Series Foreword |
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xii | |
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Acknowledgments |
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xvii | |
Episodes and Activities |
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xix | |
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Chapter 1 Teaching and Learning in Context |
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1 | (22) |
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Setting the Scene for Courses in World Music Studies |
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3 | (2) |
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Music in Higher Education: Tradition and Change |
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5 | (2) |
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Teaching World Music in Higher Education |
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7 | (2) |
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Pluralism, Innovation, and Interdisciplinary Study |
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8 | (1) |
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Core Matters of Culturally Inclusive Music Programs |
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9 | (5) |
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Acknowledging Positionality and Personal Limitations |
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10 | (4) |
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Ethnomusicology and World Music: Overlaps and Distinctions |
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14 | (1) |
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15 | (3) |
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18 | (2) |
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20 | (1) |
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20 | (1) |
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21 | (2) |
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Chapter 2 Attentive Listenings for Cultural Awakenings |
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23 | (25) |
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More Than Just Music From "Far Away Lands" |
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25 | (3) |
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Taking the Initial Dive Into WMP: Attentive Listening |
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28 | (3) |
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Finding Quality Repertoire |
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30 | (1) |
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Focusing on Sonic Features |
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31 | (1) |
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Cultural Awakenings Through Attentive Listening Experiences |
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32 | (9) |
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Two Nations Under One Sky: Iraqi Oud and Iranian Santur (Learning Pathway #1) |
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32 | (2) |
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A Tale of Tahitian Mourning (Learning Pathway #2) |
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34 | (2) |
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Poetic Expressions of Puerto Rican Pride (Learning Pathway #3) |
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36 | (2) |
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Rhythm and Melody in Basque Country |
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38 | (1) |
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Recreational Music From the Central Region of Ghana |
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39 | (2) |
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Facilitating Student-Centered Experiences With Large Classes |
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41 | (2) |
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41 | (1) |
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Checking for Understanding |
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42 | (1) |
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From Large Lectures to Small Seminars |
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43 | (2) |
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Attentive Listening Toward Participatory Musicking |
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45 | (1) |
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46 | (1) |
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46 | (1) |
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47 | (1) |
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47 | (1) |
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Chapter 3 Participatory Musicking: Engaged Listening and Enactive Listening |
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48 | (28) |
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"But I'm Not a Musician!" and Other Participatory Pretexts |
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50 | (1) |
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Establishing a Climate of Musical Participation |
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51 | (1) |
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Principles of Engaged and Enactive Listening |
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52 | (2) |
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Finding the Groove and Performing Rhythms |
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53 | (1) |
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Performing Melodies and Harmonies |
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53 | (1) |
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Participatory Musicking With Learning Pathways |
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54 | (10) |
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Additional Engaged and Enactive Listening Exemplars |
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64 | (5) |
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A Mardi Gras Indian Chant |
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64 | (2) |
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Tango Criollo and the Bandoneon |
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66 | (1) |
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67 | (2) |
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The DIY of WMP: Toward Immersive Cultural Encounters |
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69 | (4) |
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From Participating to Performing World Music |
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73 | (1) |
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74 | (1) |
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74 | (1) |
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74 | (2) |
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75 | (1) |
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Chapter 4 Performing World Music |
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76 | (29) |
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Inroads to Performing World Music |
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77 | (1) |
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Fostering a Music-Making Culture |
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78 | (1) |
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Benefits of Performing World Music |
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79 | (3) |
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Practicalities in Performing World Music |
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82 | (2) |
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82 | (1) |
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83 | (1) |
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Applying Instrumental Skills |
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83 | (1) |
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Venues and Functions for Performing World Music |
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84 | (1) |
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The Course as Launch to the Ensemble |
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85 | (1) |
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Guidelines for Performing Recommended Selections |
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86 | (9) |
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Performing Middle Eastern Fusion Music |
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87 | (3) |
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Performing a Tahitian Elegy |
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90 | (3) |
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Performing Jibaro of Puerto Rico |
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93 | (2) |
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Implementing Performances in World Music Pedagogy |
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95 | (7) |
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Performance as the Culmination of Sustained Listening |
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102 | (1) |
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103 | (1) |
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103 | (1) |
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103 | (2) |
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104 | (1) |
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Chapter 5 Creating World Music |
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105 | (29) |
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Creativity From a Global Lens |
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107 | (1) |
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Reigniting Creativity in Higher Ed Classrooms |
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108 | (1) |
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Creating World Music: Strategies and Considerations |
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109 | (6) |
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111 | (1) |
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Lyrical Composition and Improvisation |
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112 | (3) |
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Full-Fledged Improvisation |
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115 | (6) |
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Improvising With "Jarabi" From Mali |
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117 | (4) |
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121 | (2) |
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Employing App-Based Technology |
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123 | (8) |
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Composing With Digital Pipa |
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124 | (7) |
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The Pinnacle of Artistic Expression |
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131 | (1) |
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131 | (1) |
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132 | (1) |
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132 | (2) |
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132 | (2) |
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Chapter 6 Integrating World Music |
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134 | (30) |
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135 | (2) |
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Disciplines as Lenses for Integrating World Music |
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137 | (1) |
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Interdisciplinarity and the Ethnomusicological Approach |
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138 | (1) |
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Integration and World Music Pedagogy |
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139 | (7) |
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Interdisciplinary Knowledge and World Music Pedagogy |
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146 | (15) |
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Interdisciplinary Theme 1 Islam, Women, and Music |
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146 | (2) |
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Interdisciplinary Theme 2 Indigenous Peoples and the Environment |
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148 | (5) |
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Interdisciplinary Theme 3 Autocracy and World Peace |
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153 | (2) |
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Interdisciplinary Theme 4 Human Migration in History |
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155 | (6) |
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Integration for Robust Understandings |
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161 | (1) |
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162 | (1) |
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162 | (1) |
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162 | (2) |
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162 | (2) |
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Chapter 7 Surmountable Challenges and Worthy Outcomes |
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164 | (20) |
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Developing Musical-Cultural Understanding |
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165 | (1) |
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Challenges and Solutions to Teaching World Music |
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166 | (5) |
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Preliminaries and Set-Ups |
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166 | (1) |
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167 | (2) |
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169 | (2) |
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171 | (6) |
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Developing a World Music Syllabus |
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172 | (4) |
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Designing Short- and Long-Term Assignments |
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176 | (1) |
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Ethnomusicological Principles for Pedagogical Application |
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177 | (5) |
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178 | (1) |
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178 | (1) |
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179 | (1) |
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Othering, Tokenizing, and Essentializing |
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180 | (1) |
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Cultural Appropriation vs. Cultural Appreciation |
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180 | (1) |
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181 | (1) |
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Toward a More Mindful Pedagogy of World Music Cultures |
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182 | (1) |
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182 | (1) |
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183 | (1) |
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183 | (1) |
Appendix 1 Learning Pathways |
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184 | (22) |
Appendix 2 Additional Resources |
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206 | (3) |
Index |
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209 | |