Performing Ethnomusicology: Teaching and Representation in World Music Ensembles

Published by University of California Press 2004

Performing Ethnomusicology

Teaching and Representation in World Music Ensembles

Edited by: Ted Solis

https://doi.org/10.1525/9780520937178

Overview
Contents

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

Author / Editor information

Solis Ted :

Ted Solís is Professor of Music in the School of Music at Arizona State University.

Topics

Frontmatter Publicly Available Download PDF	i
Contents Publicly Available Download PDF	v
Acknowledgments Publicly Available Download PDF	vii
Introduction. Teaching What Cannot Be Taught: An Optimistic Overview Ted Solís Requires Authentication Unlicensed Licensed Download PDF	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” Ricardo D. Trimillos Requires Authentication Unlicensed Licensed Download PDF	23
Chapter 2. “A Bridge to Java” Four Decades Teaching Gamelan in America David Harnish, Ted Solís and J. Lawrence Witzleben Requires Authentication Unlicensed Licensed Download PDF	53
Chapter 3. Opportunity and Interaction The Gamelan from Java to Wesleyan Sumarsam Requires Authentication Unlicensed Licensed Download PDF	69
Chapter 4. “Where’s ‘One’?” Musical Encounters of the Ensemble Kind Gage Averill Requires Authentication Unlicensed Licensed Download PDF	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 Roger Vetter Requires Authentication Unlicensed Licensed Download PDF	115
Chapter 6. “No, Not ‘Bali Hai’!” Challenges of Adaptation and Orientalism in Performing and Teaching Balinese Gamelan David Harnish Requires Authentication Unlicensed Licensed Download PDF	126
Chapter 7. Cultural Interactions in an Asian Context Chinese and Javanese Ensembles in Hong Kong J. Lawrence Witzleben Requires Authentication Unlicensed Licensed Download PDF	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 Scott Marcus and Ted Solís Requires Authentication Unlicensed Licensed Download PDF	155
Chapter 9. The African Ensemble in America Contradictions and Possibilities David Locke Requires Authentication Unlicensed Licensed Download PDF	168
Chapter 10. Klez Goes to College Hankus Netsky Requires Authentication Unlicensed Licensed Download PDF	189
Chapter 11. Creating a Community, Negotiating Among Communities Performing Middle Eastern Music for a Diverse Middle Eastern and American Public Scott Marcus Requires Authentication Unlicensed Licensed Download PDF	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 Anne K. Rasmussen Requires Authentication Unlicensed Licensed Download PDF	215
Chapter 13. Community of Comfort Negotiating a World of “Latin Marimba” Ted Solís Requires Authentication Unlicensed Licensed Download PDF	229
Chapter 14. What’s the “It” That We Learn to Perform? Teaching BaAka Music and Dance Michelle Kisliuk and Kelly Gross Requires Authentication Unlicensed Licensed Download PDF	249
Chapter 15. “When Can We Improvise?” The Place of Creativity in Academic World Music Performance David W. Hughes Requires Authentication Unlicensed Licensed Download PDF	261
Afterword. Some Closing Thoughts from the First Voice Ricardo Trimillos Requires Authentication Unlicensed Licensed Download PDF	283
Works Cites Requires Authentication Unlicensed Licensed Download PDF	289
Contributors Requires Authentication Unlicensed Licensed Download PDF	303
Index Requires Authentication Unlicensed Licensed Download PDF	307