By Ted Solis
Acting Ethnomusicology is the 1st publication to deal solely with growing, educating, and contextualizing educational international track appearing ensembles. contemplating the ambitious theoretical, moral, and functional concerns that confront ethnomusicologists who direct such ensembles, the 16 essays during this quantity speak about difficulties of public functionality and the pragmatics of pedagogy and studying techniques. Their views, drawing upon services in Caribbean steelband, Indian, Balinese, Javanese, Philippine, Mexican, primary and West African, eastern, chinese language, center jap, and Jewish klezmer ensembles, supply a uniquely knowledgeable and many-faceted view of this complex and speedily altering panorama. The authors study the artistic and pedagogical negotiations concerned with intergenerational and intercultural transmission and discover subject matters corresponding to reflexivity, illustration, hegemony, and aesthetically made up our minds interplay. acting Ethnomusicology gives subtle insights into the structuring of ethnomusicologists' careers and methodologies. This publication deals an exceptional wealthy heritage and modern exam of educational global song functionality within the West, in particular within the usa. participants: Gage Averill, Kelly Gross, David Harnish, Mantle Hood, David W. Hughes, Michelle Kisliuk, David Locke, Scott Marcus, Hankus Netsky, Ali Jihad Racy, Anne okay. Rasmussen, Ted Sol?s, Hardja Susilo, Sumarsam, Ricardo D. Trimillos, Roger Vetter, J. Lawrence Witzleben Illustrations:
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Additional info for Performing Ethnomusicology: Teaching and Representation in World Music Ensembles
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.