Performing Ethnomusicology: Teaching and Representation in World Music Ensembles
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
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AFTERWORD SOME CLOSING THOUGHTS FROM
LIST OF CONTRIBUTORS
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academic aesthetic African ensemble African music American Arab music artists audience aural authenticity BaAka Bali Balinese gamelan balungan band bimusicality bonang canonical ensemble challenge Chinese music concert Conservatory context course creativity dents develop drum ensem erhu ethnic ethnomusicology ethnomusicology program Ewe music example experience feel Filipino gamelan music gender gendhing genre goals gong graduate improvisation Indonesian institutions instruments interaction Java Javanese gamelan Javanese music jazz Jewish karawitan kendhang klezmer koto learning lessons listening Lunna Mantle Hood marimba mbira melody ment Middle Eastern music music and dance music department music performance musical tradition musicians native teacher notation notes pedagogical percussion pieces play players rebab recordings rehearsal repertoire repertory rhythm rhythmic role rondalla semester shakuhachi singing sizhu SOAS song sound study group style Sumarsam Susilo taught teaching tion tune UCLA UCSB University of Hawai'i Wesleyan Western music world music ensembles