Module 4

1. Unknown
2. The University of Illinois Balinese Gamelan Ensemble
3. Bali
4. Bonang, Gendér, Gong, Kendang, Kenong/Kethuk, Peking, Saron, Slenthem

The four models in the Koops article are the continuum model, the historical and personal model, the reproduction, reality, and relevance model, and the beyond authenticity model.  When looking at the four models in comparison to this piece, they would have very different takes on it.  I think this particular performance falls into the model of reproduction, reality, and relevance.  The UI Balinese Gamelan Ensemble is "trying to reproduce the music exactly as it was first created" (Koops, 2010), attempting to reflect the actual Balinese Gamelan practices, and I would assume are creating meaning through their music making that could represent "personal authenticity".  I do believe that this performance would fall under the continuum model as being nearly as authentic as they can in their situation.  It is impossible to achieve the beyond authenticity model unless they are actually performing the original version of this piece in Bali, but I think they are as close as they can be.  As teachers, we have to consider if the world music we are teaching our students are at an acceptable level of authenticity, otherwise we are doing a disservice to our students as budding musicians.

Koops, L. H. (2010). “Can’t we just change the words?”: The role of authenticity in
            culturally informed music education. Music Educators Journal. (97)23.