[1]
Balosso-Bardin, C. #NoBordersTour. Världens Band: Creating and Performing Music Across Borders.
[2]
Brinner, B. Beyond Israelis vs. Palestinians or Jews vs. Arabs: The Social Ramifications of Musical Interaction.
[3]
Chang, D. 2015. Representing China on the Historical London Stage: From Orientalism to Intercultural Performance. Routledge.
[4]
Chang, D. Representing China on the Historical London Stage: From Orientalism to Intercultural Performance.
[5]
Dessen, M. 2004. Improvising in a Different Clave: Steve Coleman and AfroCuba de Matanzas. The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. Wesleyan University Press.
[6]
Erlmann, V. 1999. Fantasies of Hope. Music, Modernity, and the Global Imagination: South Africa and the West. Oxford University Press.
[7]
Erlmann, V. 1999. Fantasies of Hope. Music, Modernity, and the Global Imagination: South Africa and the West. Oxford University Press.
[8]
Erlmann, V. 1999. Hero on the Pop Chart. Music, Modernity, and the Global Imagination: South Africa and the West. Oxford University Press.
[9]
Erlmann, V. 1999. Hero on the Pop Chart. Music, Modernity, and the Global Imagination: South Africa and the West. Oxford University Press.
[10]
Fusco, C. 1994. The Other History of Intercultural Performance. TDR. 38, 1 (1994). DOI:https://doi.org/10.2307/1146361.
[11]
Grant, M.J. et al. 2010. Music and Conflict: Interdisciplinary Perspectives. Interdisciplinary Science Reviews. 35, 2 (2010), 183–198. DOI:https://doi.org/10.1179/030801810X12723585301237.
[12]
Guilbault, J. 1993. Zouk: World Music in the West Indies. University of Chicago Press.
[13]
Hall, S. 1997. The Local and the Global: Globalization and Ethnicity. Culture, Globalization and the World-System. University of Minnesota Press.
[14]
Jason, S. 2004. Transmissions of an Interculture: Pan-African Jazz and Intercultural Improvisation. The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. Wesleyan University Press.
[15]
Keil, C. 1994. Notes on World Beat. Music Grooves: Essays and Dialogues. Univ. Chicago P. 238–246.
[16]
Lei, D.P. 2011. Interruption, Intervention, Interculturalism: Robert Wilson’s HIT Productions in Taiwan. Theatre Journal. 63, 4 (2011).
[17]
Likay Aka Oni Red Demon: Encounter and Exchange of Intercultural Performance | The International Academic Forum (IAFOR): 2013. https://iafor.org/journal/iafor-journal-of-literature-and-librarianship/volume-2-issue-1/article-6/.
[18]
Lipsitz, G. 1997. Creative Misunderstanding in Inter-Cultural Communication. Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place. Verso. 159–170.
[19]
Meintjes, L. 1990. Paul Simon’s Graceland, South Africa, and the Mediation of Musical Meaning. Ethnomusicology. 34, 1 (1990). DOI:https://doi.org/10.2307/852356.
[20]
Monson, I. 1999. Riffs, Repetition, and Theories of Globalization. Ethnomusicology. 43, 1 (1999). DOI:https://doi.org/10.2307/852693.
[21]
Pavis, P. 1996. Introduction: Towards a Theory of Interculturism in Theatre? The Intercultural Performance Reader. Routledge.
[22]
Pavis, P. 1996. The Intercultural Performance Reader. Routledge.
[23]
Rachel Beckles Willson Whose Utopia? Perspectives on the West-Eastern Divan Orchestra.
[24]
Sharma, S. 1996. Sounds Oriental: The (Im)possibility of Theorizing Asian Musical Cultures. Disorienting Rhythms: The Politics of the New Asian Dance Music. Zed. 15–31.
[25]
Slobin, M. 1993. Interpolating the Interculture. Subcultural Sounds: Micromusics of the West. Wesleyan University Press. 61–82.
[26]
Taylor, T. 2001. Music, Technology, Agency, and Practice. Strange Sounds: Music, Technology, & Culture. Routledge. 15–40.
[27]
Taylor, T.D. 2007. Beyond Exoticism: Western Music and the World. Duke University Press.
[28]
Urbain, O. 2015. Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics. I. B. Tauris.
[29]
Urbain, O. 2008. Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics. I.B Tauris in association with the Toda Institute for Global Peace and Policy Research.
[30]
Urbain, O. 2015. Music as a Tool of Reconciliation in South Africa. Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics. O. Urbain, ed. I. B. Tauris.
[31]
Urbain, O. 2008. Music as a Tool of Reconciliation in South Africa. Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics. I.B Tauris in association with the Toda Institute for Global Peace and Policy Research.
[32]
Willson, R.B. 2009. The Parallax Worlds of the West–Eastern Divan Orchestra. Journal of the Royal Musical Association. 134, 2 (2009), 319–347. DOI:https://doi.org/10.1080/02690400903109109.
[33]
Woodward, S.C. et al. 2007. South Africa, the Arts and Youth in Conflict With the Law. International Journal of Community Music. 1, 1 (2007), 69–98.
