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Bonnie Wade

As a result of graduating from a Bachelor of Music program (Boston University 1963), but subsequently observing the liberal arts experience as a teacher (Brown University 1971-75), I am a believer in education that integrates study of the arts with study of many other subjects. Not surprising for an ethnomusicologist (MA 1967 and PhD from UCLA)! The ethnomusicology program that I began here at UC Berkeley (from 1975-1976) sits comfortably in a department of music in a College of Letters and Science.

I enjoy pursuing multiple interests and seeing the big picture. I very much enjoy teaching, both undergraduates (majors and non-majors, for whom I have written three textbooks–Music in India: The Classical Traditions, Thinking Musically, and Music in Japan: Experiencing Music, Expressing Culture) and graduate students. And I alternate periods when I pursue primarily professorial activities with periods when I add administrative work to the mix (Chair of the Department of Music 1983-88, Dean of Undergraduate Advising 1992-98, Chair of the Deans of the College of Letters and Science 1994-98, Chair of the Group in Asian Studies, since 1999, and now Chair of the Department of Music again).

My first research was in Japanese music (resulting in Tegotomono: 19th Century Koto Music, Greenwood-Praeger 1976) as a result of studying koto in Japan in 1963-64, but that was followed quickly by a focus on Hindustani music as a result of travel in South Asia in 1965. My book Khyal: Creativity Within North India’s Classical Vocal Tradition (Cambridge University Press,1984) was a study of that improvisatory genre as performed in this century by multiple groups (gharanas) of musicians. For the next 14 or so years I focused on historical time (the 16th-17th centuries) and on visual sources (miniature paintings that depict music-making to trace the development of North Indian classical music); Imaging Sound: An Ethnomusicological Study of Music, Art, and Culture in Mughal India was published in 1998 (University of Chicago Press). I have since renewed my work in Japan, now focusing on contemporary Japanese musical culture, in a sense returning to where I started. A result of some of my recent research has been Music in Japan (Oxford University Press, 2005), a textbook for the Global Music Series.

Ever-mindful of the important connection between teaching and research, I was able to meld them together in Thinking Musically, Experiencing Music, Expressing Culture (Oxford University Press, 2004) for the Global Music Series (GMS). The GMS is an innovative introduction to world music that focuses on how people make music meaningful and useful in their lives. It consists of two framing volumes (one of which is Thinking Musically) and 17 case study volumes on music in various countries, all focused on themes and designed for in-depth study of a particular musical culture, and each accompanied by a CD. I am the co-General Editor of this Global Music Series for Oxford University Press.


Book Abstracts


  • Thinking Musically (Oxford University Press, 2004) is designed for undergraduates and general readers with little or no background in music. It incorporates music from diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case study volumes.( VISIT for information on the volumes and instructional materials accompanying each). Thinking Musically discusses the importance of musical instruments, describing their significance in a culture’s folklore, religion, and history. It explores fundamental elements of music–rhythm, pitch in melodic and harmonic relationships, and form–and examines how they vary in different musical traditions. The text considers the effects of cultural influences such as gender and ethnicity on the perception, interpretation, and performance of music. It also looks at how forces of nationalism, acculturation, and westernization can affect musical traditions. The book includes activities designed to build critical listening and individual study skills and is packaged with a 80-minute CD that features selections from a wide variety of musical cultures.


  • Music in India: The Classical Traditions (Prentice-Hall,1979; reprinted Riverdale/Simon and Schuster, 1987; second edition, Manohar, 1997). This book encompasses a vast panoply of instruments, forms, performers, principles, and history in the religious, folk, tribal, ‘hybrid,’ film, dance, theater, and classical traditions. It focuses primarily on two traditions of Indian classical music: North Indian (Hindustani) and South Indian (Karnatak/Carnatic). It is geared to the listener as well as performer. The chapters consider the listener and the effect of music, contrasting concepts in Indian and Western classical music, classification of melody (raga) type, ideas about notation and notating systems, primary melody-producing instruments, contrasts of Hindustani and Western concepts of rhythm and meter (tala), performance genres, and the analysis of what makes a good musician.
  • Khyal. Creativity within North India’s Classical Music Tradition (with cassette) (Cambridge University Press, 1984; reprinted Munshiram Manoharlal, 1997). It is a study of the genre of North Indian (Hindustani) classical music which has dominated in performances by highly trained vocalists for the last two centuries. Spanning this time, it is also a cultural history, a story of generous patronage by native princes, of the loss of this patronage when courts were dissolved, and of the resilience of musicians in adjusting to the vicissitudes of contemporary artistic life. In performing khyal the singer presents a brief composition, then improvises from 20-40 minutes according to certain guidelines. One chapter of the book discusses the compositions, the modal and metric materials, and the improvisational guidelines utilized by the khyal singers. Descriptions are illustrated with musical examples in transcription (in Western and in modified Indian notation) and on the accompanying cassette. Because khyal was developed by master musicians employed at courts scattered throughout North India, the manner of performing it varies among different groups of musicians (gharanas), so six major group traditions are considered, tracing the personal histories of singers, statements made in Indian sources about their musical styles, and considering those statements through analysis of recorded performances by leading musicians of recent decades, Also considered is individual artistic achievement, so important among musicians in the Hindustani tradition and in the development and performance of khyal. There is an extensive bibliography and discography, as well as illustrations of khyal in performance, genealogical charts, and maps.
  • Imaging Sound. An Ethnomusicological Study of Music, Art, and Culture in Mughal India (University of Chicago Press, 1998). The rich legacy of illustrated manuscripts and miniature paintings commissioned by the rulers of the Mughal Empire (1526-1858) and their images of musical instruments, portraits of musicians, and composition of ensembles form the basis of this study of how musicians of Hindustan encountered and Indianized music from the Persian cultural sphere. The book combines ethnomusicological and art historical methods with history and lore to present an interdisciplinary study of cultural life on the Indian subcontinent. Chapters focus on the political and cultural agendas of the great Mughals, beginning with Akbar, then follows the depictions of music-making through paintings of his successors to trace the gradual synthesis of Persian and Indian culture. Music of the period was not notated but transmitted orally thus the wealth of visual evidence helps to reconstruct the musical life of the Mughals and its relation to the Mughal political agenda. The images are an untapped major resource and suggest new interpretations of the history of the Mughal Empire, including original ideas about the role of patrons in the production of the arts and the role of women in Mughal court life–confirmed and complemented by written sources. This book contributes to many fields in its unique combination of sources: it is the study of musical change; of image-making in the past and the methodological use of images as “texts” in the present; of the role of patronage in the Mughal Empire; and the development of South Asian culture. The synthesis of music, literature, art, and culture deepens our knowledge of the manner in which the orally transmitted tradition of Hindustani music came to be what it is today. The book is beautifully illustrated with more than 180 reproductions of Mughal paintings and manuscripts. The images are the basis of a study that is fully immersed both in current intellectual debates and in three centuries of Mughal cultural life.


  • Tegotomono. Music for the Japanese Koto (Greenwood/Praeger, 1976). This book is a selective study of of honte-kaete tegotomono in 19th-century koto music. There is attention to cultural history, to text and text setting, song and song accompaniment, honte and kaete parts. The book has considerable musical analysis of the the materials and complete transcriptions of five compositions from published scores and one manuscript. A large number of brief examples are given throughout the text to demonstrate specific points. Tegotomono occupies a cherished place in the koto tradition and this study illuminates its music, poetry, and the musicians who have contributed to Japan’s rich cultural history.
  • Music in Japan (Oxford University Press, 2005) offers a vivid introduction to the music of contemporary Japan, a nation in which traditional, Western, and popular music thrive side by side. Drawing on the author’s more than 40 years of experience the book focuses on three themes, one of which is how music in Japan has been profoundly affected by interface with both Western (Europe and the Americas) and Asian (continental and island) cultural spheres. A second theme is the process of gradual popularization, in which a local or a group’s music eventually become accessible to a broader range of people; Japan’s thriving popular music industry is a modern form of this historically important facet of Japanese musical culture.The third theme is the intertextuality of Japanese music: how familiar themes, musical sounds, and structures have been maintained and transformed across the various traditions of Japanese performing arts over time. The book has eyewitness accounts of performances, interviews with key performers, vivid illustrations, and is accompanied by a 80-minute CD of examples in the book. It also features guided listening and hands-on activities that encourage readers to engage actively and critically with the music



1971    Khyal: A Study in Hindustani Classical Vocal Music 2 vols. (Ann Arbor: University Microfilms) (Ph.D. dissertation, UCLA)
1976    Tegotomono: Music for the Japanese Koto (Westport: Greenwood Press)
1977    Essays for a Humanist (New York: Town House Press, co-editor)
1979    Music in India: The Classical Traditions (Englewood Cliffs: Prentice-Hall)
1981    Report of the Twelfth Congress, Berkeley, 1977 (International Musicological Society)  (Kassel: Barenreiter)  (Co-editor with Daniel Heartz)
1983    Performing Arts in India: Essays on music, Dance, and Drama, (Washington, D.C., University Press of America) (Editor)
1984    Khyal: Creativity Within North India’s Classical Musical Tradition (Cambridge: Cambridge University Press). With Cassette
1987    Reprint: Performing Arts in India.  Essays on Music, Dance, and Drama.  Reprint.  Monograph Series No. 21, edited by Bonnie Wade, University Press of America, 1983, reprinted as Vol. XVIII, #2, Spring/Summer 1987, Asian Music.
Reprint: Music in India: The Classical Traditions, Riverdale Press/Simon & Schuster/Pearson Education (USA) and Manohar (India)
1990    India. The World of Music, guest editor, vol. 32:2
1993    Text, Tone and Tune. Parameters of Music in Multicultural Perspective, (with cassette) Oxford and IBH Publishing Co., New Delhi (Editor)
1996    Historical Performance Practices Across the Pacific.  The World of Music, guest editor, vol. 38:2
Reprint:  Music in India:  The Classical Traditions. New Delhi, Manohar
1997    Reprint:  Khyal:  Creativity Within North India’s Classical Musical Tradition (New Delhi:  Munshiram Manoharlal) With cassette
1998    Imaging Sound. An Ethnomusicological Study of Music, Art, and Culture in Mughal India (Chicago:  University of Chicago Press).
1999    Music in India: The Classical Traditions.  Second Edition.  Revised. New Delhi:                     Manohar.
2000    South Asia: The Indian Subcontinent. Volume 5 of the Garland Encyclopedia of World              Music, Associate Editor (one of three). New York and London: Garland Publishing,
2004     Thinking Musically. Experiencing Music, Expressing Culture, the framing volume for the 25-volume Global Music Series: Experiencing  Music, Expressing Culture, Oxford University
2005    Music in Japan: Experiencing Music, Expressing Culture. Oxford University Press.
2009    Thinking Musically: Experiencing Music, Expressing Culture. 2nd ed. Oxford University Press


1972    “By Invitation Only: Field Work in Village India,”  Asian Music 3, 2: pp. 3-7, only part of the essay.  Reprinted in full in Choros (1974)
1973    “Songs of Traditional Wedding Ceremonies in North India”  Yearbook , International Folk Music Council, 4: pp. 57-65
“Chiz in Khyal: the traditional composition in the improvised performance,”  Ethnomusicology 17:3 (September) pp. 443-459
1974    “Phonographierte Indische Melodien,” by Abraham and Hornbostel; translated from the German to English by Bonnie C. Wade for the Hornbostel Opera Omnia (ten volumes); I, pp. 115-183  (The Hague: Nijhoff Co.)  General Editor: Klaus Wachsmann
1976    “Fixity and Flexibility: From Musical Structure to Cultural Structure,”  Anthropologica, 18:1, pp. 15-26
1977    “Music ‘Patronage’ in Indic Culture: The Jajmani Model,” with Ann M. Pescatello in Essays for a Humanist  (New York: Town House Press), pp. 277-336
“Prolegomena to Song Text Perspectives,”  Yearbook, International Folk Music Council, 8: pp. 73-88
1978    “Indian Classical Music in North America: Cultural Give and Take,”  Contributions to Asian Studies, 12 (Leiden: E.J. Brill) pp. 119-140
1979    “The Status of Women in the Performing Arts of India and Iberia: Cross-cultural Perspectives from Historical Accounts and Field Reports,” with Ann M. Pescatello in The Performing Arts, John Blacking and Joann W. Kealiinohomoku, eds. (Hague: Mouton)  pp. 119-140
1980    “India: Folk Music,” in The New Grove Dictionary of Music and Musicians, Stanley Sadie, editor (London and New York: MacMillan)
1981    “Some Principles of Indian Classical Music,” In Music of Many Cultures, Elizabeth May, editor, (University of California Press) pp. 83-110
“Cadence Practice in Hindustani Vocal Music: Khyal in Three Rags,” in Music East and West, Thomas Noblett, editor (New York: Pendragon Press) pp. 43-61
“Music Criticism in India: An Urban Phenomenon,” in Report of the Twelfth Congress, Berkeley 1977 (International Musicological Society), Daniel Heartz and Bonnie Wade, editors  (Barenreiter)  pp. 300-302
1983    “Introduction,”  in Performing Arts in India: Essays on Music, Dance, and Drama, editor Bonnie C. Wade (Washington, D.C.: University Press of America) pp. 1-13
1984    “Performance Practice in Indian Classical Music,” in Gerard Behague, ed. Performance Practice: Ethnomusicological Perspectives, (Westport, Connecticut: Greenwood Press)  pp. 13-52
1985    “Playing for Power: Drum and Naubat, the Symbols of Might,” in La Musique et le Rite, Sacre et Profane (Report of the 13th Congress of the International Musicological Society)  (Strasbourg: Universite de Strasbourg)  pp. 28-32
1986    “Music as Symbol of Power and Status: The Courts of Mughal India:” in Charlotte J. Frisbie, ed., Explorations in Ethnomusicology: Essays in Honor of David P. McAllester.  Detroit Information Coordinators, pp. 97-109
Transcript of five lectures presented at the Central Conservatory of Music, Beijing (June 1986) published in Chinese translation (by Cai Liang-yu), in the Music Scholarly Message of the Research Institute of Music, Chinese Academy of Arts, No. 5-6, pp. 3-14
1987    “Introduction,”  pp. 1-13, in  Performing Arts in India  Reprint. (see above)
“History of Music in South Asia,”  Encyclopedia of Asian History, NY, McMillan Publishing Co., vol 3: pp. 62-63.
1990    “The Meeting of Musical Cultures in the 16th-Century Court of the Mughal Akbar,” India: World of Music 32:2, pp. 3-25. Guest editor of the same, special issue on India.
“Mughal Illustrated Manuscripts: Sources for the Documentation of Indian Music History,” in Yoshihiko Tokumaru, et al., editors, Tradition and Its Future in Music (Tokyo: Mita Press, pp. 35-41).
1992    “Patronage in India’s Musical Culture” in Joan L. Erdman, ed. Arts Patronage in India: Methods, Motives and Markets. New Delhi: Manohar. pp.181-194.
1993    “Prolegomenon to Texts, Tones and Tunes:  Issues and Themes from a Meeting of Minds” in Bonnie C. Wade, Editor, Text, Tone, and Tune (New Delhi, Oxford/IBH), pp. 1-14.
1994    “Keiko Nosaka and the 20-Stringed Koto.  Tradition and Modernization in Japanese Music” in Bell Yung and Joseph S.C. Lam, editors, The Musicological Juncture.  Essays in Honor of Rulan Chao Pian (Cambridge, Mass:  Harvard University) pp. 184-198.
1995    “There’s More to Hear than Meets the Eye: Music-Making in Mughal India,” in Asian Art and Culture, fall, VIII, No. 3 (Oxford University Press, the Arthur H. Sackler Gallery, Smithsonian Institution, Washington, D.C.), pp. 68-91.
1996    “Performing the Drone in Hindustani Classical Music:  What Mughal Paintings Show us to Hear,” in Historical Performance Practices Across the Pacific.  World of Music, 38: 2, Bonnie C. Wade, Guest Editor, pp. 41-68
1997    “When West met East:  The Organ as an Instrument of Culture,” in Festschrift Christoph-Hellmut Mahling zum 65. Geburstag, Axel Beer, Kristina Pfarr und Wolfgang Ruf, Tutzing:  Hans Schneider, pp. 1479-1489
1997    “Visual Sources for the Study of Indian Music,” American Council for Southern Asian Art Newsletter, 48 Fall/winter, pp. 48-50.
2000    “Hindustani Vocal Music,” in South Asia: The Indian Subcontinent.  New York and London:  Garland Publishing, Inc., pp. 162-187.
2000    “Visual Sources,” in South Asia: The Indian Subcontinent.  New York and London:  Garland Publishing, Inc. pp. 298-311.
2001     The New Grove Dictionary of Music and Musicians, 2nd edition, Stanley Sadie, editor, London and New York: Macmillan Publishers, 2001.  The following entries:
“India, X:  Research,” Vol. 12, pp. 271-2.
“Hirabai Barodekar, Vol. 2: 746
“Gangubai Hangal,” Vol. 10: 820
“Bhimsen Joshi,” Vol. 13: 219
“Kesarbai Kerkar,” Vol. 13: 489
“Abdul Karim Khan,” Vol. 13: 562
“Alladiya Khan,” Vol. 13: 563
“Amir Khan,” Vol. 13: 564
“Bade Ghulam Ali Khan,” Vol. 13: 564-5
“Faiyaz (Husain) Khan,” Vol. 13: 565
“Moghubai Kurdikar,” Vol. 14: 35-6
“Vishnu Digamber Paluskar,” Vol. 19: 19-20
“Omkarnath Thakur,” Vol. 25: 336-7
“Regula Qureshi,” Vol. 20: 691
“Negotiating the Future: Japanese Music as a Case in Point,” in The Changing Values of Music:  In Search of New Creativity, the keynote address in papers from the International Symposium on Cultural Comparisons:  East and West, Seoul, Korea:  The Korean National Commission for UNESCO and the Asian Music Research Institute, Seoul National University, pp. 1-34.
“Composing Contemporary Japan,” Program notes for the BCCP Concert, U C Berkeley,
September 23, 2001, pp. 2-7.
2002    “Ethnomusicologists at Work,” for The World’s Music:  General Perspectives and Reference Tools, Ruth Stone, Editor, The Garland Encyclopedia of World Music, Volume 10, pp. 3-15.
“Music and Dance in the Mughal Empire, 1526-1858,” in The Magnificent Mughals, Zeenut Ziad, Editor, Oxford and Karachi: Oxford University Press Pakistan, pp. 229-268.
2004    “Foreword” (Invited) for Yayoi Everett and Frederick Lau, Locating East Asia in Western Art Music, Wesleyan University Press
“Perspectives on National Cultural Policies,” in Musicology and Globalization (Proceedings of the International Congress in Shizuoka, Japan, 2002, in Celebration of the 50th Anniversary of the Musicological Society of Japan). Tokyo: The Musicological Society of Japan (Academia Press Ltd.), pp. 410-414.
2006    “Fifty Years of SEM in the United States: A Retrospective,” in Ethnomusicology. 50th Anniversary Commemorative Issue, 50:2 (Spring/Summer 2006), 190-98.
2006    “A Japanese Performance of Intertextuality: From No to Kabuki to Film,” in Yale Institute of Sacred Music: Colloquium: Music, Worship, Art, Volume 3, Autumn 2006, pp. 45-52.
2007    “Foreword” for Margaret Walker Dilling. Stories inside Stories. Music in the Making of the Korean Olympic Ceremonies, UC Institute for East Asian Studies, Center for Korean Studies, pp. vii-ix.
Record and Book Reviews

1972    Record review of “The Four Vedas,” by John Levy and J.F. Stahl, in Ethnomusicology 16:1 (January), pp. 156-157
Record review of “Ten Graces on the Vina,”  in Ethnomusicology 16:1 (January), pp. 152-156
Book review of The Rags of North Indian Music: Their Structure and Evolution, by N.A. Jairazbhoy.  Music Educators Journal, 59:2 (October) pp. 149-152
1973    Record review essay of “The Soul of the Koto”, “Japanese Masterpieces for the Koto”, and “Japanese Treasures,”  Lyrichord discs, in Ethnomusicology  17:2 (May)  pp. 361-364
Book Review Essay of The Rags of North Indian Music: Their Structure and Evolution, by N.A. Jairazbhoy, Ethnomusicology 17:2 (May) pp. 331-334
Record review of “North India: Vocal Music.  Dhrupad and Khyal,” by Alain Danielou, Ethnomusicology  17: 3  (September)  pp. 583-585
1975    Book review essay of The Kumiuta and Danmono Traditions of Japanese Koto Music, by Willem Adriaansz, in the Journal of the American Musicological Society  (Fall)  pp. 148-151
Book review essay of Adriaansz’s Kumiuta and Danmono (see previous citation) in Ethnomusicology, 19:1  (January)  pp. 137-141
Book review: Indian Musical Traditions, by V. Deshpande Rao, Ethnomusicology, 19:3 (September)  p. 496
1976    Book review essay: Indian Music, by B. Chaitanya Deva, Ethnomusicology, 10:1 (January) pp. 142-143
Book review essay:  A History of Japanese Music by Eta Harich-Schneider, Ethnomusicology, 20:2 (May) pp. 371-374
Record review:  Barenreiter Musicaphon: Anthology of North Indian Music, Vol. I and II, Vocal Musics.  Ethnomusicology, 20:2  (May) pp. 396-397
Major Review Essay: of all ethnomusicology materials for the past year, in Notes, March.  Includes a theoretical introduction to the field.  pp. 537-548
1977    Robert Garfias’ Music of 1000 Autumns, reviewed in Notes, pp. 587-589
“Monographs” of Asia Society, reviewed in Ethnomusicology, 21:2 (May) p. 337
1978    Anoop Chandola’s Folk Drumming in the Himalayas, reviewed for the Asian Folklore Journal
L.E.R. Picken’s Folk Music Instruments of Turkey, reviewed in the Journal of the Association of Oriental Studies  98:2, pp. 169-171
Walter Kauffmann’s Ragas of South India, reviewed for the Music Educators National Council Journal
1980    Daniel Neuman, The Life of Music in North India, reviewed in Yearbook of the International Folk Music Council, XI, pp. 95-97
1982    Patia R. Isaku, Mountain Storm, Pine Breeze: Folksongs in Japan reviewed in Journal of the Association of Teachers of Japanese 17:1, pp. 66-68
1984    Bruno Nettl.  The Study of Ethnomusicology: Twenty-Nine Issues and Concepts, reviewed in Journal of Musicology 3:2 (Spring) 214-218
Harold Powers, et al.  “India,”  The New Groves Dictionary of Music and Musicians (1980, vol 9: 69-166) reviewed in Salnaq (South Asia Library Notes and Queries)  University of Chicago
Robert Falck and Timothy Rice, eds, Cross-cultural Perspectives on Music reviewed in Yearbook for Traditional Music, 14, pp. 113-115
1985    Elizabeth Markham, Saibara: Japanese Court Songs of the Heian Period (Cambridge University Press, 1983)  reviewed in Journal of Japanese Studies, 11:2, pp 466-71
1988    Review of The Music of India. Vol I: 6,000 B.C. to 1,000 A.D.  Vol.  II: 1001 A.D. to 1986 A.D. (Ram Avtar Veer. Pankaj Publications, 1986.)  South Asia in Review 13: 2 & 3 (February) 13-15
Review of Blacking, John, “A Commonsense View of All Music”: Reflections on Percy Grainger’s Contribution to Ethnomusicology and Music Education.  (Cambridge, 1987) in college Music Symposium 28: pp. 117-20
1991    Review of James Kippen’s Tabla of Lucknow: A Cultural Analysis of a Musical Tradition (Cambridge, 1988) and Jeff Todd Titon’s Powerhouse for God: Speech, Chant, and Song in an Appalachian Baptist Church (Austin, 1988) in American Anthropologist 93:1 (March), pp. 180-82
1994    Review of Blum, Bohlman, and Neuman eds., Ethnomusicology and Modern Music History (Illinois, 1991) in Ethnomusicology  38:1 (Winter) 169-175.
1995     Review of Peter Manuel’s Thumri in Historical and Stylistic Perspectives (New Delhi:  Motilalal Banarsidas, 1989, in Ethnomusicology, pp.
2004    Review of Luciana Galliano’s Yôgaku: Japanese Music in the Twentieth Century (Lanham, MD.: Scarecrow Press, 2002, in Journal of Japanese Studies 30:1, pp. 228-232.
2006    Review of Henry Johnson, The Koto: A Traditional Instrument in Contemporary Japan. Amsterdam: Hotei Publishing, 2004. In The Journal of Japanese Studies, Vol. 32, No. 1 (winter 2006), pp. 180-83.

In Process:
Book: Composing Japanese Musical Modernity


1959-63    Boston University
1963     B. Mus., Magna Cum Laude,
1966-71    University of California, Los Angeles, Institute of Ethnomusicology
1967    M.A. Thesis: “Selective Study of Honte-Kaete Tegotomono in 19th  Century Japanese Koto Music”
1971    Ph.D. With Distinction
Dissertation: “Khyal: A Study of Hindustani Classical Vocal Music”

Academic Appointments
1971-75    Brown University, Providence, R.I.
Assistant Professor
1975-    University of California, Berkeley
1975-77     Assistant Professor
1977-81    Associate Professor
1981-    Professor (Above Scale, 2004)
1983-88     Chairman, Department of Music
1992-98    Divisional Dean of Undergraduate Services,
College of Letters & Science
1994-98     Chair of the Deans, College of Letters & Science
1998-2001 Jerry and Evelyn Hemmings Chambers Chair in
1999-       Chair, Faculty Group in Asian Studies
2004-2009   Richard and Rhoda Goldman Chair in
Interdisciplinary Studies
2005-2009  Chairman, Department of Music

Selected Professional Activities
American Musicological Society
Board of Directors (Director-at-large), 1982-84
Vice President, 1990-93
International Musicological Society
Directorium, 1988-1992; re-elected 1992-97
MITHAS (MIT Heritage of the Arts of South Asia) Advisory Board 1995-
Toyo Ongaku Gakkai (Society for Research in Asiatic Music, Japan)
elected to membership, 1989-present
Society for Ethnomusicology
Treasurer, 1975-79
Member of National Executive Council, 1971-74, 1975-78, 1982-85, 1997-2000
Representative on the local arrangements committee of the International Musicological Society congress held at Berkeley, August 1977
Business manager of ETHNOMUSICOLOGY, Journal of Society  of Ethnomusicology, 1971-76
Chair, Northeast SEM Chapter, 1974-76
Co-organizer, Northern California SEM Chapter, 1976-77
Chair, Program committee for 1982 annual meeting, 1981-82
Member Nominating Committee for SEM Executive Board, 1981-82
Member, program committee for 1983 annual meeting
Member, program committee for 1984 annual meeting
Member, Nominating Committee for Council, 1986
Member, program committee, 1987
Chair for SEM and co-chair for the joint local arrangements committee, 1990 joint annual meeting of the SEM, AMS and Society for Music Theory
President-elect, 1998-1999
President, 1999-2001
Past President, 2001-2002 and Chair, Merriam Prize Committee
Member, Professional Development Committee, 2002-2005
Member, Long-Range Planning Committee 2003-2006
Member, Development Committee 2006-present
University of Chicago Press, Ethnomusicology series, Editorial Board, 1990-present
University of Rochester Press, Eastman Series in Music, Advisory Committee (for
ethnomusicology) 1996- present
Co-General Editor, Global Music Series, a 25-volume series for Oxford University Press, 1999-