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American Gamelan and the Ethnomusicological Imagination最新文献

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Acknowledgments 致谢
Pub Date : 2020-09-28 DOI: 10.5406/j.ctv176kvq8.3
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引用次数: 0
From Bali to America: 从巴厘岛到美国:
Pub Date : 2020-09-28 DOI: 10.5406/j.ctv176kvq8.7
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引用次数: 0
Kembali:
Pub Date : 2020-09-28 DOI: 10.5406/j.ctv176kvq8.11
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引用次数: 1
Glossary 术语表
Pub Date : 2020-09-28 DOI: 10.5406/j.ctv176kvq8.15
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引用次数: 0
Back Matter 回到问题
Pub Date : 2020-09-28 DOI: 10.5406/j.ctv176kvq8.19
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引用次数: 0
Index 指数
Pub Date : 2020-09-28 DOI: 10.5406/j.ctv176kvq8.18
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引用次数: 0
Cultivating New Flowers 培育新花卉
Pub Date : 2020-09-01 DOI: 10.5406/j.ctv176kvq8.14
Elizabeth A. Clendinning
By examining the self-narrative of college Balinese gamelan teacher Dewa Ketut Alit Adnyana, the chapter juxtaposes and recontextualizes key themes from the entire volume, including the construction of musical lineages, transnational artistic communities, personal negotiations of artistic and social status, pedagogical creativity, and personal sacrifice. Biography is presented as an important medium for understanding the impact of teaching and performance; ethnomusicology, as a field that constitutes a way of life rather than a professional occupation alone. The chapter concludes with suggestions for creating more sustainable academic world music communities, including improving access and representation, and for reconsidering the distinctive and powerful role that ensembles can play in cultivating cultural and artistic diversity in higher education.
本章检视巴厘大学佳美兰老师Dewa Ketut Alit Adnyana的自我叙述,并置整卷的关键主题,包括音乐传承的建构、跨国艺术社群、艺术与社会地位的个人协商、教学创意与个人牺牲。传记是理解教学和绩效影响的重要媒介;民族音乐学,作为一个领域,它构成了一种生活方式,而不仅仅是一种专业职业。本章最后提出了创建更可持续的学术世界音乐社区的建议,包括改善机会和代表性,以及重新考虑合奏团在培养高等教育中文化和艺术多样性方面可以发挥的独特而强大的作用。
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引用次数: 0
Interlocking Sounds, Interlocking Communities 联锁的声音,联锁的社区
Pub Date : 2020-09-01 DOI: 10.5406/j.ctv176kvq8.5
Elizabeth A. Clendinning
The chapter introduces Indonesian gamelan (percussion orchestra) and the roles that it has played in college world music education in North America and in the discipline of ethnomusicology. The chapter presents a musical overview of gamelan and its original cultural contexts in Indonesia, including religious ceremonies, tourist audiences, and local entertainment. Then it introduces new contexts that gamelan has come to occupy in North America, including performances on concert stages, at outdoor festivals, in prisons, and, most pertinent to this book, in collegiate music halls. Finally, the chapter introduces the premise of the volume—a biography-based examination of the way academic world music ensembles impact local and transnational educational and musical communities—and the book’s primary goal: that of suggesting ways to construct more sustainable academic music communities.
本章介绍了印尼佳美兰(打击乐团)及其在北美大学世界音乐教育和民族音乐学学科中所扮演的角色。本章介绍了甘美兰的音乐概述及其在印度尼西亚的原始文化背景,包括宗教仪式,游客观众和当地娱乐。然后介绍了甘美兰在北美的新背景,包括在音乐会舞台上、户外音乐节上、监狱里,以及与本书最相关的大学音乐厅里的表演。最后,本章介绍了本卷的前提-以传记为基础的学术世界音乐乐团影响本地和跨国教育和音乐社区的方式的检查-以及本书的主要目标:建议构建更可持续的学术音乐社区的方法。
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引用次数: 0
Americans Learning Gamelan in Bali 美国人在巴厘岛学习甘美兰
Pub Date : 2020-09-01 DOI: 10.5406/j.ctv176kvq8.10
Elizabeth A. Clendinning
The chapter analyzes the development and scope of educational tourism programs in the performing arts, including collegiate study-abroad programs, in the context of the Balinese tourism industry. The programs—which include hands-on music making and dance instruction, lectures and workshops, and visits to performing arts events and tourist sites—feature elements of both educational and leisure tourism. Through an examination of several different models for such “edutourism” programs, the chapter suggests that while they capitalize on presenting an “authentic” experience of Balinese-ness for participants, they also provide distinctive opportunities for foreigners to transcend the conventional tourist role via more direct involvement in Balinese community events and by treating and compensating teachers as professionals.
本章分析了表演艺术教育旅游项目的发展和范围,包括在巴厘岛旅游业背景下的大学留学项目。这些项目包括动手音乐制作和舞蹈指导、讲座和讲习班、参观表演艺术活动和旅游景点,兼具教育和休闲旅游的特点。通过对这种“教育旅游”项目的几种不同模式的考察,本章表明,这些项目在为参与者提供巴厘岛“真实”体验的同时,也为外国人提供了独特的机会,通过更直接地参与巴厘岛社区活动,并通过将教师视为专业人士来对待和补偿,从而超越了传统的游客角色。
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引用次数: 0
Early Encounters in Bimusicality 早期邂逅双音乐性
Pub Date : 2020-09-01 DOI: 10.5406/j.ctv176kvq8.6
Elizabeth A. Clendinning
The chapter presents an overview of the introduction of gamelan to North America and examines how the ensembles assumed a key role within the philosophy and practice of American collegiate world music education. Musical and cultural exhibitions at world’s fairs, the dispersion of early recordings of gamelan music, transnational performance tours, and the work of Western composers and pedagogues led to the importation of instruments and founding of early academic gamelans. The world music ensemble programs modeled after those founded at UCLA by Mantle Hood embodied a new and important paradigm in ethnomusicology termed bimusicality, as well as sparking the collegiate world music ensemble movement. The chapter concludes with a brief overview of the current gamelan scene in the United States that reconnects the early development of academic gamelan ensembles to contemporary artistic and educational practices.
本章概述了佳美兰在北美的介绍,并考察了乐团如何在美国大学世界音乐教育的哲学和实践中发挥关键作用。世界博览会上的音乐和文化展览,早期佳美兰音乐唱片的传播,跨国演出巡演,以及西方作曲家和教育家的作品,导致了乐器的进口和早期学术佳美兰的建立。以加州大学洛杉矶分校曼特·胡德(Mantle Hood)创立的世界音乐合奏项目为模型,体现了民族音乐学中一个新的、重要的范式,即双音乐性,并引发了大学世界音乐合奏运动。本章最后简要概述了当前美国的佳美兰音乐场景,重新将佳美兰学术合奏的早期发展与当代艺术和教育实践联系起来。
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引用次数: 0
期刊
American Gamelan and the Ethnomusicological Imagination
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