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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

The African Ensemble in America

The African Ensemble in America

Contradictions and Possibilities

(p.168) Chapter 9 The African Ensemble in America
Performing Ethnomusicology

David Locke

University of California Press

This chapter gives a striking account of prevailing contradictions and various possibilities for teaching African music in the United States of America. The study tends to raise political issues because of the nation's history of African slavery and its troubled race relations. At the same time, African music is also remarkably popular. Composers seek creative ideas from its musical structures; players find that their musicianship is enhanced through studying ensemble performance; and general listeners appreciate popular and traditional African music. Thus, in terms of political sensitivity and musical significance, people making African music in the United States operate within an especially intense field. This chapter also highlights performance philosophy in the context of African music. The current unprecedented efficiency and scope of globalization encourages many to think of humanity as one worldwide society, so that musical styles of planetary popularity emerge in tandem with the growth of transnational businesses. The African music ensemble is therefore seen as a force for this change.

Keywords:   African music, slavery, ensemble performance, United States, political issues

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