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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: 23 July 2021

“Where's ‘One’?”

“Where's ‘One’?”

Musical Encounters of the Ensemble Kind

(p.93) Chapter 4 “Where's ‘One’?”
Performing Ethnomusicology

Gage Averill

University of California Press

This chapter focuses on the epistemology of performance ensembles and their pedagogical value. It also answers the questions of how they serve as a means to a particular kind of knowledge about music, and what they teach those who encounter them as participants or audience members. It states that it is important to consider the differences among music apprenticeships during fieldwork as a part of participant-observation ethnology, and that the role of world music ensembles is a training ground or preparation for ethnomusicological research. It also emphasizes the role of world music ensembles in general liberal arts education, and ensemble performance as public education. The ensemble programs, by virtue of their intercultural mission, became touchstones for political conflicts over issues of power, representation, voice, migration, diversity, and transnational labor in university life of the post-colonial era. Furthermore, this chapter gives a striking note of the author's teaching at Wesleyan University, which highlights the mainstay of ethnomusicology programs, including “musical transvestism” and the related “ethno-drag.”

Keywords:   voice, migration, transnational labor, representation, public education, post-colonial era

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