ABSTRACT
The differing kinds of performing ethnomusicology offered at universities obviously depended on ethnomusicologists' individual choices and were often marked by their sociocultural identities, research allegiances, personality characteristics, concepts and beliefs, institutional constraints, as well as their own learning experiences. Less frequent were occasional world music workshops, often led by invited guest musicians who either applied musical imitation or used real musical instruments. Such basic performing experiences enabled students to discover world musics' material culture and, with it, their infinite varieties of timbres, methods of sound production, tone quality, technology and construction, leading them towards a broadened sound awareness of world musics. Besides imitative workshops, there were also workshops that utilised musical instruments, and these often generated in students heightened states of arousal and enjoyment. It is clear from the discussions that world music workshops enabled students to have deeper and more profound learning experiences into a music's material culture.
