Esther M. Morgan-Ellis is Associate Professor of Music History at the University of North Georgia.

• Introduction: Teaching Liminal Musicking ESTHER M. MORGAN-ELLISPART I: Denaturalizing Western Art Music 1 European Art Music is an Ethnic Music: Fraying the Edges in a Music History Classroom D. LINDA PEARSE AND SANDRIA P. BOULIANE2 From Beijing to Paris: Teaching Music of the Global Eighteenth Century QINGFAN JIANG3 “Song of the Spirit Dance” and Native American Songs: Teaching about Appropriation in Late Nineteenth- and Early Twentieth-Century Symphonic Compositions ERINN E. KNYT4 Examining Vernacular Borrowings to Denaturalize Western Art Music: The Case of “Hoe-Down” ESTHER M. MORGAN-ELLISPART II: Teaching Blended Musics 5 Music of the Hyphen: Diaspora Music as Process and Product VARSHINI NARAYANAN6 African-Focused Approaches to Teaching African Popular Music in Western Classrooms ALABA ILESANMI7 Por ti seré: Jarocho Fusion and Revivalism in “La Bamba” GREGORY REISHPART III: Training Global Musicians 8 From Brazilian Worship Houses to a U.S. College: Recontextualizations of Afro-Brazilian Religious Music and Movement MARC M. GIDAL9 Crossing Over Popular and Classical Traditions through Musical Theater ALEX BÁDUE10 The Anti-Colonial Conservatory: The Case of the University “Folk Band” CHRISTOPHER J. SMITHIndex

Esther M. Morgan-Ellis is Associate Professor of Music History at the University of North Georgia.

• Introduction: Teaching Liminal Musicking ESTHER M. MORGAN-ELLISPART I: Denaturalizing Western Art Music 1 European Art Music is an Ethnic Music: Fraying the Edges in a Music History Classroom D. LINDA PEARSE AND SANDRIA P. BOULIANE2 From Beijing to Paris: Teaching Music of the Global Eighteenth Century QINGFAN JIANG3 “Song of the Spirit Dance” and Native American Songs: Teaching about Appropriation in Late Nineteenth- and Early Twentieth-Century Symphonic Compositions ERINN E. KNYT4 Examining Vernacular Borrowings to Denaturalize Western Art Music: The Case of “Hoe-Down” ESTHER M. MORGAN-ELLISPART II: Teaching Blended Musics 5 Music of the Hyphen: Diaspora Music as Process and Product VARSHINI NARAYANAN6 African-Focused Approaches to Teaching African Popular Music in Western Classrooms ALABA ILESANMI7 Por ti seré: Jarocho Fusion and Revivalism in “La Bamba” GREGORY REISHPART III: Training Global Musicians 8 From Brazilian Worship Houses to a U.S. College: Recontextualizations of Afro-Brazilian Religious Music and Movement MARC M. GIDAL9 Crossing Over Popular and Classical Traditions through Musical Theater ALEX BÁDUE10 The Anti-Colonial Conservatory: The Case of the University “Folk Band” CHRISTOPHER J. SMITHIndex

Esther M. Morgan-Ellis is Associate Professor of Music History at the University of North Georgia.

• Introduction: Teaching Liminal Musicking ESTHER M. MORGAN-ELLISPART I: Denaturalizing Western Art Music 1 European Art Music is an Ethnic Music: Fraying the Edges in a Music History Classroom D. LINDA PEARSE AND SANDRIA P. BOULIANE2 From Beijing to Paris: Teaching Music of the Global Eighteenth Century QINGFAN JIANG3 “Song of the Spirit Dance” and Native American Songs: Teaching about Appropriation in Late Nineteenth- and Early Twentieth-Century Symphonic Compositions ERINN E. KNYT4 Examining Vernacular Borrowings to Denaturalize Western Art Music: The Case of “Hoe-Down” ESTHER M. MORGAN-ELLISPART II: Teaching Blended Musics 5 Music of the Hyphen: Diaspora Music as Process and Product VARSHINI NARAYANAN6 African-Focused Approaches to Teaching African Popular Music in Western Classrooms ALABA ILESANMI7 Por ti seré: Jarocho Fusion and Revivalism in “La Bamba” GREGORY REISHPART III: Training Global Musicians 8 From Brazilian Worship Houses to a U.S. College: Recontextualizations of Afro-Brazilian Religious Music and Movement MARC M. GIDAL9 Crossing Over Popular and Classical Traditions through Musical Theater ALEX BÁDUE10 The Anti-Colonial Conservatory: The Case of the University “Folk Band” CHRISTOPHER J. SMITHIndex