Acknowledgments  ix

Introduction. Hearing Empire—Imperial Listening / Ronald Radano and Tejumola Olaniyan  1

Part I. Technologies of Circulation

1. Decolonizing the Ear: The Transcolonial Reverberations of Vernacular Phonograph Music / Michael Denning  25

2. Smoking Hot: Cigarettes, Jazz, and the Production of Global Imaginaries in Interwar Shanghai / Nan Enstad  45

3. Circuit Listening: Grace Chang and the Dawn of the Chinese 1960s / Andrew F. Jones  66

Part II. Audible Displacements

4. The Aesthetics of Allá: Listening Like a Sonidero / Josh Kun  95

5. Sound Legacy: Elsie Houston / Micol Seigel  116

6. Imperial Aurality: Jazz, the Archive, and U.S. Empire / Jairo Moreno  135

7. Where They Came From: Reracializing Music in the Empire of Silence / Philip V. Bohlman  161

Part III. Cultural Policies and Politics in the Sound Market

8. Di Eagle and di Bear: Who Gets to Tell the Story of the Cold War? / Penny Von Eschen  187

9. Currents of Revolutionary Confluence: A View from Cuba's Hip Hop Festival / Marc Perry  209

10. Tango as Intangible Cultural Heritage: Development, Diversity, and the Values of Music in Buenos Aires / Morgan James Luker  225

11. Musical Economies of the Elusive Metropolis / Gavin Steingo  246

Part IV. Anticolonialism

12. The Sound of Anticolonialism / Brent Hayes Edwards  269

13. Rap, Race, Revolution: Post-9/11 Brown and a Hip Hop Critique of Empire / Nitasha Sharma  292

14. Echo and Anthem: Representing Sound, Music, and Difference in Two Colonial Modern Novels / Amanda Weidman  314

15. Tonality as a Colonizing Force in Africa / Kofi Agawu  334

Discography  357

Bibliography  361

Contributors  391

Index  397

Kofi Agawu

Philip Bohlman

Michael Denning

Brent Hayes Edwards

Nan Enstad

Andrew F. Jones

Morgan James Luker

Jairo Moreno

Marc D. Perry

Micol Seigel

Nitasha Tamar Sharma

Gavin Steingo

Penny Von Eschen

Amanda J. Weidman

"'Empire,' for most of these authors, is not restrained to political empires. Instead, it entails a broad understanding of declining national sovereignty, modern capitalism, and multinational enterprises, all reflected by and in sound. That gaze alone makes this a dynamic and interesting book for historians to consult." — Jessica Gienow-Hecht, Canadian Journal of History

"'Empire,' for most of these authors, is not restrained to political empires. Instead, it entails a broad understanding of declining national sovereignty, modern capitalism, and multinational enterprises, all reflected by and in sound. That gaze alone makes this a dynamic and interesting book for historians to consult." —Jessica Gienow-Hecht, Canadian Journal of History

"Audible Empire is an important, substantive, and significant volume containing essays that display a theoretical sophistication about an important range of musical, social, and political issues. In addressing the ways in which the production, distribution, and consumption of public music can illuminate the history of empire and other transnational practices, structures, and institutions, Audible Empire introduces new ways of thinking about music as a social force." — George Lipsitz, coauthor of The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of Co-Creation

"This significant volume does major intellectual and pedagogical work, helping to clarify just what Fanon meant by 'epistemological violence' and Foucault by the 'invisible but known' character of what has been left out of music scholarship. Containing terrifically original pieces of deep scholarship, Audible Empire promotes searching and expansive thinking that will advance critical musicology."
— Steven Feld, author of Jazz Cosmopolitanism in Accra: Five Musical Years in Ghana

Permission to Photocopy (coursepacks)

If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright.com;

If the Copyright Clearance Center cannot grant permission, you may request permission from our Copyrights & Permissions Manager (use Contact Information listed below).

Permission to Reprint

If you are requesting permission to reprint DUP material (journal or book selection) in another book or in any other format, contact our Copyrights & Permissions Manager (use Contact Information listed below).

Images/Art

Many images/art used in material copyrighted by Duke University Press are controlled, not by the Press, but by the owner of the image. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits. You must obtain permission directly from the owner of the image. Occasionally, Duke University Press controls the rights to maps or other drawings. Please direct permission requests for these images to permissions@dukeupress.edu.
For book covers to accompany reviews, please contact the publicity department.

Subsidiary Rights/Foreign Translations

If you're interested in a Duke University Press book for subsidiary rights/translations, please contact permissions@dukeupress.edu. Include the book title/author, rights sought, and estimated print run.

Disability Requests

Instructions for requesting an electronic text on behalf of a student with disabilities are available here.

Rights & Permissions Contact Information

Email: permissions@dukeupress.edu

Email contact for coursepacks: asstpermissions@dukeupress.edu

Fax: 919-688-4574

Mail:
Duke University Press
Rights and Permissions
905 W. Main Street
Suite 18B
Durham, NC 27701

For all requests please include:

1. Author's name. If book has an editor that is different from the article author, include editor's name also.

2. Title of the journal article or book chapter and title of journal or title of book

3. Page numbers (if excerpting, provide specifics)

For coursepacks, please also note: The number of copies requested, the school and professor requesting

For reprints and subsidiary rights, please also note: Your volume title, publication date, publisher, print run, page count, rights sought