed Trinidadian calypso and soca band leader, I engage the audible entanglements of circulation, reputation, and sound.