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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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Subject, Object, and the Ethnomusicology Ensemble

Subject, Object, and the Ethnomusicology Ensemble

The Ethnomusicological “We” and “Them”

Chapter:
(p.23) Chapter 1 Subject, Object, and the Ethnomusicology Ensemble
Source:
Performing Ethnomusicology
Author(s):

Ricordo D. Trimillos

Publisher:
University of California Press
DOI:10.1525/california/9780520238749.003.0002

This chapter presents personal perspectives organized around three principal challenges arising from intercultural and intergenerational transmission process. It stresses that one should acknowledge and appreciate ethnomusical activities outside academe rather than just considering an ensemble only within an American academic setting. Various models have been highlighted but the notable model is the World Music Center at West Virginia University. A forty-year trajectory reveals development from a single academic rationale to multiple ones responding to concerns of multiculturalism, alternative modes of knowledge acquisition, cultural and ethnic advocacy, aesthetic and artistic pluralism, and community outreach. Furthermore, this chapter discusses the present teaching environment, the Philippine ensemble, the koto ensemble, educational goals, and an ensemble teacher. It also brings attention to the fact that there are three major categories of instructor at the American university such as the culture bearer (indigenous artist), the ethnomusicologist, and the foreign practitioner.

Keywords:   ethnomusicology, ethnomusicologist, Philippine ensemble, ethnomusical activities, koto ensemble, multiculturalism

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