ABSTRACT
As I examine changes in Balinese music practices, I will also explore a new approach to ethnomusicology. Over the past two decades, ethnomusicologists and anthropologists have begun to cite more explicitly their interactions with foreign colleagues, and to use dialogue as a theoretical paradigm and as a stimulus for new styles of ethnographic writing. In particular I am referring to a movement in anthropology called " dialogical anthro-
Despite these economic developments, in some ways, the performers in Sukawati seemed largely unchanged. The various structures within Loceng's family compound had been renovated and expanded over the
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Due to the technological and economic advances taking place in Balithe dirt road outside Loceng's house was now paved, water was piped in to the bathroom and kitchen, there was ample electricity, and telephones were much more widely available-combined with Loceng's complaints about changes occurring in the musical practices of the younger generation, I decided to concentrate on modernization in Bali as it affects the gender wayang music and the shadow play tradition. In 1994, supported by a predissertation Research Travel Grant from Cornell University and a Jacob Javits Fellowship for doctoral studies, I conducted research on Balinese texts on music, working in the archives in Denpasar, in addition to pursuing music studies in Sukawati.
