ABSTRACT
One of the intriguing aspects of music is the great variety of musical traditions, ways of music making, and transmitting musical knowledge from one generation to another evident historically and internationally. Why do so many musics coexist, each with a public that identifies with that music and whose culture is partly defined by it? Can this diversity be explained in a way that permits a global and context-sensitive view of world musics? How do these musical traditions maintain themselves, especially in the face of competition or opposition from others? These, among other questions, are especially relevant to music educators whose objective includes musical enculturation.
