Our 2022 collection of posts on African (Akin Euba), Afro-French (Francis Bebey), South Asian/Canadian (Dinuk Wijeratne), Chinese (Zhi Shirui), Indigenous Mexican American (Mari Esabel Valverde), Israeli (Paul Ben-Haim), and Swedish composers (Laci Boldemann) is up!
Global Musical Modernisms is a forum for all forms of music received and appropriated as “modern” in any location around the globe, crossing the boundaries of post/tonality and musical genres. The focus is on art, avant-garde, experimental, modernist, and popular music, by global (African, Middle Eastern, Central/ South/ Southeast/ East Asian, Latin American, Australasian etc.) music-makers, minority music-makers from the West, and music-makers from the peripheries of Europe and North America.
Authors in each annual collection serve as peer editors for each other, shaping each post into an accessible piece of writing (with analytical graphs where appropriate) that is a scholarly guide to global musical modernisms and a multi-media teaching resource.
Editor: Gavin S. K. Lee researches and teaches global and decolonial, Sinophone, black and Sino-Afro, avant-garde and popular, queer and trans, and AI and environmental musics and sounds. His publications include the forthcoming Estrangement from Ethnicity: Music and Sinophone Alienation (UMich), and two edited volumes, Queer Ear (Oxford), and Rethinking Difference in Gender, Sexuality, and Popular Music (Routledge). He has collaborated with over a hundred researchers in editing books and special journal issues, convening conference panels, and (co-)chairing or serving study groups and committees. Since 2020, Lee has presented 8 guest lectures on three continents at universities in the US, Australia, Taiwan, and China.
Copyright © 2020-1 Gavin Lee and authors of blog posts. All rights reserved.