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Performing Ethnomusicology
Teaching and Representation in World Music Ensembles
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Edited by:
Language:
English
Published/Copyright:
2004
About this book
Performing 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
"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
Author / Editor information
Solis Ted :
Ted Solís is Professor of Music in the School of Music at Arizona State University.
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Frontmatter
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Contents
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Acknowledgments
vii -
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Introduction. Teaching What Cannot Be Taught: An Optimistic Overview
1 - Part One. Sounding the Other Academic World Music Ensembles in Historical Perspective
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Chapter 1. Subject, Object, and the Ethnomusicology Ensemble The Ethnomusicological “We” and “Them”
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Chapter 2. “A Bridge to Java” Four Decades Teaching Gamelan in America
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Chapter 3. Opportunity and Interaction The Gamelan from Java to Wesleyan
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Chapter 4. “Where’s ‘One’?” Musical Encounters of the Ensemble Kind
93 - Part Two. Square Pegs and Spokesfolk Serving and Adapting to the Academy
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Chapter 5. A Square Peg in a Round Hole Teaching Javanese Gamelan in the Ensemble Paradigm of the Academy
115 -
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Chapter 6. “No, Not ‘Bali Hai’!” Challenges of Adaptation and Orientalism in Performing and Teaching Balinese Gamelan
126 -
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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
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Chapter 8. “Can’t Help but Speak, Can’t Help but Play” Dual Discourse in Arab Music Pedagogy
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Chapter 9. The African Ensemble in America Contradictions and Possibilities
168 -
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Chapter 10. Klez Goes to College
189 -
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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
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Chapter 12. Bilateral Negotiations in Bimusicality Insiders, Outsiders, and the “Real Version” in Middle Eastern Music Performance
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Chapter 13. Community of Comfort Negotiating a World of “Latin Marimba”
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Chapter 14. What’s the “It” That We Learn to Perform? Teaching BaAka Music and Dance
249 -
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Chapter 15. “When Can We Improvise?” The Place of Creativity in Academic World Music Performance
261 -
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Afterword. Some Closing Thoughts from the First Voice
283 -
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Works Cites
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Contributors
303 -
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Index
307
Publishing information
Pages and Images/Illustrations in book
eBook published on:
August 13, 2004
eBook ISBN:
9780520937178
Pages and Images/Illustrations in book
Main content:
329
eBook ISBN:
9780520937178
Keywords for this book
intercultural music transmission; teaching ensembles; public music performance; ethnomusicology; music students; ethnomusicologists; musicians; music scholars; western music performers; music teaching; representation; world music ensembles; music performance; academic world music ensembles; creating ensembles; theoretical issues; ethical issues; essay collection; anthology; music pedagogy; intergenerational; anthropology; folklore; performing arts; practical issues; historical musicology; cultural studies