Sigma Alpha Iota

Spring 2021 30 30 P A N P I P E S AMERICA GAMELAN AND THE ETHNOMUSICOLOGICAL IMAGINATION Elizabeth A. Clendinning University of Illinois Press, 2020. E lizabeth A. Clendinning, an assistant professor of music at Wake Forrest University and gamelan enthusiast, explores the impact made by world music ensembles on its participants by examining how gamelans became a staple at institutions of higher learning and in the academic discipline of ethnomusicology. Clendinning discusses the influence of academic world music ensembles, which make up over half of the 150+ ensembles in the United States, on various communities devoted to education and the performing arts. In particular, her focus centers on the career and influence of Balinese-American performer and teacher I Made Lasmawan and the state of Colorado. Sharing the stories of Indonesian and American performers and colleagues she gathered over the course of eight years in Bali and the United States, Clendinning makes a compelling argument for gamelan ensembles as a catalyst for strong, creative communities. Chapter six, "Teaching, Learning, Representing," may be particularly helpful for those interested in starting their own program or understanding how to maintain a successful one. The volume is a pleasant, educational read, complete with excellent photos, a helpful glossary, and a substantial notes section at the end. Music students and teachers will find this a valuable resource in understanding the genre, learning about the history of ethnomusicology related to gamelans, and ways in which an world music ensemble can be successful in bringing people together. Reviewed by Christine Bruns, Editor VOICING THE CINEMA: FILM MUSIC AND THE INTEGRATED SOUNDTRACK Edited by James Buhler and Hannah Lewis University of Illinois Press, 2020. B uhler and Lewis present a collection of essays by influential film music scholars exploring topics in four areas: the history of voice in film, the singing voice, the soundtrack's influence on a work, and vococentrism. The first section explores historical approaches to technology in silent film, French cinema during the transition era, the films of "New Hollywood," and the post-production sound business. The second studies the singing voice in diverse aspects of film, such as Ingmar Bergman's The Magic Flute, 1980s teen films, and girls' voices in animated films since 2012. The third group considers the "auteuristic" voice of the soundtrack in works by Kurosawa, Peter Weir, and few others. The final section, "Narrative and Vococentrism," deals with sci-fi and horror film music, the importance of background music, and the end of vococentric soundtracks. James Buhler is a professor of music theory at the University of Texas at Austin, and is author of Theories of the Soundtrack. Hannah Lewis is an assistant professor of musicology at the University of Texas at Austin; her works include the book French Musical Culture and the Coming of Sound Cinema. Individual essay contributors include Julie Brown, James Buhler, Marcia J. Citron, Eric Dienstfrey, Erik Heine, Julie Hubbert, Hannah Lewis, Brooke McCorkle, Cari McDonnell, David Neumeyer, Nathan Platte, Katherine Quanz, Jeff Smith, Janet Staiger, and Robynn J. Stilwell. This work is varied in focus by the nature of its composition, but is a great resource for film music students and enthusiasts alike. Each section ends with a useful notes section, for additional material and further study, and the text includes each contributor's biographical information at the end. PAN PIPES welcomes reviews of newly published music related books and recordings by SAI members and our readers. Please contact Editor Christine Bruns at SAIPanPipesEditor@gmail.com to submit a work for review or to share press release information of your work. CALL FOR SUBMISSIONS ) ) ) ) ) ) REVIEWS

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