as a nonspecialist, I am impressed by the competence of this group. A third point of interest is much more academic, but it is one which should be food for thought for folklorists concerned with the "folksong revival" and with other sorts of transfer of folklore from a rural habitat to a foreign or urban culture. Since this music is played by nonBalinese, can one say that it is still a product of Balinese culture? Do the musicians make the kinds of choices that Balinese musicians make? Would it be regarded, by Balinese experts, as a product of their culture, or as a reasonably good imitation by foreigners? Can one use this as one would a field recording? And the fourth point is related: To what extent have the students who perform here learned how Balinese music "really works?" Do many hours of practice accomplish as much in this direction as would the same hours in other types of study? There is no doubt that the musicians have produced the sounds of Balinese music; are their musical motivations also Balinese? These questions are not intended to minimize the accomplishment of the UCLA gamelan; and they are only questions. Answers will have to await further thought and study.