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LEADER 00000nam a22004214a 4500 
001    000025276321 
005    20040811190539.0 
008    040120t20042004caua     b    001 0 eng   
010    2004043967 
019 1  25276321 
020    0520238745|q(cloth : alk. paper) 
020    0520238311|q(paperback: alk. paper) 
035    .b29155794 
040    DLC|beng|cDLC|dDLC 
042    pcc 
050 00 ML3798|b.P47 2004 
082 00 780/.89|222 
245 00 Performing ethnomusicology :|bteaching and representation 
       in world music ensembles /|cedited by Ted Solís. 
264  1 Berkeley :|bUniversity of California Press,|c[2004] 
264  4 |c©2004 
300    vii, 322 pages ;|c24 cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
504    Includes bibliographical references (pages 289-302) and 
505 00 |gIntroduction.|tTeaching what cannot be taught: an 
       optimistic overview /|rTed Solis --|gpt. 1.|tSounding the 
       other:|tAcademic world music ensembles in historical 
       perspective.|g1.|tSubject, object, and the ethnomusicology
       ensemble: the ethnomusicological 'we' and 'them' /
       |rRicardo D. Trimillos.|g2.|g'A bridge to Java': four 
       decades teaching gamelan in America: interview with Hardja
       Susilo /|rby David Harnish, Ted Solis and J. Lawrence 
       Witzleben.|g4.|tOpportunity and interaction: the gamelan 
       from Jave to Wesleyan /|rSumarsam.|g4.|t'Where's "one"?': 
       musical encounters of the ensemble kind /|rGage Averill. 
505 80 pt. 2.|tSquare Pegs and spokesfolk: serving and adapting 
       to the academy.|g5.|gA|tSquare peg in a round hole: 
       teaching Javanese gamelan in the ensemble paradigm of the 
       academy /|rRoger Vetter.|g6.|t'No, not "Bali hai"!': 
       challenges of adaptation and orientalism in performing and
       teaching Balinese gamelan /|rDavid Harnish.|g7.|tCultural 
       interactions in an Asian context: Chinese and Javanese 
       ensembles in Hong Kong /|rJ. Lawrence Witzleben. 
505 80 |gpt. 3.|tPatchworkers, actors and ambassadors: 
       representing ourselves and others.|g8.|t'Can't help but 
       speak, can't help but play': dual discourse in Arab music 
       pedagogy: interview with Ali Jihad Racy /|rby Scott Marcus
       and Ted Solis.|g9.|gThe|tAfrican ensemble in America: 
       contradictions and possibilities /|rDavid Locke.|g10.
       |tKlez goes to college /|rHankus Netsky.|g11.|tCreating a 
       community, negotiating among communities: performing 
       Middle Eastern music for a diverse Middle Eastern and 
       American public /|rScott Marcus. 
505 80 |gpt. 4.|tTake-off points: creativity and pedagogical 
       obligations.|g12.|tBilateral negotiations in bimusicality:
       insiders, outsiders, and the 'real version' in Middle 
       Eastern music performance /|rAnne K. Rasmussen.|g13.
       |tCommunity of comfort: negotiating a world of 'Latin 
       Marimba' /|rTed Solis.|g14.|tWhat's the 'it' that we learn
       to perform?: teaching BaAka music and dance /|rMichelle 
       Kisliuk and Kelly Gross.|g15.|t'When can we improvise?': 
       the place of creativity in academic world music 
       performance /|rDavid W. Hughes --|gAfterword:|tSome 
       closing thoughts from the first voice: interview with 
       Mantle Hood /|rby Ricardo Trimillos.|gWorks cited.|gList 
       of contributors.|gIndex. 
650  0 Ethnomusicology.|0
650  0 World music|0
       sh93002569|xInstruction and study.|0
650  0 Folk music groups.|0
700 1  Solís, Ted.|0
907    .b29155794 
984    VU|cheld 
990    MARCIVE MELB 201906 
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