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