Sigma Alpha Iota

Summer 2020 16 P A N P I P E S OVER HERE, OVER THERE: TRANSATLAN- TIC CONVERSATIONS ON THE MUSIC OF WORLD WAR I Brooks, W., Bashford C., & Magee, G. (eds). Urbana, Chicago, and Springfield, University of Illinois Press, 2019. 257pp. T he impetus behind Over Here, Over ere was a series of music conferences and workshops over the course of the WWI centennial. Per the editors, the intent was to "…provide a transnational perspective on the ways music manifested the alliance among the Atlantic partners in the War: France and Britain, including the Dominion of Canada and eventually the United States" (p 1). e book continues these efforts through a series of papers reflecting both the events of the time and the transcontinental partnerships forged during the era. e first half of the work focuses on individual composers while the remainder focuses on musical communities that developed throughout the war. Topics range from John Philip Sousa's attempts to remain relevant by identifying with the war effort and Debussy's almost subliminal propaganda, to the advent of female cinema musicians and the development of music criticism in a military medical ward. e editors utilize the introductions to the main sections to provide context from the perspective of their home countries (Britain, Canada, and the US). e writing is notable for its scholarly tone and the evident research involved. e text is straightforward and clear, and the topics are varied and fascinating for professional music historians as well as amateurs with an interest in the cultures of this time period. As the editors remind us at the conclusion, the themes in this era still resonate a century aer the fact. Robert Bruns is a Bandmaster in the United States Army and an SAI Friend of the Arts. He received his Bachelor and Master in Music Education degrees at Ithaca College. REVIEWS GAMELAN GIRLS: GENDER, CHILDHOOD, AND POLITICS IN BALINESE MUSIC EN- SEMBLES Sonja Lynn Downing, University of Illinois Press, 2019. T he different islands that make up the nation of Indonesia each have their own musical traditions, although they share similarities. For instance, both Java and Bali have the gamelan, which consists primarily of percussion instruments, as their classical instrumental ensemble. Like the music of many cultures throughout the world, gamelan music has generally been exclusively the realm of the adult male. However, customs are evolving, and during the late 20th century, and especially in the early 21st century, even young girls have found their place in these ensembles. Sonja Lynn Downing's book, Gamelan Girls, explores this phenomenon as it is happening in Bali. Based on fieldwork conducted in Bali, this monograph discusses the cultural context for the gamelan, as well as opportunities that now exist for young women to participate in this art form. Downing's role as not only a researcher, but as a gamelan performer, provides an especially vivid perspective. e book begins by explaining the theoretical underpinnings and methodology of her approach to research, touching on cultural politics, gender shis in Balinese gamelan, and children as research subjects. Subsequent chapters of the book focus on organizations and institutions that support female musicians; the unique encouragement given by the sanggar (private performing arts studio); Balinese identity, music, and gender; children, music, and globalization; embodiment and agency in practice and performance; and the progress that has led to the increased presence of female musicians, as well as the challenges that remain. Downing conducted her fieldwork primarily in 2005-6, but she augmented it by returning in 2015, which reinforced the conclusions she reached regarding changing Balinese musical practices. Downing is meticulous in documenting her discoveries and clearly communicates her reasoning. e book includes extensive notes, a useful glossary, and a lengthy bibliography. Plenty of photographs spread throughout the book complement the text. Downing's findings demonstrate that young girls in Bali are now given more acceptance and support as gamelan members, even though the culture still has some way to go before gender parity is achieved. Gamelan Girls is primarily intended for academic audiences, and its style and content reflect this. However, Downing's text never becomes dull or pedantic, and casual readers with a music background willing to exert a little effort will find an enjoyable and illuminating discussion of a subject that is regrettably unfamiliar to many Western audiences. Kathi Bower Peterson, an SAI Philanthropies coordinator, is a graduate of Indiana University, where she majored in music history and was a member of Iota Epsilon chapter. She has an MM in musicology from the University of Illinois at Urbana-Champaign and an MLIS from San Jose State University. She has been the librarian at the Athenaeum Music & Arts Library in La Jolla, CA for 22 years and currently serves as the treasurer of the San Diego County Alumnae Chapter.

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