Ted Solís
Biographic Data
| ID | 144313 |
|---|---|
| NAME | Ted Solís |
| GIVEN NAMES | Ted |
| FAMILY NAME | Solís |
| SIGNATURE | SOLÍS T |
| VERIFIED | No |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 14 |
| AUTHOR COUNT | 15 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1992 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 1 |
Living Ethnomusicology: Paths and Practices
Living Ethnomusicology: Paths and Practices
Living Ethnomusicology: Paths and Practices
Ethnomusicology Scholarship and Teaching - “The Song Is You”: From External to Internal in Ethnomusicological Performance
You Shake Your Hips Too Much: Diasporic Values and Hawai'i Puerto Rican Dance Culture
Community of ComfortNegotiating a World of “Latin Marimba”
This chapter provides an overview on a Latin Marimba ensemble that the author has developed and taught. It highlights how the author had initially modeled this ensemble and its performative world on the regional marimba ensemble of the southeastern Mexican states of Chiapas, Tabasco, and Oaxaca. By the nineteenth century the marimba was a chromatic instrument with a double keyboard. It draws attention to the role of the eminent sarod artist and t…
“Can't Help but Speak, Can't Help but Play”Dual Discourse in Arab Music Pedagogy
This chapter opens with a discussion of dual discourse in Arab music pedagogy in an interview with Ali Jihad Racy. It also presents the early background and career trajectory of Ali Jihad Racy's versatility as a performer-researcher which was found highly desirable when he joined UCLA (University of California, Los Angeles). For the last twenty years or so, the UCLA Near East Ensemble has been a prime context for teaching performance of Arab musi…
“A Bridge to Java”Four Decades Teaching Gamelan in America
This chapter gives a striking account of the author's journey, teaching gamelan for four decades in America. It discusses “bimusicality” in gamelan's academic infancy as it had two groups of people, people who liked to talk about gamelan, the ethnomusicology students, and people who liked to play gamelan. People used to memorized their parts, and then put everything together, and that became a Javanese ensemble. It was incredible, but it sounded …
Performing EthnomusicologyTeaching and Representation in World Music Ensembles: Teaching and Representation in World Music Ensembles
This book deals with creating, teaching, and contextualizing academic world music performing ensembles. Considering the formidable theoretical, ethical, and practical issues that confront ethnomusicologists who direct such ensembles, the sixteen chapters it contains discuss problems of public performance and the pragmatics of pedagogy and learning processes. Their perspectives, drawing upon expertise in Caribbean steelband, Indian, Balinese, Java…
Banda: Mexican Musical Life across Borders
Banda music has been performed by traditional brass bands in rural northwestern Mexico for more than a century, while technobanda, a newer style that has replaced the brass instruments with synthesizers and electric instruments, has become part of a lifestyle for tens of thousands of young people in the US, particularly in Los Angeles. The young people who flock to technobanda concerts also insist on the use of the Spanish language, a particular …
Barrio Rhythm: Mexican American Music in Los Angeles
Jibaro Image and the Ecology of Hawai'i Puerto Rican Musical Instruments
Les Portoricains d'Hawai ne refusent pas le label de « Jibaro ». La guitare, le « guiro », l'accordeon et le « cuatro » sont les instruments de musique de base issus de l'immigration. Le passage de l'antique « cuatro » a la guitare tenor montre l'interet envers la technologie americaine. Quant a l'introduction d'instruments a percussion (claves, marimbula, bongos et congas), elle revele a quel point l'industrie latine a servi de mediateur racial
The Wood That Sings: The Marimba in Chiapas, Mexico
Kachi-Kachi, Puerto Rican Music in Hawai'i
Puerto Rican Music in Hawai'i. Kachi-kachi
Performing EthnomusicologyTeaching and Representation in World Music Ensembles: Teaching and Representation in World Music Ensembles
This book deals with creating, teaching, and contextualizing academic world music performing ensembles. Considering the formidable theoretical, ethical, and practical issues that confront ethnomusicologists who direct such ensembles, the sixteen chapters it contains discuss problems of public performance and the pragmatics of pedagogy and learning processes. Their perspectives, drawing upon expertise in Caribbean steelband, Indian, Balinese, Java…
You Shake Your Hips Too Much: Diasporic Values and Hawai'i Puerto Rican Dance Culture
Kachi-Kachi, Puerto Rican Music in Hawai'i
Puerto Rican Music in Hawai'i. Kachi-kachi
The Wood That Sings: The Marimba in Chiapas, Mexico
Jibaro Image and the Ecology of Hawai'i Puerto Rican Musical Instruments
Les Portoricains d'Hawai ne refusent pas le label de « Jibaro ». La guitare, le « guiro », l'accordeon et le « cuatro » sont les instruments de musique de base issus de l'immigration. Le passage de l'antique « cuatro » a la guitare tenor montre l'interet envers la technologie americaine. Quant a l'introduction d'instruments a percussion (claves, marimbula, bongos et congas), elle revele a quel point l'industrie latine a servi de mediateur racial
Barrio Rhythm: Mexican American Music in Los Angeles
Banda: Mexican Musical Life across Borders
Banda music has been performed by traditional brass bands in rural northwestern Mexico for more than a century, while technobanda, a newer style that has replaced the brass instruments with synthesizers and electric instruments, has become part of a lifestyle for tens of thousands of young people in the US, particularly in Los Angeles. The young people who flock to technobanda concerts also insist on the use of the Spanish language, a particular …
Community of ComfortNegotiating a World of “Latin Marimba”
This chapter provides an overview on a Latin Marimba ensemble that the author has developed and taught. It highlights how the author had initially modeled this ensemble and its performative world on the regional marimba ensemble of the southeastern Mexican states of Chiapas, Tabasco, and Oaxaca. By the nineteenth century the marimba was a chromatic instrument with a double keyboard. It draws attention to the role of the eminent sarod artist and t…
“Can't Help but Speak, Can't Help but Play”Dual Discourse in Arab Music Pedagogy
This chapter opens with a discussion of dual discourse in Arab music pedagogy in an interview with Ali Jihad Racy. It also presents the early background and career trajectory of Ali Jihad Racy's versatility as a performer-researcher which was found highly desirable when he joined UCLA (University of California, Los Angeles). For the last twenty years or so, the UCLA Near East Ensemble has been a prime context for teaching performance of Arab musi…
“A Bridge to Java”Four Decades Teaching Gamelan in America
This chapter gives a striking account of the author's journey, teaching gamelan for four decades in America. It discusses “bimusicality” in gamelan's academic infancy as it had two groups of people, people who liked to talk about gamelan, the ethnomusicology students, and people who liked to play gamelan. People used to memorized their parts, and then put everything together, and that became a Javanese ensemble. It was incredible, but it sounded …
Performing EthnomusicologyTeaching and Representation in World Music Ensembles: Teaching and Representation in World Music Ensembles
This book deals with creating, teaching, and contextualizing academic world music performing ensembles. Considering the formidable theoretical, ethical, and practical issues that confront ethnomusicologists who direct such ensembles, the sixteen chapters it contains discuss problems of public performance and the pragmatics of pedagogy and learning processes. Their perspectives, drawing upon expertise in Caribbean steelband, Indian, Balinese, Java…
You Shake Your Hips Too Much: Diasporic Values and Hawai'i Puerto Rican Dance Culture
Ethnomusicology Scholarship and Teaching - “The Song Is You”: From External to Internal in Ethnomusicological Performance
Living Ethnomusicology: Paths and Practices
Living Ethnomusicology: Paths and Practices
Living Ethnomusicology: Paths and Practices
Art (10 works) · Sociology (8 works) · History (7 works) · Anthropology (6 works) · Geography (5 works) · Musical (5 works) · Political science (5 works) · Visual arts (5 works) · Asian American and Pacific Histories (4 works) · Diverse Musicological Studies (4 works)