TY - JOUR
KW - Cambodia (KH)
KW - Community participation (THE\_204)
KW - Environment (THE\_65229)
KW - Performing arts (ICH\_1228)
KW - SDG 15: Life on Land (ICH\_1392)
KW - Sustainable development (THE\_7357)
KW - Theatrification (ICH\_1297)
KW - Tourism (THE\_202)
AU - Jeff Titon Todd
AB - Attempts 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.
M1 - 1
N2 - Attempts 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.
SP - 119
EP - 137
TI - Music and Sustainability: An Ecological Viewpoint
UR - https://www.jstor.org/stable/41699866
VL - 51
ER -