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Listen But Don't Ask Question: Hawaiian Slack Key Guitar Across the TransPacific By Kevin Fellezs. Durham: Duke University Press, 2019.
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Published online by Cambridge University Press: 02 March 2022
Abstract
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References
1 Donaghy, Joseph Keola, “Hawaiian Slack Key Guitar Construction: Moving Forward by Looking Back,” Hūlili: Multidisciplinary Research on Hawaiian Well-Being 8 (2012): 71–96Google Scholar; Teves, Stephanie Nohelani, Defiant Indigeneity: The Politics of Hawaiian Performance (Chapel Hill: University of North Carolina Press, 2018)CrossRefGoogle Scholar.
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3 Imada, Adria, Aloha America: Hula Circuits throughout the U.S. Empire (Durham: Duke University Press, 2012)Google Scholar; Tranquada, Jim and King, John, The ‘Ukulele: A History (Honolulu: University of Hawai'i Press, 2012)CrossRefGoogle Scholar; Carr, James Revell, Hawaiian Music in Motion: Mariners, Missionaries, and Minstrels (Urbana, Chicago, and Springfield: University of Illinois Press, 2014)CrossRefGoogle Scholar; Troutman, John W., Kīkā Kila: How the Hawaiian Steel Guitar Changed the Sound of Modern Music (Chapel Hill: University of North Carolina Press, 2016)CrossRefGoogle Scholar.
4 See Imada, Aloha America; Tranquada and King, The ‘Ukulele; Carr, Hawaiian Music in Motion; and Troutman, Kīkā Kila.
5 See Stillman, Amy Ku'uleialoha, “Globalizing Hula,” Yearbook for Traditional Music 31(1999): 57–66CrossRefGoogle Scholar; Yoko Kurokawa, Yearning for a Distant Music: Consumption of Hawaiian Music and Dance in Japan (PhD dissertation, University of Hawai'i, Mānoa, 2004); Yaguchi, Yujin, “Longing for Paradise through ‘Authentic’ Hula Performance in Japan,” Japanese Studies 35, no. 3 (2015): 303–315CrossRefGoogle Scholar.