Gamelan Bibliography (Updated 11/17/2011) • Azmi, A.N.S. (2008). Tradition and Transformation in the Pelegongan Dance Repertoire. Asian Theatre JOurnal, 25(2), http://muse.jhu.edu/ • Bakan, Michael. “Lessons from a World: Balinese Applied Music Instruction and the Teaching of Western ‘Art’ Music.” College Music Symposium 33/34 (1993/1994): 1-22. • Bakan, Michael. “From Oxymoron to Reality: Agents of Gender and the Rise of Balinese Women’s “Gamelan Beleganjur: in Bali, Indonesia”. Asian Music 29(1) (1998). • Bakan, Michael. Music of Death and New Creation. Chicago: University of Chicago Press, 1999. • Bakan, Michael. “Preventative Care for the Dead: Music, Community, and the Protection of Souls in Balinese Cremation Ceremonies.” In Oxford Handbook of Medical Ethnomusicology, edited by Benjamin Koen, Jacqueline Llyod, Gregory Barz, and Karen Brummel-Smith, 246-264. New York: Oxford University Press, 2008. • Becker, J. (1983). One Perspective on Gamelan in America, Asian Music, 15(1). • Becker, J. (1972). Western Influence in Gamelan Music. Asian Music, 3(1). • Cohen, M.I. (2007). Contemporary Wayang in Global Contexts. Asian Theatre Journal, 24(2). • Covarrubias, Miguel. (1946). Island of Bali. North Clarendon, VT: Alfred A. Knopf, Inc. • Davies, S. (2006). Balinese Legong: Revival or Decline?. Asian Theatre Journal, 23(2). • Diamon, C. (2008). Fire in the Banana’s Belly: Bali’s Female Performer’s Essay on the Masculine Arts. Asian Theatre Journal, 25(2). • Gamelan Tunas Mekar (Artistic Director: I Made Lasmawan). (1995). Gamelan Tunas Mekar: Music of BVali, Indonesia (Compact Disc). Denver, CO: Prolific Records. • Gamelan Yaman Sari. (2002). Music and Dnace of Bali (Digital Video Disc). Peliatan, Bali. • Gold, Lisa. Music in Bali: Experiencing Music, Expressing Culture. New York: Oxford University Press, 2005. • Gold, Lisa. “The Gender Wayang Repertoire in Theater and Ritual: A Study ofBalinese Musical Meaning.” Phd diss., University of California, Berkeley, 1998. • Harnish, David, Ted Solis, J. Lawrence Witzleben, with Hardja Susilo. “ ‘A Bridge to Java’: Four Decades Teaching Gamelan in America.” In Performing Ethnomusicology, edited by Ted Solis. Berkeley: University of California Press, 2004: 53-68. • Harnish, David. “ ‘No, Not Bali Hai’!’: Challenges of Adaptation and Orientalism in Performing and Teaching Balinese Gamelan.” In Performing Ethnomusicology, edited by Ted Solis. Berkeley: University of California Press, 2004: 126-137. • Heimark, B.R. (2003). Balinese Discourses on Music and Modernization. New York, NY: Routledge. • Hood, Mantle. “The Challenge of Bi-Musicality.” Ethnomusicology 4, no. 2 (May 1960): 55- 59. • Insight Guides Bali and Lombok. (2006). Long Island City, NY: Insight Guides • Jacknis, I. (1988). Margaret Mead and Gregory Bateson in Bali: Their Use of Photography and Film. Cultural Anthropology, 3(2). • Kodi, I.K., & Sedana, I.N., & Foley, K. (2002). Topeng Sidha Karya: A Balinese Mask Dance Performed by I Ketut Kodiwith with I Gusti Putu Sudarta, I Nyoman Sedana, and I Made Sidia in Sidha Karya, Badung, Bali, 16 October 2002. Asian Theatre Journal, 22(2). • Lewiston, D. (Recording Engineer). (1966). Bali: Music from the Morning of the World (Compact Disc). New York, NY: Nonesuch Records. • Lewiston, D. (Recording Engineer). (1989). Bali: Gamelan and Kecak (Compact Disc). New York, NY: Nonesuch Records. • May, E., & Hood, M. (1962). Javanese Music for American Children. Music Educators Journal, 48(5). • McGraw, A.C. (2000). The Development of the “Gamelan Semara Dana” and the Expansion of the Modal System in Bali, Indonesia. Asian Music, 31(1). • McPhee, Colin. “Children and Music in Bali.” In Traditional Balinese Culture,editedby Jane Belo. New York: Columbia University Press, 1970. • McPhee, Colin. “The Five – Tone Gamelan Music of Bali.” The Musical Quarterly 35, no. 2 (Spring 1949): 250 – 281. • McPhee, Colin. Music in Bali: A Study in form and Instrumental Organization in Balinese Orchestral Music. New Haven: Yale University Press, 1966. • McPhee, Colin. (1942). The Technique of Balinese Music. Bulletin of the American Musicological Society, (6), retrieved from http://www.jstor.org/stable/829191 • Ornstein, Ruby. “The Five – Tone Gamelan Angklung of North Bali.” Ethnomusicology 15, no. 1 (Winter 1971): 71 – 80. • Perlman, M. (2005). Music of the Gambuh Theater: Bali’s Ancient Dance Drama (review). Asian Music, 36(2). • Picard, M. (1990). “Cultural Tourism” in Bali: Cultural Performances as Tourist Attraction. Indonesia, 49. • Pollmann, T. (1990). Margaret Mead’s Balinese: The Fitting Symbol of the American Dream. Indonesia, 49. • Sedana, I.N. (2005). Collaborative Music in the Performance of the Balinese Shadow Theater. Asian Music, 36(1). • Sinti, W., & Sanger, A.E. (2006). Gamelan Manikasanti: One Ensemble, Many Musics. Asian Music, 37(2). • Tenzer, Michael. Balinese Music. Singapore: Periplus Editions, 1998. • Tenzer, Michael. Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music. Chicago: University of Chicago Press, 2000. • Stepputat, K. (2006). Nice ‘N’ Easy-the Balinese Gamelan Rindik: Its Music, Musicians, and Value as a Tourist Art. Asian Music, 37(2). • Vitale, Wayne. “The Aesthetic Universe of Kebyar.” In unpublished book on Balinese Kebyar music. Unpublished, 1997. • Vitale, W. (2002). Balinese Kebyar Music Breaks the Fine-Tone Barrier: New Composition for Seven-Tone Gamelan. Perspectives of New Music, 40(1). • Wignyosaputro, S., & Diamon, J. (1985). Beginning Gender Technique. Balungan: Publication of the American Gamelan Institute, (1)2, Retrieved from http://www.gamelan.org/balungan/back_issues/balungan(2).pdf .