Leon de Bruin is senior lecturer in music at the University of Melbourne, Conservatorium of Music, coordinating the Master of Music Performance Teaching Degree (MMPT).Jane Southcott is professor in the faculty of education at Monash University.

• Table of ContentsChapter 1 Surveying the TerrainLeon de Bruin and Jane SouthcottExpeditious and ImmediacyChapter 2 Music as Provocation, Resistance, Sedition, and Rebellion.Jane SouthcottChapter 3 Resistance between Local and Global: Resisting through Arabesk Rap and its LimitsUmut MiseChapter 4 Resisting State Crimes through Music: Punk Rock songwritingDavid KauzlarichChapter 5 “This is the Battlefield:” Universal Struggle through Guerrilla-Style Tactics of Music EducationNasim NiknafsRecurrence and IntermittenceChapter 6 That Drum Won’t Beat: Music in the Quest for Social Justice.Emily Achieng’ AkunoChapter 7 Sociomusical Identities through Composition and Staging: Co-constructed Narratives Centred on ResistanceRolando Angel-Alvarado and René Silva-PonceChapter 8 Politics, Protest, and Posturing: The Eurovision Song Contest Leon de BruinChapter 9 Disrupting Patriotic Discourse’: Music as a Counter Public and Dissident Archetype in Zimbabwe Post-2000Blessing Makwambeni and Trust MatsilelePerseverance and PerpetuityChapter 10. Musicking Traditions: Resistance, Rebellion, and Conformityin India’s Music Education Natalie SarrazinChapter 11 Listening to a Uyghur Love Song in the Time of Mass IncarcerationChuen-Fung WongChapter 12 Encountering Enduring Voices, Spirits, and Resistances: Indigenous Contemporary Music in Australia Leon de BruinChapter 13 Indigenous with Attitude: Hip Hop and pan-Indigenous politics in Latin AmericaRusty BarrettChapter 14 The Subtle Art of Resistance: Re-hearing the Music of Na Yoon-sun ??? (Youn Sun Nah)Leigh CarriageChapter15 Reviewing the Terrain, and Further ExplorationsLeon de Bruin and Jane Southcott

Guerrilla Music is an inspirational collection of thoroughly grounded discussions and illustrations of how music and musicking can be sites of political protest and expression. The chapters cover an exceptionally diverse range of socio-musical contexts, styles and genres from around the world. I learned a lot of really interesting stuff from this exceptional book, which is sure to make a mark on the sociology of music, ethnomusicology, critical musicology, music education and many more areas.