Elizabeth A. Clendinning is an assistant professor of music at Wake Forest University.

"Clendinning has flipped the script. Rather than describing Balinese performers as if ‘they’ come to ‘us’, she shows how their far-flung pedagogical networks reshaped US-based music programs in higher education from the inside out. Her intimate portraits of three generations of Balinese teachers reveal them as the makers of transnational music communities. This book is both fascinating and moving. I am convinced all over again that these almost utopian third spaces are sorely needed."--Deborah Wong, University of California, Riverside "An ambitious work that can really spark scholarship that intersects ethnomusicology, performance studies, and the scholarship on teaching and learning. Clendinning discusses the positive aspects of world music ensembles, but is also open about the ethical issues involved in running a gamelan in an institution of higher education."--Eric Hung, Music of Asian America Research Center

• Acknowledgments1 Interlocking Sounds, Interlocking Communities2 Early Encounters in Bimusicality3 From Bali to America: Teachers and Transitions4 Creating and Conceptualizing a Balinese American Gamelan Community5 Teaching, Learning, Representing6 Americans Learning Gamelan in Bali7 Kembali: To Return or Change8 Bimusicality and Beyond9 Sustainability and the Academic World Music Ensemble10 Cultivating New FlowersGlossaryNotesReferencesIndex

Elizabeth A. Clendinning is an assistant professor of music at Wake Forest University.

"Clendinning has flipped the script. Rather than describing Balinese performers as if ‘they’ come to ‘us’, she shows how their far-flung pedagogical networks reshaped US-based music programs in higher education from the inside out. Her intimate portraits of three generations of Balinese teachers reveal them as the makers of transnational music communities. This book is both fascinating and moving. I am convinced all over again that these almost utopian third spaces are sorely needed."--Deborah Wong, University of California, Riverside "An ambitious work that can really spark scholarship that intersects ethnomusicology, performance studies, and the scholarship on teaching and learning. Clendinning discusses the positive aspects of world music ensembles, but is also open about the ethical issues involved in running a gamelan in an institution of higher education."--Eric Hung, Music of Asian America Research Center

• Acknowledgments1 Interlocking Sounds, Interlocking Communities2 Early Encounters in Bimusicality3 From Bali to America: Teachers and Transitions4 Creating and Conceptualizing a Balinese American Gamelan Community5 Teaching, Learning, Representing6 Americans Learning Gamelan in Bali7 Kembali: To Return or Change8 Bimusicality and Beyond9 Sustainability and the Academic World Music Ensemble10 Cultivating New FlowersGlossaryNotesReferencesIndex

Elizabeth A. Clendinning is an assistant professor of music at Wake Forest University.

"Clendinning has flipped the script. Rather than describing Balinese performers as if ‘they’ come to ‘us’, she shows how their far-flung pedagogical networks reshaped US-based music programs in higher education from the inside out. Her intimate portraits of three generations of Balinese teachers reveal them as the makers of transnational music communities. This book is both fascinating and moving. I am convinced all over again that these almost utopian third spaces are sorely needed."--Deborah Wong, University of California, Riverside "An ambitious work that can really spark scholarship that intersects ethnomusicology, performance studies, and the scholarship on teaching and learning. Clendinning discusses the positive aspects of world music ensembles, but is also open about the ethical issues involved in running a gamelan in an institution of higher education."--Eric Hung, Music of Asian America Research Center

• Acknowledgments1 Interlocking Sounds, Interlocking Communities2 Early Encounters in Bimusicality3 From Bali to America: Teachers and Transitions4 Creating and Conceptualizing a Balinese American Gamelan Community5 Teaching, Learning, Representing6 Americans Learning Gamelan in Bali7 Kembali: To Return or Change8 Bimusicality and Beyond9 Sustainability and the Academic World Music Ensemble10 Cultivating New FlowersGlossaryNotesReferencesIndex