World Music: Traditions and Transformations

“This text is extremely well planned and thought out, the choices of cultures and examples are excellent, and the writing is clear, perceptive, passionate and compelling.  A remarkable achievement.”  – Ted Solis, Arizona State University

“Accessible, engaging, and contemporary, this text is to be commended for its innovative treatment of the ways in which diverse musical traditions have been influenced by history, politics, migration, technology, and broader global processes.” – Adriana Helbig, University of Pittsburgh

“I love this book.  Its unified and coherent approach, dynamic conception of musical tradition and transformation, and exceptionally clear and user-friendly introduction to the elements of music place it head and shoulders above other world music texts.”  – Nancy Gunn, Southern Maine Community College

“This is the freshest and most engaging approach to teaching of world
music that I have ever encountered. Superbly well thought out, beautifully executed, and written with love and obvious passion . . . .” -Gil Seeley, Lewis and Clark College (1e)

“This semester we started using your textbook and I am amazed by the impact that it is having on my students and myself. Thank you!” -Lia Southern, Ozarks Technical Community College, Missouri State University (1e)

“I adopted your textbook, after looking over all the others available from various publishers. Today I checked out the Online Instructor’s Manual and, just now, your Blog. I have to say that this combination of materials is simply fabulous.” -Isabelle Belance, Harold Washington College (1e)

“I was fortunately introduced to your book . . . and I was immediately struck by your successful efforts to relate to today’s students . . . . Thanks for writing a text that will, I’m certain, plant in students the seed of love for music of other cultures.” -Michael Punches, Oklahoma City Community College (1e)

“I found the traditional/neo-traditional/post-traditional paradigm especially effective . . . . By defining ‘tradition’ as a domain of cultural practice characterized by dynamics of both continuity and transformation, [this book] provide[s] a framework that neither essentializes ‘roots’ nor gets bogged down in the multiplicity of ‘routes’ that characterize musical life in the twentieth and twenty-first centuries.” -Richard Jankowsky, Tufts University (1e)

Music of Death and New Creation: Experiences in the World of Balinese Gamelan Beleganjur

One of the two “most significant publications on Balinese music in almost half a century . . . a leader in its field.” -The Times (London)

Choice Outstanding Academic Title (2000)

“. . . an important addition to the ethnomusicological canon, as challenging as it is informative and as vibrant as the music it discusses. Its appeal to gamelan devotees will be obvious, but it also stakes a claim to advance the theory of ethnomusicology in its broadest sense.” The World of Music

“This is a detailed, well-written, and wonderful book . . . . Anyone interested in music, cross-cultural fieldwork, cultural change, and adaptation will find this book well worth reading.” Religious Studies Review

“. . . the book is a wonderful read both for its deep descriptions of beleganjur and for its reflexive gaze . . . a richly rewarding experience.” Yearbook for Traditional Music

“. . . meticulously researched, expansively written, and wonderfully revealing . . . . Bakan has elevated gamelan beleganjur to the level of the much better known gong kebyar, and his explication of the music is unmatched . . . . [He] succeeds in realizing his call for a more reflexive, people-centered ethnomusicological study.” Notes

“This book covers new ground in its approach and focus, and is accessible to area as well as non-area specialists in ethnomusicology and anthropology. The disparate topics, together with transcriptions and CD, leave the reader with a rich patchwork of many facets of the complex and often contradictory contemporary beleganjur scene.” Ethnomusicology

“. . . beautifully clear transcriptions, analyses, carefully selected recordings . . . , and vivid descriptions of performances. . . . Bakan applies his considerable observational powers to enable the reader to relate closely to not only the music, but also the changing aesthetics of the style. . . , the subtleties of interpersonal relationships among performers, and the impact of new social settings . . . .” Choice

Also, check out the following book series from Routledge

This series edited by Michael Bakan. Visit the official Routledge page here:

Focus on World Music Series