Indigenous Peoples, Recording Techniques

**********Contents:**Articles* Karl Neuenfeldt: Notes on the Engagement of Indigenous Peoples with Recording Technology and Techniques, the Recording Industry and Researchers* Beverley Diamond: "Allowing the Listener to Fly as They Want to": Sami Perspectives on Indigenous CD Production in Norhern Europe* Ase Ottoson: "We're Just Bush Mob": Producing Aboriginal Music and Maleness in a Central Australian Recording Studio* Brian Diettrich: Across All Micronesia and Beyond: Innovation and Connections in Chuukese Popular Music and Contemporary Recordings* Karl Neuenfeldt: "Bring the Past to Present": Recording and Reviving Rotuman Music via a Collaborative Rotuman/Fijian/Australian CD Project* Katelyn Barney: Sending a Message: How Indigenous Australian Women use Contemporary Music Recording Technologies to Provide a Space for Agency, Viewpoints and Agendas* Dan Bendrups: Easter Island Music and the Voice of Kiko Pate: A Biographical History of Sound Recording* Denis Crowdy: Studios at Home in the Solomon Islands: A Case Study of Homesound Studios, Honiara* James E. Cunningham: The Nammys Versus the Grammys: Celebrity, Technology, and the Creation of an Indigenous Music Recording Industry in North America* Jeniffer Cattermole: "Fiji Blues?": Taveuni and Qamea Musicians' Engagements with Recording Technologies****Book Reviews (Helena Simonett, ed.)* Meilu Ho: Judith Becker, Deep Listeners: Music, Emotion, and Trancingi>* Wenwei Du: Jonathan P. J. Stock, Huju: Traditional Opera in Modern Shanghai* Carole Pegg: Theodore Levin, Where Rivers and Mountains Sing: Sound, Music, and Nomadism in Tuva and Beyond* Anthony Potoczniak: Timothy Cooley, Making Music in Polish Tatras: Tourists, Ethnographers, and Mountain Musicians* Eleanor T. Lipat: Dusadee Swangviboonpong, Thai Classical Singing: Its History, Musical Characteristics and Transmission* Melvin L. Butler: Karen E. Richman, Migration and Vodou* Rolf Groesbeck: Richard K. Wolf, The Black Cow's Footprint: Time, Space, and