ABSTRACT
This chapter suggests that the often older, traditional repertoire resembled difference and otherness, thus authenticity to students. In relation to world musics, authenticity thus typically refers to traditional and folk musics, and also ethnomusicologists often value older, more traditional musical repertoires rather than newer musical styles. This concern with authenticity shaped and modelled the content of musical transmission at universities, whereby some ethnomusicologists sought to reduce the differences between the original and instructional culture. Students' listening encounters of different voice qualities and timbres also connoted particular meanings in regards to authenticity. The ethnomusicologist's ethnicity also enhanced students' imagined authenticity, as a native teacher appeared strange and personified cultural difference. At that time, cultural purity rather than hybridity became the measuring device for authenticity. Musical sound created perspectival relations between the sounds represented and students' perceptions.
