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Performing EthnomusicologyTeaching and Representation in World Music Ensembles$
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Ted Solis

Print publication date: 2004

Print ISBN-13: 9780520238749

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520238749.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 04 August 2021

Teaching What Cannot Be Taught

Teaching What Cannot Be Taught

An Optimistic Overview

(p.1) Introduction Teaching What Cannot Be Taught
Performing Ethnomusicology

Ted SolÍs

University of California Press

This chapter provides an introduction to an optimistic overview of music ensembles. It articulates the fact that very little has been written about academic world music ensembles even after such a huge growth in world music performance programs. It discusses an ethnomusicological dilemma that manifests in musical ensembles and also highlights the fact that the emotions engendered and engaged through the act of ensemble creation and participation are profound and volatile. Furthermore, this chapter turns to the discussion of challenges encountered while learning music. It also generalizes ensembles into two categorical types, namely realization ensemble and experience ensemble. A list of typical academic world music ensemble types is certainly shorter than one would imagine, given the great range of interests reflected in general ethnomusicological scholarship. Lastly it discusses patchworkers, actors, and ambassadors: representing the people in general from the world of ensembles.

Keywords:   ethnomusicological investigation, musical ensembles, ethnomusicological dilemma, ethnomusicological scholarship, world music

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