Academic literature on the topic 'Ethnomusicological theory'
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Journal articles on the topic "Ethnomusicological theory"
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Rice, Timothy. "Ethnomusicological Theory." Yearbook for Traditional Music 42 (2010): 100–134. http://dx.doi.org/10.1017/s0740155800012686.
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“Ethnomusicological theory,” despite its name and despite the fact that it in some ways permeates our field, has yet to take firm root in our disciplinary imagination. Indeed, the phrase appears to be used rarely, in comparison to references to an unmodified “theory” in or for ethnomusicology. Minimally, ethnomusicology today engages with three types of theory: social theory, music theory, and discipline-specific ethnomusicological theory. Unmodified references to theory have tended to obfuscate the nature of ethnomusicological theory and have left ethnomusicologists a bit unsure, and perhaps even insecure, about the relevance and place of theory, however understood, in their work.
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Loughran, Maureen. "“But what if they call the police?” Applied Ethnomusicology and Urban Activism in the United States." Musicological Annual 44, no. 1 (December 1, 2008): 51–68. http://dx.doi.org/10.4312/mz.44.1.51-68.
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This article explores the difficulties and necessities of applied ethnomusicological research in an urban American neighborhood. A theory of method for activist centered work which connects academia with local, grassroots communities is discussed as well as the challenges of positioning oneself as an applied ethnomusicologist in the field.
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Witzleben, J. Lawrence. "Performing in the Shadows: Learning and Making Music as Ethnomusicological Practice and Theory." Yearbook for Traditional Music 42 (2010): 135–66. http://dx.doi.org/10.1017/s0740155800012698.
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In this article, I am concerned with the ways in which engagement with performance has shaped—and continues to shape—the ideas and theoretical perspectives of ethnomusicologists. In many ethnomusicology programmes (including several I have been in as a student or teacher), graduate students are required to participate in performing ensembles, take lessons both at home and in the field, and participate in performance as part of their thesis or dissertation research, yet the rationale for these widespread practices is not easy to decipher from contemporary definitions or overviews of the field. While my formal studies of ethnomusicology took place in the United States, and much of the literature discussed here is an outgrowth of North American practices, my perspectives are also shaped by more than two decades of teaching, research, and interaction with scholars and performers in East Asia. Although I will make reference to researchers and developments in Hong Kong, mainland China, Japan, and Korea, the stories of ethnomusicology and performance in those locales deserve articles of their own, and I do not even pretend to speak for practices and issues elsewhere in Asia or in Europe, Latin American, Africa, or Oceania. Nevertheless, I believe that the issues raised here are of at least potential interest to all those involved in the intersection of music and ethnography, and I hope that these preliminary ideas will inspire comparative perspectives from scholars elsewhere.
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Loza, Steven. "Challenges to the Euroamericentric Ethnomusicological Canon: Alternatives for Graduate Readings, Theory, and Method." Ethnomusicology 50, no. 2 (April 1, 2006): 360–71. http://dx.doi.org/10.2307/20174460.
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Dovhalyuk, Iryna, and Lina Dobrianska. "Ethnomusicology of Ukraine at the Turn of XX–XXI Centuries (1991–2022): Science, Publications, Conferences." Problems of music ethnology 17 (November 17, 2022): 5–15. http://dx.doi.org/10.31318/2522-4212.2022.17.270892.
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The long-awaited times of Independence opened wide opportunities for Ukrainian ethnomusicologists. In the last issue of Problems of Ethnomusicology”, we began to review the achievements of the latest Ukrainian musical folklore studies during the years of Independence: we identified the main ethnomusicological centers and characterized their activities, considered ethnomusicological pedagogy, achievements in the field of documenting folk music – its collection and archiving. In this issue, we want to focus on such important areas as scientific, publishing and conference activities.
The relevance of our research is due to the need to paint a general picture of the achievements and, possibly, omissions of domestic ethnomusicology over the past 30 years. This will significantly complement the existing historiographical studies, focusing mainly only on certain aspects or certain periods of development of Ukrainian musical folkloristics.
Scientific research is a more expressive result of the work of Ukrainian ethnomusicologists of the period of Independence. They show a variety of interests, depths in scientific research, openness to knowledge and increasing the achievements of world ethnomusicology. There are such more important research areas of Ukrainian scientists: the theory of ethnomusicology, areal-typological research, historical studies, organology, ethnochoreology, resource science, ethnoculturology and ethnomusical sociology, folk music culture of ethnic minorities in Ukraine, professional music of the oral tradition of the East, folk music acoustics, etc. These directions are different in terms of achievements, fullness, and degree of innovation, but each of them is a contribution to the pan-European and world folk music science.
Publishing activity clearly demonstrates the results of the work of Ukrainian ethnomusicologists. It was able to develop in Ukraine only after Independence when Soviet censorship disappeared. This direction has become important not only for scientific institutions themselves, but also for higher educational institutions. Thus, two professional Ukrainian annual ethnomusicological collections of articles and materials were launched at the Kyiv and Lviv Music Academies, respectively: “Problems of Ethnomusicology” (1998–2021) and “Ethnomusic” (2006–2021). Ethnomusicological articles are published in other scientific collections, mainly periodical and serial. An important place in publications of the period of Independence is occupied by the publication or reprint of the heritage of predecessors, including the epistolary. A lot of different folk music collections with vocal and instrumental folklore of different Ukrainian regions were also published.
The conference activity of Ukrainian scientists deserves special attention. One of the most important forums is the Lviv “Conferences of folk music researchers of Chervona Rus’ (Halychyna and Volodymyria) and neighboring lands” (1991–2021). The series of specialized ethnomusicological conferences was later (2011) started in Kyiv, Dnipro (2018, 2020 and 2022). It is also worth mentioning the Lviv “Kolessa’s readings” (from 2007). Young researchers also have their own conferences. Ukrainian scientists constantly participate in international scientific conferences, including ICTM (The International Council for Traditional Music) conferences.
In general, in our brief review, presented by two articles, we tried to draw a line under the modern achievements of Ukrainian musical folkloristics. Such reviews should be done regularly since Ukrainian ethnomusicology is constantly evolving. Today, researchers are working in extremely difficult conditions due to russia’s military aggression, but all of all, the work continues.
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Denning, Michael, and Gary Tomlinson. "Cantologies." Representations 154, no. 1 (2021): 113–28. http://dx.doi.org/10.1525/rep.2021.154.9.113.
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Cantology names an approach to the songish impulses that are a ubiquitous aspect of human cultures. It aims to divert our attention from the more restricted objects of musicological and ethnomusicological scrutiny by discerning song formations, conditions of possibility that define experiences of society and history along songish lines. These formations, local phenomena in cantology’s broad purview, emerge from the interactions of levels of cultural production including the performative, the discursive, the metadiscursive, and the archaeological. We outline a cantological theory, then briefly characterize four successive song formations in the West, reaching from the sixteenth century to the twenty-first.
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Burckhardt Qureshi, Regula. "Is Complex Music Socially Significant? Doing Ethnomusicology in South Asia." Canadian University Music Review, no. 15 (March 1, 2013): 44–69. http://dx.doi.org/10.7202/1014392ar.
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In this article, four cases of ethnomusicological research on South Asian music are presented to substantiate the social essentiality (Wesentlichkeit) of music, and therefore the complementary role of a socially-grounded approach to studying complex musical traditions. Historiographically, it is argued that this social orientation progresses logically from, and is in keeping with, the growing cosmopolitan reality of musical scholarship and of music itself. Ethnomusicology draws resourcefully from its rich, inter-disciplinary heritage of musicology, music theory, anthropology, and area studies to yield tools of musical description and analysis that are culturally appropriate, culture-specific and yet cross-cultural, this paving a foundation for a truly comparative—and "Adlerian"— musicology.
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Bambang Afrianto. "Marhaban As A Form Of Qasidah Music Continuity In The City Of Binjai, Northern Sumatra Province." Talenta Conference Series: Local Wisdom, Social, and Arts (LWSA) 3, no. 4 (December 4, 2020): 8–10. http://dx.doi.org/10.32734/lwsa.v3i4.1121.
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This paper describes Marhaban as a form of continuity of Qasidah music, and also describes the existence of this music in the city of Binjai, as an Islamic art. This paper focuses on the discussion of Marhaban, which after being studied in more depth is a form of music that is the same as Qasidah music, both in terms of use, text, presentation, and instrumentation. Researcher use functional theory to describe the social musical context. Then use Halliday’s semiotic to analyze the text of Marhaban. To analyze the musical and instrumentation, I use ethnomusicological structure theory. This paper is a qualitative descriptive study using data collection techniques and methods of literature study and observation, which is used to explain how Marhaban is also a form of music that emerged as a continuity of early Qasidah music in Indonesia. The results are: Marhaban always used in Islamic ceremony, as marriage, circumsition, birthday, and so on. The text of Marhaban in Arabaic, with it’s theme about the histpry of Prophet Muhammad and way of life muslim. The intruments are: rebana (frame drum), and human vocal. The structure of melody used Near East system maqamat plus Malay melody improvisation (called cengkok).
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MALL, ANDREW. "Music Festivals, Ephemeral Places, and Scenes: Interdependence at Cornerstone Festival." Journal of the Society for American Music 14, no. 1 (January 15, 2020): 51–69. http://dx.doi.org/10.1017/s1752196319000543.
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AbstractCornerstone was an annual four-day-long Christian rock festival in Illinois that ran from 1984 until 2012, first in Chicago's northern suburbs and then on a former farm in the rural western part of the state. Most attendees camped on-site, and many arrived one or two days early when the campgrounds opened before official programming started. Like many contemporary multi-day festivals in relatively rural or remote locations, Cornerstone's festival grounds and campsites functioned as a temporary village. For many attendees, music festivals have supplanted local scenes as loci of face-to-face musical life. Outside Cornerstone, participants’ musical lives might be curbed by family, professional obligations, geographic separateness, or cultural stratification. Inside the festival's physical, social, and cultural spaces, however, a cohesive music scene manifested for a brief time every year. This article examines the production of space and place at Cornerstone. In doing so, it contributes a vital link between scene theory and the growing ethnomusicological literature on festivals.
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Perman, Tony. "Musical meaning and indexicality in the analysis of ceremonial mbira music." Semiotica 2020, no. 236-237 (December 16, 2020): 55–83. http://dx.doi.org/10.1515/sem-2018-0057.
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AbstractIn this essay I examine three different indexical processes that inform meaning during a mbira performance in Zimbabwe in order to clarify the nature of meaning in musical practice. I continue others’ efforts to provincialize language and correct the damage done by “symbolocentrism’s” continued reliance on post-Saussurian models of signification and structure by addressing processes of purpose, effect, and agency in meaning. Emphases on language and/or structure mislead explanations of musical meaning and compromise the understanding of meaning itself. By foregrounding the unique properties of indexicality in musical practice, and highlighting three distinct indexical processes that drive music’s meaning (deictic, metonym, and replica), I help free meaning from language and offer an ethnomusicological counterpoint to multidisciplinary efforts that define meaning within linguistic and physiological paradigms. Indexical meaning is direct but unpredictable, rooted in experience, embodied habits, and the here and now.
Books on the topic "Ethnomusicological theory"
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Kaufman, Shelemay Kay, ed. Ethnomusicological theory and method. New York: Garland, 1990.
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Clendinning, Elizabeth A. American Gamelan and the Ethnomusicological Imagination. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.001.0001.
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The book seeks to answer these questions: Why are there more than 150 gamelans (Indonesian percussion ensembles) in North America, and why are more than half of them associated with American colleges and universities? How and why did gamelan ensembles spark the ethnomusicological imagination? What impact have these ensembles had on college music programs, their local communities, and transnational Indonesian performing arts scenes? How does a lifetime of teaching foreign college students shape the lives of non-American music teachers? First providing an overview of gamelan and its incorporation in education in North America, this book uses the story of the career and community of one performer-teacher, I Made Lasmawan of Bali and Colorado, as a case study to examine the formation and sustenance academic world music ensembles. It examines the way students develop musical and cultural competence by learning gamelan in traditional ethnomusicology ensemble courses and analyzes the merits of including gamelan ensembles in studies in percussion, composition, and music education. More broadly, the book argues that beyond the classroom, the presence of these ensembles shapes transnational arts education and touristic performing arts scenes in Bali. Finally, it advocates for world music ensemble courses as a powerful means for teaching musical and cultural diversity and sparking transnational exchanges, both in and outside the classroom.
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Seeman, Sonia Tamar. Embodied Pedagogy. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0010.
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Ethnomusicological methods and perspectives provide important contributions to twenty-first-century music pedagogy. In this chapter I make a number of claims regarding (1) the effective teaching of music and what it entails; (2) how heightening awareness of the gap between far and near may be most effectively addressed; and (3) how effective enactment of these teaching goals may aid student engagement with issues in the outside world. I offer three case studies to illustrate the techniques I lay claim to. I conclude with a description of core curriculum reforms at the Austin branch of the University of Texas, reforms that embody these and related pedagogical techniques, and reflect on the consequences of their implementation.
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Bakan, Michael B. Toward an Ethnographic Model of Disability in the Ethnomusicology of Autism. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.2.
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This essay proposes an ethnographic model of disability in contradistinction to existing social and medical models. Building from an ethnomusicological study of the Artism Ensemble, a neurodiverse music performance collective comprising children on the autism spectrum, their coparticipating parents, and professional musicians of diverse musicultural lineage, it discusses issues of autistic self-advocacy, Disability Studies and rights, the anthropology of autism, and epistemological and pragmatic debates and consequences of competing autism discourses and philosophies. The essay argues that musical projects like Artism hold the capacity to contribute productively and meaningfully to the causes of autistic self-advocacy and quality of life, transforming public perceptions of autism from the customary tropes of deficit and disorder to alternate visions of wholeness, ability, and acceptance. Artism is also addressed from a critical vantage point that demonstrates its partial entrenchment in some of the very same negating constructs it ostensibly resists and defies.
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García Corona, Leon F., and Kathleen Wiens, eds. Voices of the Field. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.001.0001.
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Ethnomusicologists face complex and challenging professional landscapes. Graduate studies in our field do not fully equip ethnomusicologists for work outside of academia. The essays in Voices of the Field: Pathways in Public Ethnomusicology, edited by León F. García Corona and Kathleen Wiens, provide a reflection on the challenges, opportunities, and often overlooked importance of public ethnomusicology. The essays in the book, commissioned for the volume, capture years of experiences of fourteen academics who have simultaneously navigated the academic world and the world outside academia, sharing lifelong lessons often missing in ethnomusicological training. Power and organizational structures, revenue, marketing, decision-making, content management, and production are among the themes explored as an extension and re-evaluation of what constitutes the field of ethnomusicology. The authors share their personal and professional pathways, which often converge throughout their lifelong careers as public ethnomusicologists. Many of the authors share how to successfully acquire funding for a project, others show how to navigate nonacademic workplaces, and yet others share perspectives on reconciling business-like mindsets with humanistic goals. Grounded in case studies in multiple institutional and geographical locations, authors advocate for the importance and relevance of ethnomusicology in our society at large. While providing practical resources, this volume also sheds light into the blind spots of current academic ethnomusicology programs. Voices of the Field: Pathways in Public Ethnomusicology is a foundational current and retrospective approach to the study and sustainable practice of ethnomusicology.
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Gopinath, Sumanth, and Pwyll ap Siôn, eds. Rethinking Reich. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190605285.001.0001.
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Although the composer Steve Reich (b. 1936) has been described as “the most original musical thinker of our time,” who has received innumerable accolades in a career spanning more than fifty years, his music remains nevertheless underresearched. However, during the past ten years, renewed interest has been shown in the music of this seminal figure, partly generated through the acquisition of the Steve Reich Collection at the Paul Sacher Stiftung in Basel, Switzerland. Rethinking Reich is the first edited volume on a musical figure considered by many to be America’s greatest living composer. With contributions by academics known for their expert knowledge on various aspects of Reich’s work—ranging from analytical, aesthetic, and archival studies to sociocultural, philosophical, and ethnomusicological reflections—the book provides a much-needed intellectual platform for new understandings relating to this important composer, including those enabled by access to the Paul Sacher archive. Given the hegemony of Reich’s own very articulate and convincing discourses on his music, as found in his Writings on Music, perhaps “rethinking Reich” is precisely the task that now needs to be undertaken. While recognizing the achievements of a composer who, in critic Andrew Clements’s words, belongs to “a handful of living composers who can legitimately claim to have altered the direction of musical history,” the present volume provides a series of timely, serious, thought-provoking, and critically minded contributions and reappraisals, where the notion of rethinking this important composer’s contribution to the music of the twentieth century remains an abiding concern throughout.
Book chapters on the topic "Ethnomusicological theory"
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Rice, Timothy. "Ethnomusicological Theory." In Modeling Ethnomusicology, 161–200. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190616885.003.0007.
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Stock, Jonathan P. J. "Introduction." In Huju. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262733.003.0001.
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This introductory chapter first sets out the purpose of the book, which is to present the history and music of Shanghai opera to students and scholars of ethnomusicology. Chinese music, despite being much researched by a large body of scholars, sometimes seems to remain in a peripheral position within the discipline as a whole. This study also aims to re-evaluate certain aspects of current ethnomusicological theory and practice. The chapter considers the use of the term ‘opera’ in the Chinese context followed by a discussion of Shanghai opera. An overview of the subsequent chapters is also presented.
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Diamond, Beverley, and Salwa El-Shawan Castelo-Branco. "Ethnomusicological Praxis." In Transforming Ethnomusicology Volume II, 1–25. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517550.003.0001.
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The introductory chapter to each of the two volumes in Transforming Ethnomusicology offers a critical discussion of a range of socially engaged approaches as well as their deep historical roots that we consider foundational and fundamental to the ethnomusicological endeavor. These approaches affiliate variably with such intellectual traditions as Marxism, feminism and anti-racism, Post-colonialism and Indigenous Studies, Participatory Action Research, analyses of heritage practices and sustainability challenges, studies of intellectual property regimes and ecologies, and other work in ethnomusicology and cognate disciplines in the social sciences. Our aim is to deepen the conversation about how intellectual history has informed our discipline and to probe the premises, activities, and assumptions of scholars past and present who strive to respond to the concerns of the communities with whom they work.
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Diamond, Beverley, and Salwa El-Shawan Castelo-Branco. "Ethnomusicological Praxis." In Transforming Ethnomusicology Volume I, 1–24. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517604.003.0001.
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The introductory chapter to each of the two volumes in Transforming Ethnomusicology offers a critical discussion of a range of socially engaged approaches as well as their deep historical roots that we consider foundational and fundamental to the ethnomusicological endeavor. These approaches affiliate variably with such intellectual traditions as Marxism, feminism and anti-racism, Post-colonialism and Indigenous Studies, Participatory Action Research, analyses of heritage practices and sustainability challenges, studies of intellectual property regimes and ecologies, and other work in ethnomusicology and cognate disciplines in the social sciences. Our aim is to deepen the conversation about how intellectual history has informed our discipline and to probe the premises, activities, and assumptions of scholars past and present who strive to respond to the concerns of the communities with whom they work.
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Clendinning, Elizabeth A. "Bimusicality and Beyond." In American Gamelan and the Ethnomusicological Imagination, 154–78. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0008.
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The chapter examines roles for gamelan in music pedagogy outside ethnomusicology. First, the pedagogical benefits of teaching gamelan are compared to those of teaching African drum ensembles and steel pan, two other non-Western classical percussion traditions that are commonly taught in American colleges. Then, the benefits of teaching gamelan within percussion education, composition, and music education programs are considered as teachers who employ gamelan in their classroom discuss how they use the instruments. Pedagogical benefits for students include improving motor coordination, physical technique, focus, and cognition; improving their listening skills; and expanding their concepts of artistic collaboration or group social skills, in addition to instilling real possibilities for cross-cultural professional artistic collaboration.
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Corona, León F. García. "Sustainable Ethnomusicology." In Voices of the Field, 138–53. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.003.0009.
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Most ethnomusicological training requires fieldwork and lab techniques in which students gain technical skills related to the acquisition of data related to fieldwork. Although the work we do as ethnomusicologists sits at the forefront of gathering engaging, relevant content related to musical expressions, most ethnomusicologists are ill equipped in delivering their findings to a broader audience through the use of new media and post-production techniques such as video, sound, and image editing, web development, database administration, and network administration, among many others. Although plenty of literature about developing these skills exists as stand-alone instruction, in this essay I present a bird’s-eye view of content production from an ethnomusicological perspective, providing an understanding of not only content production but how intersects with revenue and ethnomusicological goals. I do so by sharing more than twenty years of experience as an IT specialist and consultant and by exploring some examples of content production at Smithsonian Folkways.
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Clendinning, Elizabeth A. "Americans Learning Gamelan in Bali." In American Gamelan and the Ethnomusicological Imagination, 113–32. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0006.
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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.
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Clendinning, Elizabeth A. "From Bali to America: Teachers and Transitions." In American Gamelan and the Ethnomusicological Imagination, 47–64. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0003.
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The chapter examines how the earliest generation of Balinese American teachers (born from the 1940s to the 1960s) were educated and how their experiences eventually brought them to work long-term in North America. Its central case study is Balinese gamelan teacher I Made Lasmawan, whose formal and informal educational experiences are contextualized within broader institutional structures and historical events that brought foreign musician-scholars to teach in American universities. The chapter concludes that musical and pedagogical lineages created by such teachers both reflect and embody systematic developments in the building of transnational musical lineages and performing and academic ecosystems.
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Clendinning, Elizabeth A. "Sustainability and the Academic World Music Ensemble." In American Gamelan and the Ethnomusicological Imagination, 179–200. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0009.
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The chapter examines the cultural sustainability of American academic gamelan specifically and academic world music ensembles more generally. Gamelan ensembles in North America exist in different cultural contexts than do those in Indonesia; in particular, American gamelans lack the societal reinforcement of the arts derived from Balinese Hindu ceremonies and the tourist industry. Within the American gamelan artistic ecosystem, there are many reasons why ensembles may fail or fade away, including lack of interested students or available teachers (selection), competition for space and resources, performative and pedagogical adaptations necessary for thriving in a new environment, and reciprocity or exchange between the ensemble and its community. Building sustainable gamelan ensembles—and indeed, sustainable non-Western academic ensembles—requires embracing collaborative models of musicianship, teaching, and scholarship that move gamelan from a marginalized position in curricula to sharing equal footing with other types of music in educational settings.
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Clendinning, Elizabeth A. "Creating and Conceptualizing a Balinese American Gamelan Community." In American Gamelan and the Ethnomusicological Imagination, 65–85. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0004.
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The chapter examines the foundation of academic gamelans and their relationships to nearby community gamelans. Using as an example the gamelans in Colorado and across the Rocky Mountains that are taught by I Made Lasmawan, the chapter discusses how gamelans are founded and supported and the types of artistic and administrative partnerships that are conducive to long-term maintenance of such programs. In this case, substantive financial support for Lasmawan from one key institution, Colorado College, was crucial to his ability to support his family and teach other ensembles part-time at neighboring institutions. In addition, the artistic and logistical support of his family and of members of the high-level Denver-based community group Gamelan Tunas Mekar was crucial for enhancing the quality of academic ensembles’ performances. The chapter concludes that models for academic-community interdependence vary within different geographic and institutional contexts, but building connections between academic and community programs strengthens the likelihood that ensembles will be sustainable.