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Gamelan Gong Kebyar: The Art of Twentieth‐Century Balinese Music – By Michael Tenzer

Gamelan Gong Kebyar: The Art of Twentieth‐Century Balinese Music – By Michael Tenzer Michael Tenzer , Gamelan Gong Kebyar: The Art of Twentieth‐Century Balinese Music ( Chicago, IL : University of Chicago Press , 2000 ). xxvi + 492 pp. 2 CDs. £28.50. ISBN 0‐226‐79283‐8 ( hb ). Michael Tenzer's substantial analytical study appears at an interesting moment in the ongoing ethnomusicological engagement with music analysis. Work in three areas presses for a realignment of this relationship. The first, widespread within ethnomusicology, advocates the explanatory power of self‐reflexive ethnographic narratives. This emphasis on the particular constructedness of personal experience, including that of the fieldworker, has led to a new series of truth claims, which rest on our being there, ‘being‐in‐the‐world’ and ‘getting in the groove’, among other oft‐used phrases representing ways of thinking and writing as much as approaches to field interaction and investigation. At first glance one might suspect that ethnomusicologists, armed with these brave new paradigms, are finally severing the last strands of analytical explication in favour of impressionistic humanistic interpretation (and there are some who would do just that). In fact, logic demands otherwise. If personal experience is to be moved to the ethnomusicological foreground, then the expert's role as musical analyst must also be rehabilitated. Analysts have http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Gamelan Gong Kebyar: The Art of Twentieth‐Century Balinese Music – By Michael Tenzer

Music Analysis , Volume 27 (2‐3) – Jul 1, 2008

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Publisher
Wiley
Copyright
© 2009 The Author. Journal compilation © 2009 Blackwell Publishing Ltd.
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/j.1468-2249.2009.00289.x
Publisher site
See Article on Publisher Site

Abstract

Michael Tenzer , Gamelan Gong Kebyar: The Art of Twentieth‐Century Balinese Music ( Chicago, IL : University of Chicago Press , 2000 ). xxvi + 492 pp. 2 CDs. £28.50. ISBN 0‐226‐79283‐8 ( hb ). Michael Tenzer's substantial analytical study appears at an interesting moment in the ongoing ethnomusicological engagement with music analysis. Work in three areas presses for a realignment of this relationship. The first, widespread within ethnomusicology, advocates the explanatory power of self‐reflexive ethnographic narratives. This emphasis on the particular constructedness of personal experience, including that of the fieldworker, has led to a new series of truth claims, which rest on our being there, ‘being‐in‐the‐world’ and ‘getting in the groove’, among other oft‐used phrases representing ways of thinking and writing as much as approaches to field interaction and investigation. At first glance one might suspect that ethnomusicologists, armed with these brave new paradigms, are finally severing the last strands of analytical explication in favour of impressionistic humanistic interpretation (and there are some who would do just that). In fact, logic demands otherwise. If personal experience is to be moved to the ethnomusicological foreground, then the expert's role as musical analyst must also be rehabilitated. Analysts have

Journal

Music AnalysisWiley

Published: Jul 1, 2008

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