As the first general introduction to the musical worlds of the successor states to Soviet Central Asia, this admirable work fills an important gap. Moreover, it does so in an individual and highly attractive way, eschewing the would-be objectivity of a dryly analytical monograph in favor of a looser framework of travel accounts, each rich in specific and revelatory detail but, at the same time, developing a series of thematic constants. To cover all of Central Asia in this way would have been an impossible task, however, and what we are presented with is in essence an exploration of widely separated and contrasting urban and rural areas of Uzbekistan supplemented by forays into northern Tajikistan. Beginning in Tashkent, the itinerary proceeds successively through Bukhara, Surxandarya, and Qashkandarya in the south, and Khorezm; then to Tajikistan (the Upper Zaravshan and Yagnâb, and Shahristan); and finally (following the fortunes of Bukharan Jewish émigré musicians) to New York.