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2Turnbull, Colin M. 1961. The Forest People. New York: Si- monandSchuster.
3Seeger, Anthony. 2004 [1987].Why Suy 6 Sing: A Musical Anthropology of an Amazonian People. Urbana: University of Illinois Press; quote from p.78.
4Deren, Maya. 1984. Divine Horsemen: The Living Gods of Haiti. London and New York: Thames and Hud son.
5Bourdieu, Pierre. 1977. Outline of a Theory of Practice. Cambridge: Cambridge University Press.
6Christopher A. Waterman. 1982. m a Leader, Not a Boss' : Social Identity and Popular Music in Ibadan, Nigeria," Ethnomusi- cology 26 ( 1 ): 59-71; quote s from pp. 67,68.
7Leslie A. White. 1962. The Pueblo of Sia, New Mexico; quot- edAlan Merriam,The AnthropologyofMusic,p.225.
8Becker, Judith and Alton Becker. 1951. "A Musical Icon: Power and Meaning in Javanese Gamelan Music." In The Sign in Mu- sic and Literature, edited by Wendy Steiner. Austin: University of Texas Press,pp. 203 -215.
9Lomax, Alan. Folk Song Style and Culture. Washington, DC: American Association for the Advancement of Science; Lomax, Al- an. 1976. Cantometrics. Berkeley: The University of California Ex- tension Media Center; quotes from pp. 13,17.
10Alan Lomax. 1968. Folk Song Style and Culture. Washing- ton, DC: American Association for the Advancement of Science; quote from p. 133.
