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| Foreword | |
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| Preface | |
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| Introduction: Music and Race, Their Past, Their Presence | |
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| Body/Dance | |
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| The Asian American Body in Performance | |
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| Ethnifying Rhythms, Feminizing Cultures | |
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| "Ain't I People?": Voicing National Fantasy | |
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| "Sexual Pantomimes," the Blues Aesthetic, and Black Women in the New South | |
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| Hybridity/Mix | |
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| Race Music | |
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| Mestizaje in the Mix: Chicano Identity, Cultural Politics, and Postmodern Music | |
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| Performing Decency: Ethnicity and Race in Andean "Mestizo" Ritual Dance | |
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| Indonesian-Chinese Oppression and the Musical Outcomes in the Netherlands East Indies | |
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| Ethnic Identity, National Identity, and Music in Indo-Trinidadian Culture | |
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| Representing/Disciplining | |
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| Presencing the Past and Remembering the Present: Social Features of Popular Music in | |
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| Beacute;la Bartoacute;k and the Rise of Comparative Ethnomusicology: Nationalism, Race Purity, and the Legacy of the Austro-Hungarian Empire | |
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| Racial Projects and Musical Discourses in Trinidad, West Indies | |
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| Hot Fantasies: American Modernism and the Idea of Black Rhythm | |
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| History/Modernism | |
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| Alban Berg, the Jews, and the Anxiety of Genius | |
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| "Death is a Drum": Rhythm, Modernity, and the Negro Poet Laureate | |
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| Race, Class, and Musical Nationalism in Zimbabwe | |
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| Duke Ellington,Black, Brown, and Beige, and the Cultural Politics of Race | |
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| Power/Powerlessness | |
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| Naming the Illuminati | |
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| Music Wars: Blood and Song at the End of Yugoslavia | |
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| The Remembrance of Things Past: Music, Race, and the End of History in Modern Europe | |
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| List of Contributors | |
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| Index | |