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Chapter 7. Cultural Interactions in an Asian Context Chinese and Javanese Ensembles in Hong Kong

© 2019 University of California Press, Berkeley

© 2019 University of California Press, Berkeley

Chapters in this book

  1. Frontmatter i
  2. Contents v
  3. Acknowledgments vii
  4. Introduction. Teaching What Cannot Be Taught: An Optimistic Overview 1
  5. Part One. Sounding the Other Academic World Music Ensembles in Historical Perspective
  6. Chapter 1. Subject, Object, and the Ethnomusicology Ensemble The Ethnomusicological “We” and “Them” 23
  7. Chapter 2. “A Bridge to Java” Four Decades Teaching Gamelan in America 53
  8. Chapter 3. Opportunity and Interaction The Gamelan from Java to Wesleyan 69
  9. Chapter 4. “Where’s ‘One’?” Musical Encounters of the Ensemble Kind 93
  10. Part Two. Square Pegs and Spokesfolk Serving and Adapting to the Academy
  11. Chapter 5. A Square Peg in a Round Hole Teaching Javanese Gamelan in the Ensemble Paradigm of the Academy 115
  12. Chapter 6. “No, Not ‘Bali Hai’!” Challenges of Adaptation and Orientalism in Performing and Teaching Balinese Gamelan 126
  13. Chapter 7. Cultural Interactions in an Asian Context Chinese and Javanese Ensembles in Hong Kong 138
  14. Part Three. Patchworkers, Actors, and Ambassadors Representing Ourselves and Others
  15. Chapter 8. “Can’t Help but Speak, Can’t Help but Play” Dual Discourse in Arab Music Pedagogy 155
  16. Chapter 9. The African Ensemble in America Contradictions and Possibilities 168
  17. Chapter 10. Klez Goes to College 189
  18. Chapter 11. Creating a Community, Negotiating Among Communities Performing Middle Eastern Music for a Diverse Middle Eastern and American Public 202
  19. Part Four. Take-Off Points Creativity and Pedagogical Obligation
  20. Chapter 12. Bilateral Negotiations in Bimusicality Insiders, Outsiders, and the “Real Version” in Middle Eastern Music Performance 215
  21. Chapter 13. Community of Comfort Negotiating a World of “Latin Marimba” 229
  22. Chapter 14. What’s the “It” That We Learn to Perform? Teaching BaAka Music and Dance 249
  23. Chapter 15. “When Can We Improvise?” The Place of Creativity in Academic World Music Performance 261
  24. Afterword. Some Closing Thoughts from the First Voice 283
  25. Works Cites 289
  26. Contributors 303
  27. Index 307
Performing Ethnomusicology
This chapter is in the book Performing Ethnomusicology
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