LEADER 06640nam 22010094a 450 001 9910783388303321 005 20230617031739.0 010 $a9786612762932 010 $a0-520-93717-1 010 $a1-59734-803-1 010 $a1-282-76293-1 024 7 $a10.1525/9780520937178 035 $a(CKB)1000000000024204 035 $a(EBL)223005 035 $a(OCoLC)475926925 035 $a(SSID)ssj0000219877 035 $a(PQKBManifestationID)11220327 035 $a(PQKBTitleCode)TC0000219877 035 $a(PQKBWorkID)10249191 035 $a(PQKB)11545307 035 $a(StDuBDS)EDZ0000084565 035 $a(MiAaPQ)EBC223005 035 $a(OCoLC)56733766 035 $a(MdBmJHUP)muse30922 035 $a(DE-B1597)520703 035 $a(DE-B1597)9780520937178 035 $a(Au-PeEL)EBL223005 035 $a(CaPaEBR)ebr10068592 035 $a(CaONFJC)MIL276293 035 $a(EXLCZ)991000000000024204 100 $a20040120d2004 uy 0 101 0 $aeng 135 $aurnn#---|u||u 181 $ctxt 182 $cc 183 $acr 200 00$aPerforming ethnomusicology$b[electronic resource] $eteaching and representation in world music ensembles /$fedited by Ted Soli?s 210 $aBerkeley $cUniversity of California Press$dc2004 215 $a1 online resource (332 p.) 300 $aDescription based upon print version of record. 311 0 $a0-520-23874-5 311 0 $a0-520-23831-1 320 $aIncludes bibliographical references (p. 289-302) and index. 327 $tFront matter --$tContents --$tAcknowledgments --$tIntroduction. Teaching What Cannot Be Taught: An Optimistic Overview --$tChapter 1. Subject, Object, and the Ethnomusicology Ensemble The Ethnomusicological "We" and "Them" --$tChapter 2. "A Bridge to Java" Four Decades Teaching Gamelan in America --$tChapter 3. Opportunity and Interaction The Gamelan from Java to Wesleyan --$tChapter 4. "Where's 'One'?" Musical Encounters of the Ensemble Kind --$tChapter 5. A Square Peg in a Round Hole Teaching Javanese Gamelan in the Ensemble Paradigm of the Academy --$tChapter 6. "No, Not 'Bali Hai'!" Challenges of Adaptation and Orientalism in Performing and Teaching Balinese Gamelan --$tChapter 7. Cultural Interactions in an Asian Context Chinese and Javanese Ensembles in Hong Kong --$tChapter 8. "Can't Help but Speak, Can't Help but Play" Dual Discourse in Arab Music Pedagogy --$tChapter 9. The African Ensemble in America Contradictions and Possibilities --$tChapter 10. Klez Goes to College --$tChapter 11. Creating a Community, Negotiating Among Communities Performing Middle Eastern Music for a Diverse Middle Eastern and American Public --$tChapter 12. Bilateral Negotiations in Bimusicality Insiders, Outsiders, and the "Real Version" in Middle Eastern Music Performance --$tChapter 13. Community of Comfort Negotiating a World of "Latin Marimba" --$tChapter 14. What's the "It" That We Learn to Perform? Teaching BaAka Music and Dance --$tChapter 15. "When Can We Improvise?" The Place of Creativity in Academic World Music Performance --$tAfterword. Some Closing Thoughts from the First Voice --$tWorks Cites --$tContributors --$tIndex 330 $aPerforming Ethnomusicology is the first book to deal exclusively with creating, teaching, and contextualizing academic world music performing ensembles. Considering the formidable theoretical, ethical, and practical issues that confront ethnomusicologists who direct such ensembles, the sixteen essays in this volume discuss problems of public performance and the pragmatics of pedagogy and learning processes. Their perspectives, drawing upon expertise in Caribbean steelband, Indian, Balinese, Javanese, Philippine, Mexican, Central and West African, Japanese, Chinese, Middle Eastern, and Jewish klezmer ensembles, provide a uniquely informed and many-faceted view of this complicated and rapidly changing landscape. The authors examine the creative and pedagogical negotiations involved in intergenerational and intercultural transmission and explore topics such as reflexivity, representation, hegemony, and aesthetically determined interaction. Performing Ethnomusicology affords sophisticated insights into the structuring of ethnomusicologists' careers and methodologies. This book offers an unprecedented rich history and contemporary examination of academic world music performance in the West, especially in the United States. "Performing Ethnomusicology is an important book not only within the field of ethnomusicology itself, but for scholars in all disciplines engaged in aspects of performance-historical musicology, anthropology, folklore, and cultural studies. The individual articles offer a provocative and disparate array of threads and themes, which Solís skillfully weaves together in his introductory essay. A book of great importance and long overdue."-R. Anderson Sutton, author of Calling Back the Spirit Contributors: Gage Averill, Kelly Gross, David Harnish, Mantle Hood, David W. Hughes, Michelle Kisliuk, David Locke, Scott Marcus, Hankus Netsky, Ali Jihad Racy, Anne K. Rasmussen, Ted Solís, Hardja Susilo, Sumarsam, Ricardo D. Trimillos, Roger Vetter, J. Lawrence Witzleben 606 $aEthnomusicology 606 $aWorld music$xInstruction and study 606 $aFolk music groups 610 $aacademic world music ensembles. 610 $aanthology. 610 $aanthropology. 610 $acreating ensembles. 610 $acultural studies. 610 $aessay collection. 610 $aethical issues. 610 $aethnomusicologists. 610 $aethnomusicology. 610 $afolklore. 610 $ahistorical musicology. 610 $aintercultural music transmission. 610 $aintergenerational. 610 $amusic pedagogy. 610 $amusic performance. 610 $amusic scholars. 610 $amusic students. 610 $amusic teaching. 610 $amusicians. 610 $aperforming arts. 610 $apractical issues. 610 $apublic music performance. 610 $arepresentation. 610 $ateaching ensembles. 610 $atheoretical issues. 610 $awestern music performers. 610 $aworld music ensembles. 615 0$aEthnomusicology. 615 0$aWorld music$xInstruction and study. 615 0$aFolk music groups. 676 $a780/.89 701 $aSoli?s$b Ted$01484900 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910783388303321 996 $aPerforming ethnomusicology$93703738 997 $aUNINA