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By Angelo Debarre, Samy Daussat

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Essentialism presently commands a national foreground beyond academe. qxd 5/11/2004 8:55 AM Page 27 The Ethnomusicology Ensemble 27 ism raise the difWcult issues of entitlement and authenticity. The term authenticity applied to the object is problematic; I have discussed this issue elsewhere (1995). However, I use the word without qualiWers2 here to mark the spectator position advanced by Balme (1998), that is, the authoritative or the credible from a consumer viewpoint. For our purposes the student, the personnel committee member, and the concert series director are all part of the academy’s consumership.

Because he cannot embody the cultural credibility of the native teacher, he must establish his credibility in other ways. One strategy is to emphasize older repertory and recognized aspects of “tradition,” a problematic notion. 25 In this strategy, the teacher presents what he has learned rather than extends the repertory through composing or expanding the musical style through innovation, both of which are options for the native teacher. By doing so, the ethnomusicologist teacher reinforces a standard repertory or canon for the study group and valorizes a speciWc musical style.

American education valorizes individual merit and initiative, which challenges a traditional Filipino preference for collective accomplishment. A central Filipino value is pagkapwa, the continual awareness of others (Enriquez 1985). As part of a social dynamic, it emphasizes identity of an individual in relation to a group rather than the individual as a social isolate. This value has direct relevance for music making; it governs the ensemble sensibility discussed above. Each musician, through “peripheral hearing,” is constantly aware of the totality of the ensemble and able to adjust to any changes or developments, whether caused by design or by chance.

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