"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

"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

"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

"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

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