@misc{arnold_2010, title={The rough guide to Bollywood Gold, RGNET 1182CD (various performer)}, volume={41}, DOI={10.1353/amu.0.0049}, abstractNote={section is performed in irama wilet and rangkep (also with andhegan, and at times even including “naughty” treatment of certain passages led by the drummer). Th e above are not the treatments of wayang accompaniment. Th ere are a few examples of sulukan, a song by the dhalang primarily to set and/or heighten the mood of a scene. For the other wayang music examples, an older dolanan (play song) is given, rather than a newer one, and its use for the clown scene is explained. Two most popular jineman, a genre featuring the melodic dexterity of the pesindhen, are also presented: “Uler Kambang” and “Gathik Glindhing.” About the latter, it was already mentioned in 19th century gamelan literature, thus was not composed by a recent musician as suggested in the liner notes. Th is CD set indeed represents the richness in content of the style, musical treatment, and mood of the gamelan repertoires. A few pieces are highly attached to the court tradition (e.g., “Ela-Ela Kalibeber” and “Laler Mengeng”), but most pieces are well-known in and outside of the court. I have been using this set for listening assignments in my class on Indonesian music and theater, but I reconfi gure the order of the pieces according to the needs of the class. For example, to simulate a typical klenengan, in which mood and pathet (modal) progression is an important aspect of the presentation, I choose the following pieces in order: “Kombang Mara,” “Titipati,” “Gambir Sawit,” “Jineman,” and “Pangkur.” I choose pieces with short gongan structure (“Gegot” and “Subakastawa”) to illustrate gamelan musical structure as well as to explain a variety of musical treatments and rhythmic variety. All in all, Marc Benamou and Rahayu Supanggah should be commended for producing this excellent gamelan box set.}, number={1}, journal={Asian Music : Journal of the Society for Asian Music}, author={Arnold, A.}, year={2010}, pages={175–178} }
 @misc{arnold_2009, title={Catlin-Jairazbhoy Sidi Goma: live in India! (Various performer)}, volume={53}, number={1}, journal={Ethnomusicology}, author={Arnold, A.}, year={2009}, pages={166–170} }
 @misc{arnold_2009, title={Manasseh the Rivers of Babylon: Live in India! (Various performer)}, volume={53}, number={1}, journal={Ethnomusicology}, author={Arnold, A.}, year={2009}, pages={166–170} }
 @misc{arnold_2009, title={Myers D'Bhuyaa Saaj: Live in India! (Various performer)}, volume={53}, number={1}, journal={Ethnomusicology}, author={Arnold, A.}, year={2009}, pages={166–170} }
 @article{arnold_2005, title={Sidi Sufis: African Indian mystics of Gujarat.}, volume={36}, ISSN={["0044-9202"]}, DOI={10.1353/amu.2005.0013}, abstractNote={Reviewed by: Sidi Sufis: African Indian Mystics of Gujarat Alison Arnold (bio) Sidi Sufis: African Indian Mystics of Gujarat. One compact disc, 79 minutes, produced by Amy Catlin-Jairazbhoy and Nazir Jairazbhoy from their field recordings made between 1999 and 2002. Five pages of notes by Amy Catlin Jairazbhoy comprising "Music of the Sidis of Gujarat," track notes, and list of musicians. Van Nuys, CA: Apsara Media Publications, 2002. The twelve tracks on this CD present an exciting introduction to the musical world of the Sidi Sufis of Gujarat. These Muslim Sufis are descendants of East Africans who crossed the Indian Ocean seven or more centuries ago. They perform sacred songs, instrumental music, and ecstatic dance (damal) at shrines to their African saint, Gori Pir, whom they invoke along with other Sidi saints and saints of the Chishti Sufi order during their exuberant and energetic rituals. These musical recordings, made by Amy Catlin-Jairazbhoy mostly in 2001-2002 in her position as a senior research fellow with the American Institute of Indian Studies, provide the first commercially available sampling of these ritual vocal and instrumental forms and styles. Catlin-Jairazbhoy's compact disc is especially welcome given the dearth of written and recorded material on African-Indianmusic in general. In her short liner notes, the author draws connections between Sidi musical instruments and rhythmic patterns and various "African models" from which they are "often derived." She points out that the footed, pegged mugarman drum, the malunga struck musical bow, and the Mai Mishra coconut rattle are much closer to instruments found in Africa and even in Afro-Brazil than to those of western India, from which these Sidi instruments remain "quite distinct." She also notes the interlocking drum patterns of the Sidi musicians that are rare in India except among tribal peoples. These brief observations may satisfy the casual audience but they only serve to whet the appetite of those desiring more in-depth discussion and exploration of the African-Indian diasporic link. The ongoing research on Sidi music by ethnomusicologists Amy Catlin Jairazbhoy and Nazir Jairazbhoy has fortunately resulted in more recent publications that address African-Indian history, music, and ritual. In 2004 the Jairazbhoys produced two videotapes: From Africa to India: Sidi Music in the Asian Diaspora (2004a) that surveys Sidi music and dance traditions in several Indian states, and The Sidi Malunga Project: Rejuvenation of the African-Indian Musical Bow (2004b), which documents amusical training camp for Sidi youth held in central Gujarat in February 2003. For teachers, students, and scholars alike, these videos present rich visual material for possible use in conjunction with the CD. A further publication by Amy Catlin-Jairazbhoy in collaboration with historian Edward Alpers is an edited volume of essays on African Indians, focusing on various aspects of the lives of Sidi peoples living in Gujarat and [End Page 117] Karnataka (Alpers and Catlin-Jairazbhoy 2004; see also Kassebaum 2000). Of particular interest to ethnomusicologists is the chapter by Catlin-Jairazbhoy on Sidi musical performance, identity, and globalization. The opening instrumental track on the CD establishes the importance of drumming in Sidi rituals. A naqqara (large kettledrum) player sounds a distinctive pattern that varies in rhythm and dynamics during its 7-minute, 25 second length. The track notes identify the occasional sounds of a conch and a clattering chain but forego musical analysis in favor of a description of the ritual events. The drumbeats accompany the devotees walking around the saint Gori Pir's tomb, while women kneel to receive the saint's spirit. Two other tracks on the CD present instrumental solos. A short performance on the malunga (musical bow) on track 4 displays a remarkable variety of timbres obtained through the player's manipulation of its gourd resonator. Players use the sounds "to communicate words such as 'Allah hu nabi ji' " ("He is Allah, respected Prophet"), words that the drum rhythm also "speaks" in track 5 (Disc Notes). A link with African talking drums would seem to be evident here, although the author does not identify the malunga as a "talking"musical bow. A third instrumental track (no. 6) presents a rhythmic drum pattern, the twelve-beat tambol cycle emphasizing...}, number={2}, journal={ASIAN MUSIC}, author={Arnold, A}, year={2005}, pages={117–120} }
 @misc{arnold_2005, title={The  rough guide to Bollywood - World Music Network RGNET 1074}, volume={49}, number={1}, journal={Ethnomusicology}, author={Arnold, A.}, year={2005}, pages={157–161} }
 @misc{arnold_2005, title={The  rough guide to Bollywood legends - World Music Network RGNET 1132 (L Mangeshkar)}, volume={49}, number={1}, journal={Ethnomusicology}, author={Arnold, A.}, year={2005}, pages={157–161} }
 @book{lee_greene_wellman_al._2004, title={Teaching and learning through inquiry: A guidebook for institutions and instructors}, publisher={Sterling, Va.: Stylus Pub.}, author={Lee, V. S. and Greene, D. B. and Wellman, D. J. and al.}, year={2004} }
 @article{arnold_2002, title={East Indian music in the West Indies: Tan-singing, chutney, and the making of Indo-Caribbean culture}, volume={46}, ISSN={["0014-1836"]}, DOI={10.2307/852793}, number={2}, journal={ETHNOMUSICOLOGY}, author={Arnold, A}, year={2002}, pages={348–351} }