Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Sonic Sovereignty: Hip Hop, Indigeneity, and Shifting Popular Music Mainstreams

Sonic Sovereignty: Hip Hop, Indigeneity, and Shifting Popular Music Mainstreams

Przybylski, Liz

Paperback

Series: Postmillennial Pop, Book 31

General SociologyHip HopIndigenous Studies

ISBN10: 1479816922
ISBN13: 9781479816927
Publisher: New York University Press
Published: Jul 25 2023
Pages: 328
Weight: 1.01
Height: 1.00 Width: 6.00 Depth: 8.90
Language: English

Winner, 2024 Greg Tate Prize, given by the International Association for the Study of Popular Music-US Branch

Winner, 2024 International Association for the Study of Popular Music Canada Book Prize

Honorable Mention, 2024 Alan Merriam Prize, given by the Society for Ethnomusicology

What does sovereignty sound like?

Sonic Sovereignty considers how contemporary Indigenous musicians champion self-determination through musical expression in Canada and the United States. The framework of sonic sovereignty connects self-definition, collective determination, and Indigenous land rematriation to the immediate and long-lasting effects of expressive culture. Liz Przybylski covers online and offline media spaces, following musicians and producers as they, and their music, circulate across broadcast and online networks.

Przybylski documents and reflects on shifts in both the music industry and political landscape over the course of a decade: as the ways in which people listen to, consume, and interact with popular music have radically changed, extensive public conversations have flourished around contemporary Indigenous culture, settler responsibility, Indigenous leadership, and decolonial futures.

Sonic Sovereignty encourages us to experiment with temporal possibilities of listening by detailing moments when a sample, lyric, or musical reference moves a listener out of normative time. Nonlinear storytelling practices from hip hop music and other North American Indigenous sonic practices inform these generative listenings. The musical readings presented in this book thus explore how musicians use tools to help listeners embrace rupture, and how out-of-time listening creates decolonial possibilities.

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