01462nas a2200229   4500000000100000000000100001008004100002653001800043653003900061653002900100653003200129653003700161653004000198653003200238653002300270100002000293245005400313856004200367300001200409490000700421520080400428                                       d10aCambodia (KH)10aCommunity participation (THE\_204)10aEnvironment (THE\_65229)10aPerforming arts (ICH\_1228)10aSDG 15: Life on Land (ICH\_1392)10aSustainable development (THE\_7357)10aTheatrification (ICH\_1297)10aTourism (THE\_202)1 aJeff Titon Todd00aMusic and Sustainability: An Ecological Viewpoint  uhttps://www.jstor.org/stable/41699866  a119-1370 v513 aAttempts to preserve music as cultural heritage put applied ethnomusicologists and public folklorists in a defensive posture of safeguarding property assets. By supporting the conservation of those assets with tourist commerce, heritage management is doomed to the paradox of constructing staged authenticities with music treated as a market commodity. Instead, best practices arise from partnerships among ethnomusicologists, folklorists and music culture insiders (community leaders, scholars, and musicians), with sustainability interventions aimed directly inside music cultures. These efforts should be guided by principles drawn from ecology, not economy; and specifically by four principles from the new conservation ecology—diversity, limits to growth, interconnectedness, and stewardship.