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Books on the topic 'Gamelan music Study and teaching Japan'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Becker, Judith. Karawitan: Source Readings in Javanese Gamelan and Vocal Music, Volume 2. Ann Arbor: University of Michigan Press, 2020.

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2

Becker, Judith. Karawitan: Source Readings in Javanese Gamelan and Vocal Music, Volume 3. Ann Arbor: University of Michigan Press, 2020.

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3

Becker, Judith. Karawitan: Source Readings in Javanese Gamelan and Vocal Music, Volume 1. Ann Arbor: University of Michigan Press, 2020.

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4

Han'guk Tongnip Undongsa P'yŏnch'an Wiwŏnhoe, ed. Hanmal sun'guk, ŭiyŏl t'ujaeng. Ch'ungch'ŏng-namdo Ch'ŏnan-si: Han'guk Tongnip Undongsa P'yŏnch'an Wiwŏnhoe, 2009.

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5

Judith, Becker, Feinstein Alan H, and University of Michigan. Center for South and Southeast Asian Studies., eds. Karawitan: Source readings in Javanese gamelan and vocal music. Ann Arbor: Center for South and Southeast Asian Studies, The University of Michigan, 1987.

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6

Becker, Judith, and Alan H. Feinstein. Karawitan: Source Readings in Javanese Gamelan and Vocal Music, Volume 3. University of Michigan, Center for South & Southeast Asian Studies, 2020.

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7

Becker, Judith, and Alan H. Feinstein. Karawitan: Source Readings in Javanese Gamelan and Vocal Music, Volume 1. University of Michigan, Center for South & Southeast Asian Studies, 2021.

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8

Becker, Judith, and Alan H. Feinstein. Karawitan: Source Readings in Javanese Gamelan and Vocal Music, Volume 1. University of Michigan, Center for South & Southeast Asian Studies, 2020.

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9

Becker, Judith, and Alan H. Feinstein. Karawitan: Source Readings in Javanese Gamelan and Vocal Music, Volume 3. University of Michigan, Center for South & Southeast Asian Studies, 2021.

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10

Becker, Judith, and Alan H. Feinstein. Karawitan: Source Readings in Javanese Gamelan and Vocal Music, Volume 2. University of Michigan, Center for South & Southeast Asian Studies, 2021.

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11

Becker, Judith, and Alan H. Feinstein. Karawitan: Source Readings in Javanese Gamelan and Vocal Music, Volume 1. University of Michigan, Center for South & Southeast Asian Studies, 2020.

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12

Becker, Judith, and Alan H. Feinstein. Karawitan: Source Readings in Javanese Gamelan and Vocal Music, Volume 3. University of Michigan, Center for South & Southeast Asian Studies, 2020.

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13

Becker, Judith. Karawitan: Source Readings in Javanese Gamelan and Vocal Music, Volume 2 (Michigan Papers on South and Southeast Asia). Centers for South and Southeast Asia, Th, 1999.

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14

Becker, Judith. Karawitan: Source Readings in Javanese Gamelan and Vocal Music, Volume 3 (Michigan Papers on South and Southeast Asia). Centers for South and Southeast Asia, Th, 1999.

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15

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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Abstract:

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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