Alexander Stewart, Ph.D.




Making the Scene: Contemporary New York City Big Band Jazz, Berkeley: University of California Press, 2007.


Spanish translation from the French and German: Hans Bodenmann, El ABC de la Flauta Dulce.Zurich: Anton Peterer Music & Books, 2003 (Recorder method book).




 “Music, Media, and Anarchism in the ‘Oaxaca Commune,’” In Oxford Handbook of Protest Music, edited by Noriko Manabe and Eric Drott, New York: Oxford University Press [2022].


Articles, Book Chapters, Reviews, Entries


“Been Caught Stealing”: A Musicologist’s Perspective on Unlicensed Sampling Disputes” University of Missouri Kansas City Law Review 83(2): 340-61 (Winter 2014).


“Make It Funky: Fela Kuti, James Brown and the Invention of Afrobeat.” American Studies 52(4) (2013): 99-118.


La chilena mexicana es peruana: Multiculturalism, Regionalism, and Transnational Musical Currents in the Hispanic Pacific.” Latin American Music Review/Revista de Música Latinoamericana 34(1) (Spring 2013) Austin: University of Texas Press.


“‘Funky Drummer’: New Orleans, James Brown and the Rhythmic Transformation of American Popular Music.” Reprinted in Roots Music, edited by Mark F. DeWitt. London: Ashgate, 2011 (originally published in Popular Music 19(3) October 2000 Cambridge University Press).


Review of Ben Ratliff, Coltrane: The Story of a SoundJazz Perspectives 2(1):103-109 (2008).


“Contemporary New York City Big Bands: Composition, Arranging, and Individuality in Orchestral Jazz,” Ethnomusicology 48(2) (Spring/Summer 2004): 169-202.


Review of The New Grove Dictionary of Jazz in Ethnomusicology 47(3) (Fall 2003):376-80.


“Second Line,” Encyclopedia of Popular Music of the World. London: Cassell 2003.


Essay review of Lewis Porter, John Coltrane: His Life and MusicAnnual Review of Jazz Studies 11, 2000-1 [2002]: 237-52.


“‘Funky Drummer’: New Orleans, James Brown and the Rhythmic Transformation of American Popular Music,” Popular Music 19(3) (Winter 2000): 293-318.


Review of Scott DeVeaux, The Birth of Bebop in Yearbook of Traditional Music 30 (1998): 135-7.