1998, edited by Selma Cohen. "Since the dawn of human history, dance has been a vital form of expression in virtually every culture. From the minuet to the tango to kabuki theater to square dancing, it is a part of the social fabric of all societies, as well as an important art form. Now, Oxford presents the firstreference to document all types of dance around the world and throughout history. In six volumes, with nearly 2,000 articles written by scholars from over fifty countries, the International Encyclopedia of Dance offers authoritative coverage of the full spectrum of dance, including theatrical dance, ritual dance-drama, folk, traditional, ethnic, and social dance. Extensivehistorical and cultural overviews of many nations appear along with articles on specific dance forms, music and costumes, dance performances, biographies of dancers and choreographers, and much more. The set is alphabetically arranged, with an exhaustive index, full cross-references, and more than2,000 illustrations. Amazing in its scope and dazzling in its diversity, the International Encyclopedia of Dance is like no other reference work on dance. Accessibly written and arranged for use by a wide audience, it will be an essential addition to any arts and humanities collection."
Louise Meintjes, Ana María Ochoa, Thomas Porcello, David W. Samuels. In Oxford Bibliographies in Anthropology. An excellent overview of writing in the field. Annotation are extensive. Sections include: Introduction, General Overviews, World Music Textbooks, Journals, Music and Its Social Significance, The Practice of Ethnomusicology, Sound and Embodied Practices, Circulation, Listening and Sound.
in Grove Music Online, part of Oxford Music Online. Grove is the premier starting point for music research. The ethnomusicology article includes 1. Introduction. 2. History of American ethnomusicology. (i) Early ethnomusicology in North America. (ii) 1890 to World War I—Indigeneity and Empire. (iii) Interwar period, c1920–38. (iv) World War II and the beginning of post-colonial nationalism. (v) The foundational years and the Cold War. (vi) The era of globalization to the present. 3. The institutionalization of American ethnomusicology. 4. Ethnomusicology and the formations of American music. (i) Indigenous music. (ii) Multicultural music, pluralism, the music of minorities. (iii) The politics of difference. (iv) Global popular music. The bibliographies are excellent.
2011. "Jennifer C. Post is Assistant Professor of Music at Middlebury College; she has previously served as a Music Librarian and continues to hold the title of the Curator of the Helen Hartness Flanders Ballad Collection at Middlebury. She compiles the "Current Bibliography" and "Current Theses and Dissertations" lists published tri-yearly in the journal Ethnomusicology. She is the author of numerous articles for music encyclopedias and journals.
1998-2002, Bruno Nettl (Editor); Ruth M. Stone (Editor); James Porter (Editor); Timothy Rice (Editor). "Garland's ambitious 10-volume series takes a cultural approach to its focus on the music of all the world's peoples. Each volume is arranged topically, regionally, or by ethnic group, and complemented by an extensive index. Although each volume will differ because of the nature of the material, the organization remains consistent throughout all: regional overviews first; music in the social context next; then finally, the musical traditions of individual countries or ethnic groups. Of exceptional value are the CDs that accompany each volume, often with previously unrecorded music, as well as the resource guides, extensive bibliographies, and photographs. Separate pricing makes it easy to buy just the volumes that your patrons need and will use."--"Outstanding Reference Sources : the 1999 Selection of New Titles", American Libraries, May 1999.
2013. Timothy Rice. "Ethnomusicology: A Very Short Introduction describes this growing discipline, showing how modern researchers go about studying music from around the world, looking for insights into both music and humanity. Ethnomusicologists believe that all humans, not just those we call musicians, are musical, and that musicality is one of the essential touchstones of the human experience. This insight raises big questions about the nature of music and the nature of humankind, and ethnomusicologists argue that to address these questions properly, we must study music in all its geographical and historical diversity. Ethnomusicologists today not only examine traditional forms of music, but also explore more contemporary musical forms"