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Table of Contents
Editorial
| Editors’ Introduction |
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| Simone Krüger Bridge , Jonathan P.J. Stock | 5-9 |
Articles
| Samba and Choro in the Classroom: Enculturation at Colégio Pedro II (São Cristóvão) |
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| Colin Harte | 10-30 |
| From Here, There and Everywhere: Recording Popular Music in the “Field” |
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| Brent Keogh | 31-50 |
| “The Pro Tooling of the World”: Digital Music Production, Democracy and Environmentality |
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| Brent Keogh , Ian Collinson | 51-68 |
| The Kalunga Project: The Meanings of Popular Brazilian and Angolan Musical Productions beyond National Territory |
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| Mariana Barreto | 69-90 |
Reviews
| The Borders of Subculture: Resistance and the Mainstream by Alexander Dhoest, Steve Maillet, Barbara Segaert and Jacques Haers, eds. 2015. |
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| Hector Fouce | 91-94 |
| Made in Taiwan: Studies in Popular Music by Eva Tsai, Tung-Hung Ho and Miaoju Jian, eds. 2020. |
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| Hyunjoon Shin | 95-99 |
| Italian Birds of Passage: The Diaspora of Neapolitan Musicians in New York by Simona Frasca. 2014. |
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| Angela Moran | 100-103 |
| Creating Jazz Counterpoint: New Orleans, Barbershop Harmony, and the Blues by Vic Hobson. 2014. |
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| Mathilde Zagala | 104-109 |
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