Acknowledgments |
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ix | |
Technical Notes |
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xi | |
Introduction |
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1 | (20) |
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PART I MUSICAL COMMUNITIES |
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1 Harmonic Egalitarianism in Toba Palm Wine Stands and Studios |
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21 | (19) |
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2 The Evolution of Performing Arts Patronage in Bali, Indonesia |
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40 | (10) |
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3 Beyond the Banjar: Community, Education, and Gamelan in North America |
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50 | (16) |
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4 Decline and Promise: Observations from a Present-Day Pangrawit |
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66 | (19) |
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PART II MUSIC, RELIGION, AND CIVIL SOCIETY |
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8 Singing "Naked" Verses: Interactive Intimacies and Islamic Moralities in Saluang Performances in West Sumatra |
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85 | (16) |
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6 From Texts to Invocation: Wayang Puppet Play from the North Coast of Java |
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101 | (11) |
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7 The Politicization of Religious Melody in the Indonesian Culture Wars of 2017 |
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112 | (21) |
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Part III POPULAR MUSICS AND MEDIA |
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8 The Vernacular Cosmopolitanism of an Indonesian Rock Band: Navicula's Creative and Activist Pathways |
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133 | (18) |
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9 Keroncong in the United States |
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151 | (11) |
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10 Reformasi-Era Popular Music Studies: Reflections of an Anti-Anti-Essentialist |
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162 | (18) |
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11 Indonesian Regional Music on VCD: Inclusion, Exclusion, Fusion |
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180 | (29) |
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PART IV SOUND BEYOND AND AS MUSIC |
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12 A Radical Story of Noise Music from Indonesia |
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209 | (23) |
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13 Audible Knowledge: Exploring Sound in Indonesian Musik Kontemporer |
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232 | (23) |
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PART V MUSIC, GENDER, AND SEXUALITY |
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14 "Even Stronger Yet!": Gender and Embodiment in Balinese Youth Arja |
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255 | (21) |
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18 A Prolegomenon to Female Rampak Kendang (Choreographed Group Drumming) in West Java |
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276 | (11) |
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16 Approaching the Magnetic Power of Femaleness through Cross-Gender Dance Performance in Malang, East Java |
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287 | (18) |
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PART VI PERSPECTIVES FROM PRACTICE |
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17 Nines on Teaching Beginning Gamelan |
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305 | (1) |
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18 "Fix Your Face": Performing Attitudes between Mathcore and Beleganjur |
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306 | (14) |
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Putu Tangkas Adi Hiranmayena |
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19 Wanbayaning: Voicing a Transcultural Islamic Feminist Exegesis |
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320 | (13) |
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Contributors |
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333 | (4) |
Index |
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337 | |