Indigenous peoples, recording techniques, and the recording industry

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This collection features a diverse range of articles exploring the engagement of Indigenous peoples with recording technologies and the music industry. Contributions include Karl Neuenfeldt's insights on Indigenous interactions with recording technology, and Beverley Diamond's examination of Sami perspectives on CD production in Northern Europe. Ase Ottoson discusses the production of Aboriginal music in a Central Australian studio, while Brian Diettrich highlights innovation in Chuukese popular music. Neuenfeldt also addresses the revival of Rotuman music through a collaborative project involving Rotuman, Fijian, and Australian artists. Katelyn Barney explores how Indigenous Australian women leverage contemporary recording technologies for agency and expression. Dan Bendrups presents a biographical history of sound recording related to Easter Island music, and Denis Crowdy offers a case study of home studios in the Solomon Islands. James E. Cunningham contrasts the Nammys and Grammys, examining celebrity and technology in the Indigenous music recording industry in North America. Jeniffer Cattermole discusses the engagement of Taveuni and Qamea musicians with recording technologies. The volume also includes book reviews and recording reviews, providing a comprehensive overview of contemporary Indigenous music scholarship.