Academic literature on the topic 'Program in Ethnomusicology'
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Journal articles on the topic "Program in Ethnomusicology"
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Lampert, Vera. "Bartók and the Berlin school of ethnomusicology." Studia Musicologica 49, no. 3-4 (September 1, 2008): 383–405. http://dx.doi.org/10.1556/smus.49.2008.3-4.9.
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There is a great affinity between Bartók’s scholarly works and that of the members of the Berlin Phonogramm-Archiv — established in 1900 and considered as the cradle of the discipline of ethnomusicology — both in their methods and philosophical outlook. Several publications of the Berlin scholars are extant in Bartók’s library. They exerted significant influence on Bartók’s folkloristic output, from the methods of transcription and analysis, to the publication of folk material. Bartók also had personal connections with two of the members of the school. He contacted the director of the institution, Erich von Hornbostel, in 1912, wanting to take part in the galvanoplastic preservation and exchange program, introduced in Berlin a few years earlier. Only ten of Bartók’s cylinders could be processed before the war broke out, putting an end to this effort. A few years later Hornbostel took on the publishing of Bartók’s monograph, Volksmusik der Rumänen von Maramureş in the series Sammelbände der vergleichenden Musikwissenschaft . Bartók also met and corresponded with another outstanding member of the Berlin School of Ethnomusicology, Robert Lachmann, the chairman of the committee on sound recordings, in the work of which Bartók also participated in 1932 at the Congress of Arab Music in Cairo.
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Barros, Camila Monteiro de, and Lígia Maria Arruda Café. "The relevance of music information representation metadata from the perspective of expert users." Transinformação 25, no. 3 (December 2013): 213–23. http://dx.doi.org/10.1590/s0103-37862013000300004.
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The general goal of this research was to verify which metadata elements of music information representation are relevant for its retrieval from the perspective of expert music users. Based on a bibliographical research, a comprehensive metadata set of music information representation was developed and transformed into a questionnaire for data collection, which was applied to students and professors of the Graduate Program in Music at the Federal University of Rio Grande do Sul. The results show that the most relevant information for expert music users is related to identification and authorship responsibilities. The respondents from Composition and Interpretative Practice areas agree with these results, while the respondents from Musicology/Ethnomusicology and Music Education areas also consider the metadata related to the historical context of composition relevant.
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Dumnic, Marija. "The creation of folk music program on Radio Belgrade before World War Two: Editorial policies and performing ensembles." Muzikologija, no. 14 (2013): 9–29. http://dx.doi.org/10.2298/muz1314009d.
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This paper deals with the establishing of the organizing models, on one side, and with folk music and its aesthetic characteristics in the interwar period, on the other. This problem significantly contributed to the present meaning of the term ?folk music? (?narodna muzika?). The program of Radio Belgrade (founded in 1929) contained a number of folk music shows, often with live music. In order to develop folk music program, numerous vocal and instrumental soloists were hired, and different bands accompanied them. During that time, two official radio ensembles emerged - the Folk Radio Orchestra and the Tambura Radio Orchestra - displacing from the program the ensembles that were not concurrent to their technical and repertoire level. The decisive power in designing the program concept and content, but also in setting standards for the aesthetic values, was at the hands of music editorship of Radio Belgrade. The radio category of folk music was especially influenced by Petar Krstic (folk music editor in the period from 1930 to 1936) and his successor Mihajlo Vukdragovic (1937-1940), who formally defined all of the aforementioned characteristics, but in rather different ways. A general ambivalence in the treatment of the ensembles that performed at the radio reflects the implementation of their policies. In comparison to the official orchestras, the tavern singers and players received poor reviews in the editors? reports, despite their strong presence on the program. On the other side, the official orchestras were divided according to the regional folklore instrumentarium, but also according to the quality of playing. The Folk Radio Orchestra probably had double leadership, so it was possible to observe different approaches to the music folklore, which eventually resulted in a unique tendency towards cherishing folk music. This paper represents an attempt to show how the media term ?folk music? was constructed and where it currently stands in comparison to the usual study objects of ethnomusicology and popular music studies. My argument is that the discourse of authenticity was fundamental for the creation of official folk music.
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Arlt, Veit, and Ernst Lichtenhahn. "Recordings of African Popular Music: A Valuable Source for Historians of Africa." History in Africa 31 (2004): 389–91. http://dx.doi.org/10.1017/s0361541300003557.
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In December 2002 the Swiss Society for Ethnomusicology (CH-EM), in cooperation with the Centre for African Studies of the University of Basel and with mission 21 (formerly Basel Mission), organized a symposium on the theme “Popular Music from Ghana: Historical Records as a Contribution to the Study of African History and Culture.” The conference concluded a week of lectures, workshops, and concerts with Ghanaian “palmwine” and Highlife music, a program which was realized in cooperation with the Basel Academy of Music and the two associations, Ghana Popular Music 1931-1957 and Scientific African e.V. The papers read at the symposium are, in our opinion, of interest to the readers of History in Africa, as they discuss a specific kind of source and the methodological issues pertaining to it, as well as offer insights into possible themes of research, giving some idea of the potential of the recordings as a source. We present the contributions here in a slightly revised form, and, in order to round off the discussion, we have invited the curators of two further sound collections of interest to scholars working on African history, to describe their archives.
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Rakočević, Selena. "Tracing the discipline: Eighty years of ethnochoreology in Serbia." New Sound, no. 42 (2013): 58–86. http://dx.doi.org/10.5937/newso1341058r.
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The interest for traditional dance research in Serbia is noted since the second part of the 19th century in various ethnographical sources. However, organized and scientifically grounded study was begun by the sisters Danica and Ljubica Janković marked by publishing of the first of totally eight volumes of the "Folk Dances" [Narodne igre] in 1934. All eight books of this edition published periodically until 1964 were highly acknowledged by the broader scientific communities in Europe and the USA. Dance research was continued by the following generation of researchers: Milica Ilijin, Olivera Mladenović, Slobodan Zečević, and Olivera Vasić. The next significant step toward developing dance research began in 1990 when the subject of ethnochoreology was added to the program of basic ethnomusicological studies at the Faculty of Music in Belgrade and shortly afterward in 1996 in the Academy of Arts in Novi Sad. Academic ethnochoreological education in both institutions was established by Olivera Vasić. The epistemological background of all traditional dance research in Serbia was anchored mostly in ethnography focused on the description of rural traditions and partly in traditional dance history. Its broader folkloristic framework has, more or less, strong national orientation. However, it could be said that, thanks to the lifelong professional commitment of the researchers, and a relatively unified methodology of their research, ethnochoreology maintained continuity as a scientific discipline since its early beginnings. The next significant milestone in the development of the discipline happened when traditional dance research was included in the PhD doctoral research projects within ethnomusicological studies at the Faculty of Music in Belgrade. Those projects, some of which are still in the ongoing process, are interdisciplinary and interlink ethnochoreology with ethnomusicology and related disciplines. This paper reexamines and reevaluates the eighty years long tradition of dance research in Serbia and positions its ontological, epistemological and methodological trajectories in the broader context of its relation to other social sciences/humanities in the contemporary era of interdisciplinarity and postdiciplinarity.
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Юнусова, Виолетта Николаевна, and Александр Витальевич Харуто. "Computer Ethnomusicology: Tasks, Methods, Results." Музыкальная академия, no. 3(771) (September 30, 2020): 162–77. http://dx.doi.org/10.34690/93.
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В статье рассматриваются проблемы использования компьютерных методов анализа звука в этномузыко-логических исследованиях. Применение технических средств в этой области началось в XIX веке. Сначала это были аппараты для записи звука, затем аппараты для звуковысотной расшифровки. В настоящее время они вытеснены цифровыми звукозаписывающими устройствами и компьютерными программами, которые вычисляют точную линию мелодии исследуемого исполнения, могут представить результаты анализа графически, позволяют оценивать акустические характеристики голоса и инструмента, ритм и темп исполнения. Для анализа стиля можно применять статистические методы, реализуемые средствами компьютерной техники. Компьютерные методы анализа музыкального звука разрабатываются и используются в научном сообществе ISMIR, однако оно ориентировано почти полностью на 12-полутоновый равномерно-темперированный строй музыки. Традиционная музыка использует другие строи и требует для анализа иных методов - которые входят в понятие «вычислительная (компьютерная) этномузыкология». Это направление развивается во всем мире, в том числе и в России. The paper deals with the problems of computer sound analysis methods used in ethnomusicology investigations. The ethnomusicologist's began to apply technical devices since XIX Century. Firstly, it were phonographic equipment and melody description devices; now they will be substituted through digital audio-recorders and computer programs which calculate exact melody profile of performance, represent the results graphically, provide analysis of acoustical characteristics of voices and instruments and measurement of rhythm and temp of performance. For performance style analysis, statistical methods will be realized with help of computer. Computer-aid analysis of musical sound will be elaborated and used in scientific society ISMIR, but it is mostly focused on “European” kind of music with 12-halftone pitch row. Traditional music uses other pitch rows and must be analyzed with specific methods- which forms the “computational ethnomusicology.” This branch of science makes good progress all over the world and also in Russia.
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S., A., and Anthony Seeger. "Guide to Programs in Ethnomusicology in the United States and Canada." Yearbook for Traditional Music 22 (1990): 159. http://dx.doi.org/10.2307/767951.
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B., S., and Anthony Seeger. "Guide to Programs in Ethnomusicology in the United States and Canada 1992." Yearbook for Traditional Music 24 (1992): 174. http://dx.doi.org/10.2307/768497.
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Berger. "Call and Response: Music, Power, and the Ethnomusicological Study of Politics and Culture "New Directions for Ethnomusicological Research into the Politics of Music and Culture: Issues, Projects, and Programs"." Ethnomusicology 58, no. 2 (2014): 315. http://dx.doi.org/10.5406/ethnomusicology.58.2.0315.
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Baier, Martin, Sri Kuhnt-Saptodewo, H. J. M. Claessen, Annette B. Weiner, Charles A. Coppel, Wang Gungwu, Heleen Gall, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 150, no. 3 (1994): 588–623. http://dx.doi.org/10.1163/22134379-90003081.
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- Martin Baier, Sri Kuhnt-Saptodewo, Zum Seelengeliet bei den Ngaju am Kahayan; Auswertung eines Sakraltextes zur Manarung-Zeremonie beim totenfest. München: Akademischer Verlag,1993 (PhD thesis, Ludwig-Maximilian-Universitiy München). - H.J.M. Claessen, Annette B. Weiner, Inalienable Possessions; The paradox of keeping-while-giving. Berkeley: University of California Press, 1992, 232 pp. Bibl. Index - Charles A. Coppel, Wang Gungwu, Community and Nation; China, Southeast Asia and Australia. Sydney: Asian studies of Australia in association with Allen & Unwin, 1992 (2nd revised edition), viii + 359 pp - Heleen Gall, W. J. Mommsen, European expansion and Law; the encounter of European and Indigenous Law in 19th- and 20th- century Africa and Asia. Oxford; Berg publishers, 1992, vi + 339 pp, J.A. de Moor (eds.) - Beatriz van der Goes, C. W. Watson, Kinship, Property and inheritance in Kerinci, Central Sumatra. Canterbury:University of Kent, Centre for Social Anthropology and computing Monographs no: 4. South-East Asian Series, 1992, ix + 255 pp - Kees Groeneboer, Tom van der Berge, Van Kenis tot kunst; Soendanese poezie in de koloniale tijd. Proefschrift Rijksuniversiteit Lieden, November 1993, 220 pp - Kees Groeneboer, J.E.A.M. Lelyveld, ‘... waarlijk geen overdaad, doch een dringende eisch..’’; Koloniaal onderwijs en onderwijsbeleid in Nederlands-Indië 1893-1942. Proefschrift Rijksuniversiteit Utrecht, 1992. - Marleen Heins, R. Anderson Sutton, Variation in Central Javanese gamelan music; Dynamics of a steady state. Northern Illinois University: Center for Southeast Asian Studies, Monograph series on Southeast Asia, (Special Report 28 ),1993. - Marleen Heins, E. Heins, Jaap Kunst, Indonesian music and dance; Traditional music and its interaction with the West. Amsterdam: Royal Tropical Institute/Tropenmuseum, University of Amsterdam, Ethnomusicology Centre `Jaap Junst’, 1994, E. den Otter, F. van Lamsweerde (eds.) - David Henley, Harold Brookfield, South-East Asia’s environmental future; The search for sustainability. Tokyo: United Nations University Press, Kuala Lumpur: Oxford University Press, 1993, xxxii + 422 pp., maps, tables, figures, index., Yvonne Byron (eds.) - Antje van der Hoek, Keebet von Benda-Beckmann, De emancipatie van Molukse vrouwen in Nederland. Utrecht: Van Arkel,1992, Francy Leatemia-Toma-tala (eds.) - Michael Hitchcock, Brita L. Miklouho-Maklai, Exposing Society’s Wounds; Some aspects of Indonesian Art since 1966. Adelaide: Flinders University Asian studies Monograph No.5, illustrations, 1991, iii + 125 pp - Nico Kaptein, Fred R. von der Mehden, Two Worlds of Islam; Interaction between Southeast Asia and the Middle East.Gainesville etc: University Press of Florida 1993, xiii + 128 pp - Nico Kaptein, Karel Steenbrink, Dutch Colonialism and Indonesian Islam; Contacts and Conflicts 1596-1950. Amsterdam-Atlanta, GA: Rodopi, 1993. - Harry A. Poeze, Rudolf Mrázek, Sjahrir; Politics and exile in Indonesia. Ithaca, N.Y.: Cornell University, Southeast Asia Program, 1994. - W.G.J. Remmelink, Takao Fusayama, A Japanese memoir of Sumatra 1945-1946; Love and hatred in the liberation war. Ithaca: Cornell University (Cornell Modern Indonesia Project Monograph series 71), 1993, 151 pp., maps, illustrations. - Ratna Saptari, Diana Wolf, Factory Daughters; Gender, Household Dynamics, and Rural Industrialization in Java. Berkeley: University of California Press, 1992. - Ignatius Supriyanto, Ward Keeler, Javanese Shadow Puppets. Singapore (etc.): Oxford University Press, 1992, vii + 72 pp.,bibl., ills. (Images of Asia). - Brian Z. Tamanaha,S.J.D., Juliana Flinn, Review of diplomas and thatch houses; Asserting tradition in a changing Micronesia. Ann Arbor: University of Michigan Press, 1992. - Gerard Termorshuizen, Dorothée Buur, Indische jeugdliteratuur; Geannoteerde bibliografie van jeugdboeken over Nederlands-Indië en Indonesië, 1825-1991. Leiden, KITLV Uitgeverij, 1992, 470 pp., - Barbara Watson Andaya, Reinout Vos, Gentle Janus, merchant prince; The VOC and the tightrope of diplomacy in the Malay world, 1740-1800. Leiden: KITLV Press, 1994, xii + 252 pp.
Dissertations / Theses on the topic "Program in Ethnomusicology"
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Hernly, Patrick Michael. "World Percussion Approaches in Collegiate Percussion Programs: A Mixed-methods Study." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4070.
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As world percussion has grown in popularity in American colleges and universities, two main problems have emerged. The first problem is that no known source exists detailing how percussion instructors have incorporated world percussion into their collegiate teaching. A review of the literature has highlighted four main approaches to incorporating world percussion in collegiate percussion programs: applied study, group performance, travel experiences, and guest expert visits. The second problem is that systematic research on world percussion traditions has been carried out much more often by music education researchers, anthropologists, and ethnomusicologists than by percussionist-performers, so the relationship between theory and reality regarding the teaching of world percussion by collegiate percussion instructors is called into question. Via an exploratory mixed-methods design, this dissertation investigated the practical approaches most commonly utilized by percussion instructors to teach world percussion in their collegiate percussion programs, as well as the practical and philosophical reasons behind their decisions. Questionnaires were distributed to 1,032 collegiate percussion instructors in the United States with 518 respondents (N=518); descriptive statistics were utilized to determine the relative popularity of the four main approaches mentioned in the percussion literature. Interviews were conducted with collegiate world percussion instructors (N = 11), selected via stratified random sampling, regarding their practical and philosophical approaches to teaching world percussion. Content coding of interview data was utilized to search for emergent themes and meta-themes. Findings regarding the instructors' practical approaches toward the incorporation of world percussion in their programs included decisions about what world percussion instruments and styles to present, settings in which to present them, when to present world percussion and how much world percussion to include in relation to core areas, and breadth versus depth of world percussion. Findings regarding instructors' philosophical orientations included rationales for world percussion and issues of authenticity. Conclusions include that instructors' main rationales for incorporating world percussion into their programs were musical well-roundedness and employability as performers and educators, while understanding authentic musical processes in cultural context was also an important dimension. Implications were also discussed, and suggestions for further research were also included.
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Tygel, Julia Zanlorenzi. "Etnomusicologia participativa : conceitos e abordagens em dois estudos de caso." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284092.
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Orientador: Lenita Waldige Mendes NogueiraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T18:42:30Z (GMT). No. of bitstreams: 1 Tygel_JuliaZanlorenzi_M.pdf: 8232491 bytes, checksum: 2d1632116c704e1953273a71f9004fc3 (MD5) Previous issue date: 2009
entre outros nomes - tem suscitado grande interesse nas últimas décadas, e vem ganhando destaque em congressos e encontros científicos. Entretanto, ainda há poucas publicações que delineiem e discutam a área, o que dificulta sua aceitação dentro do paradigma científico, que continua a caracterizá-la como atividade extra-acadêmica, realizada de forma empírica pelos pesquisadores interessados. Esta pesquisa teve como objetivo delinear, a partir de referências dos campos da etnomusicologia, antropologia e metodologia da pesquisa-ação, alguns pontos teóricos sobre a etnomusicologia participativa, com base em dois estudos de casos bastante distintos: o Arquivo Musical Timbira, sediado em Carolina/Maranhão e gerido pela ONG Centro de Trabalho Indigenista entre as comunidades indígenas Timbira do Maranhão e Tocantins; e ações do Laboratório de Etnomusicologia, Antropologia e Audiovisual, sediado na cidade de Cachoeira, no Recôncavo Baiano, que abriga diversas tradições afrodescendentes. A pesquisa teve como base o estudo bibliográfico, a permanência em campo com a postura de observação participante e a realização de entrevistas. O ponto central deste trabalho consiste na reflexão sobre as metodologias adotadas por esses projetos de pesquisa e ação em etnomusicologia, no intuito de trazer contribuições para um aprofundamento no debate sobre a etnomusicologia participativa no Brasil, fortalecendo sua importância e colocando-a como alternativa para a realização de estudos acadêmicos, especialmente no âmbito da extensão universitária.
Abstract: The participative ethnomusicology - also called applied ethnomusicology, among other terms - has been concerning much interest on last decades, and is a spreading theme in scientific conferences and meetings. However, there are still few publications which delineate and discuss the field, what turns difficult its acceptation in scientific paradigm, which continues to characterize it as an extra-academic activity, empirically conducted by the interested researches. The main goal of this research was to delineate, based in references from ethnomusicology, anthropology and action-research methodologies fields, some theoretic concepts about participative ethnomusicology, focusing very different case studies: the Timbira Musical Archive, hosted in Carolina/Maranhão, Brazil, and supported by the NGO Centro de Trabalho Indigenista among the Timbira indigenous communities in Maranhão and Tocantins states; and the initiatives from the Laboratory for Ethnomusicology, Anthropology and Audiovisual, hosted in Cachoeira city, on an area of Bahia state called Recôncavo, which has many afro-descendants traditions. The research is based in bibliographic studies, fieldwork with participative observation posture and the collecting of interviews. The central point of this work consists on the reflection about the methodologies adopted by those projects of research and action in ethnomusicology, objectifying to add contributions to deepen the debate among participative ethnomusicology in Brazil, fortifying its importance and defining it as an alternative to the development of academic studies, especially concerning university outreach programs.
Mestrado
Musica
Mestre em Música
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Senate, University of Arizona Faculty. "Faculty Senate Minutes February 5, 2018." University of Arizona Faculty Senate (Tucson, AZ), 2018. http://hdl.handle.net/10150/627053.
Full textBooks on the topic "Program in Ethnomusicology"
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(Vietnam), Viện âm nhạc. Sixth Symposium of the ICTM Study Group on Music and Minorities: Second Symposium of the ICTM Study Group on Applied Ethnomusicology : 19-30 July 2010 Hanoi, Vietnam : program and abstracts. Hanoi, Vietnam: Vietnamese Institute for Musicology, 2010.
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The canon and the curricula: A study of musicology and ethnomusicology programs in America. Stuyvesant, NY: Pendragon Press, 1994.
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García Corona, Leon F., and Kathleen Wiens, eds. Voices of the Field. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.001.0001.
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Ethnomusicologists face complex and challenging professional landscapes. Graduate studies in our field do not fully equip ethnomusicologists for work outside of academia. The essays in Voices of the Field: Pathways in Public Ethnomusicology, edited by León F. García Corona and Kathleen Wiens, provide a reflection on the challenges, opportunities, and often overlooked importance of public ethnomusicology. The essays in the book, commissioned for the volume, capture years of experiences of fourteen academics who have simultaneously navigated the academic world and the world outside academia, sharing lifelong lessons often missing in ethnomusicological training. Power and organizational structures, revenue, marketing, decision-making, content management, and production are among the themes explored as an extension and re-evaluation of what constitutes the field of ethnomusicology. The authors share their personal and professional pathways, which often converge throughout their lifelong careers as public ethnomusicologists. Many of the authors share how to successfully acquire funding for a project, others show how to navigate nonacademic workplaces, and yet others share perspectives on reconciling business-like mindsets with humanistic goals. Grounded in case studies in multiple institutional and geographical locations, authors advocate for the importance and relevance of ethnomusicology in our society at large. While providing practical resources, this volume also sheds light into the blind spots of current academic ethnomusicology programs. Voices of the Field: Pathways in Public Ethnomusicology is a foundational current and retrospective approach to the study and sustainable practice of ethnomusicology.
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Seeger, Anthony. Guide to Programs in Ethnomusicology in the Unite d States and Canada. Society for Ethnomusicology, 1992.
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Kam bi s to folkloro?: Mednarodni interdisciplinarni simpozij : in honorem dr. Zmaga Kumer (1924-2008) : zbornik povzetkov in program : Glasbenonarodopisni inštitut ZRC SAZU, Ljubljana, 24.-29.9.2009 = What to do with folklore? : international interdisciplinary symposium : in honorem dr. Zmaga Kumer (1924-2008) : collected abstracts and programme : Institute of Ethnomusicology SRC SASA, Ljubljana, 24.-29.9.2009. Ljubljana: Glasbenonarodopisni inštitut ZRC SAZU, 2009.
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Campbell, Patricia Shehan, and Shannon Dudley. A University Commitment to Collaborations with Local Musical Communities. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.8.
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Working from the premise that the study of music in a hermetic academic environment is no longer a viable model, and that university music programmes must connect to the vibrant musical communities in the very neighbourhoods that surround them, we examine how the presence of a community music ‘weave’ within university programmes of music benefits students, faculty, and community members in myriad ways. We offer examples of university–community partnerships initiated by the ethnomusicology and music education programmes at the University of Washington that prepare music students for the diverse and complex society into which they will graduate. The Visiting Artists in Ethnomusicology programme will be highlighted for the extent to which world-renowned and locally residing artist-musicians have been invited to the faculty for extended periods to perform, teach, and interact with students on instruments, vocally, and in dance forms associated with traditional musical practices. The intent of the chapter is to underscore the critical need for university–community exchanges, to suggest some ways that such exchanges can be accommodated within university programmes of music, and to affirm the benefits that flow from connecting the dots of musicians and aspiring musicians in the workaday world beyond the fortress of the university.
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Clendinning, Elizabeth A. American Gamelan and the Ethnomusicological Imagination. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.001.0001.
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The book seeks to answer these questions: Why are there more than 150 gamelans (Indonesian percussion ensembles) in North America, and why are more than half of them associated with American colleges and universities? How and why did gamelan ensembles spark the ethnomusicological imagination? What impact have these ensembles had on college music programs, their local communities, and transnational Indonesian performing arts scenes? How does a lifetime of teaching foreign college students shape the lives of non-American music teachers? First providing an overview of gamelan and its incorporation in education in North America, this book uses the story of the career and community of one performer-teacher, I Made Lasmawan of Bali and Colorado, as a case study to examine the formation and sustenance academic world music ensembles. It examines the way students develop musical and cultural competence by learning gamelan in traditional ethnomusicology ensemble courses and analyzes the merits of including gamelan ensembles in studies in percussion, composition, and music education. More broadly, the book argues that beyond the classroom, the presence of these ensembles shapes transnational arts education and touristic performing arts scenes in Bali. Finally, it advocates for world music ensemble courses as a powerful means for teaching musical and cultural diversity and sparking transnational exchanges, both in and outside the classroom.
Book chapters on the topic "Program in Ethnomusicology"
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Ceribašić, Naila. "On Engaging Up and Expertise in Ethnomusicology: The Example of Expert Services in the Programme for Safeguarding Intangible Cultural Heritage." In Ethnomusicology Matters, 233–56. Wien: Böhlau Verlag, 2019. http://dx.doi.org/10.7767/9783205232872.233.
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McGraw, Andy. "Ethical Friction." In Transforming Ethnomusicology Volume II, 164–84. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517550.003.0011.
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This chapter describes a music program in the Richmond, Virginia, city jail and the ethical ambiguities arising from the author’s overlapping roles as organizer and observer. The author examines the vague boundaries between applied and academic ethnomusicology, voluntarism and work, and personal and institutional ethical standards. An ethnomusicological approach to music in jails and prisons exposes ethical frictions between policies, methodologies, and codes espoused by IRB (or other ethics review) boards, ethnomusicologists, their interlocutors, and academic societies. The tension between the author’s status as a volunteer and ethnographer raises a number of questions: How is ethical knowledge differently defined? Which definitions have more authority and how is that authority established? Where are the epistemological and ethical boundaries between academic and applied ethnomusicology? How is ethnographic knowledge connected to social change? An examination of the ethnomusicology’s relationship to IRBs reveals ongoing ethical ambiguities, especially regarding research on “vulnerable populations.” The author examines the ways in which IRBs might impede the production of public knowledge that would serve the ethical demands of social justice.
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Metz, Kathryn. "Activate Ethnomusicology Everywhere." In Voices of the Field, 203–18. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.003.0012.
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Most ethnomusicology graduate programs emphasize research and teaching, with rare mentions of how to apply those skills beyond the academy or how to develop additional skills that might serve an ethnomusicology graduate student in their hunt for meaningful employment. In this chapter, the author discusses how to implement the idea of connecting music to social justice from the beginning of an ethnomusicology curriculum. The author advocates for incorporating more public scholars into the classroom environment and taking students out of the classroom into those public spaces, from museums to out-of-school arts programs to philanthropic institutions to service organizations. The chapter illustrates how to balance the academic syllabus with listening to and creating podcasts, reading blogs, long-form journalism, and professional organization publications affiliated with museums, arts nonprofits, and libraries, as well as specific job functions such as development, community engagement, marketing. The chapter explores how to reduce elitism against those who choose not to pursue a PhD beyond their master’s research and how to reconceive social justice-centered research in an entirely new environment.
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Campbell, Patricia Shehan. "Teaching World Music." In Voices of the Field, 154–76. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.003.0010.
Full textAbstract:
For teaching musicians and music educators who work in elementary, secondary, and tertiary teacher education programs, questions of cultural diversity and social justice have triggered the development of teaching models, methods, and movements. One such program is the week-long intensive course in World Music Pedagogy by the University of Washington in partnership with Smithsonian Folkways Recordings, a Smithsonian Institution nonprofit record label that documents music from across the world. The course features an examination of audio, video, print, electronic, and human resources, with the aim of learning as well as developing an understanding of ways to teach music of the world’s cultures. Attention is given to learning cultural heritage through songs, movement and dance experiences, instrumental music, and contextualized cultural components. Musical experiences are tailored for use at various levels, including in classes for children, youth, and adults in university and community settings. Going on ten years of development, the course has succeeded in offering pathways to teaching world music at all levels. It has also been a labor of love for those in education and ethnomusicology who have fashioned it, and who have lived the challenges of connecting ethnomusicological principles to classroom practice. This essay tells the story of a “two steps forward and one step back” in shaping music education practices that center on diversity, equity, and inclusion in the design, delivery, and full facilitation of lessons in music of the world’s cultures.
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Corona, León F. García, and Kathleen Wiens. "Introduction." In Voices of the Field, 1–8. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.003.0001.
Full textAbstract:
In this chapter, co-editors León F. García Corona and Kathleen Wiens introduce and highlight the challenges, opportunities, and often overlooked importance of public-facing work in ethnomusicology. They articulate some of the crucial perspectives it can provide to the field of ethnomusicology. They show how and why public-facing work has been perceived, by academic culture, as "secondary" or "peripheral" to academic aims. They advocate for the importance and relevance of ethnomusicology in our society at large and shed light into the blind spots of current academic ethnomusicology programs.
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Krieger, Meryl. "Navigating a Path toward a Public-Facing Career in Ethnomusicology." In Voices of the Field, 238–57. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.003.0014.
Full textAbstract:
As preparation for a fieldwork-based discipline, ethnomusicology programs train students to engage with interlocutors and communities to understand the dynamics of music creation and use in relation to cultural practices. Since this focus on training is common to all ethnomusicologists, whatever their career trajectory after graduate school, it seems relevant to explore the ways that programs are and are not meeting the professional development needs of emerging scholars. While the importance of basic research skills cannot be underestimated, there is less of a disciplinary focus on the ways that ethnomusicology students learn to engage productively as individuals participating in a community. That is, disciplinary training generally does not include structured reflection on the range of skills that the scholar needs to effectively engage as a partner with their communities of study. These skills can include anything from basic local business practices that will help them engage effectively as participants and advocates, to personal life skills. This chapter explores ways that selected ethnomusicology programs in the United States endeavor to bridge this professionalization divide, and suggests ways that students can take charge of their own professional development needs in this area from the perspective of a public-facing ethnomusicologist/professional career adviser.
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Janeczko, Jeff. "Curating the Virtual Museum." In Voices of the Field, 177–200. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.003.0011.
Full textAbstract:
Academic programs in ethnomusicology are almost exclusively oriented toward training students for tenure-track positions at research institutions and liberal arts colleges. However, the students that graduate from these institutions do not exclusively follow this singular, narrowly defined career path. Nor should they. If the field of ethnomusicology is to increase its relevance outside academe, it would do well to pay to greater attention to how it prepares its practitioners for nontraditional career paths. This chapter examines some of the themes and issues that the author has encountered as an ethnomusicologist working for a nonprofit organization focused on the preservation and dissemination of American Jewish music. In addition to outlining some of the key differences between working inside and outside academe, it argues for a view of applied (or public) ethnomusicology that bridges gaps between ethnomusicology and musicology, between the academic and the “real” world, and between the universal and the particular—with case studies illustrating specific examples from the author’s work. A discussion section considers the ubiquity of the term “curator” in the present cultural moment, and offers suggestions as to how to individuals can prepare themselves and their students for nontraditional career paths. Ultimately, it argues that the pursuit of traditional and nontraditional career paths should be complementary—rather than mutually exclusive—endeavors, and that working to bridge the perceived gap between the two will strengthen both.
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Moore, Robin. "Rethinking the Engagement of Ethnomusicologists with Performance and Applied Music Curricula." In Voices of the Field, 219–37. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.003.0013.
Full textAbstract:
Music schools and conservatories in the United States and abroad focus primarily on training performers; one of the reasons ethnomusicologists have had such difficulty expanding their employment opportunities in such institutions is because they have not given enough thought to how they can productively contribute to performance curricula. The field of ethnomusicology has engaged creatively with many subdisciplines in the humanities and social sciences, of course. But while this focus has resulted in insightful publications, it has typically held little immediate relevance for performers. A surprising number of ethnomusicology programs do not encourage applied music-making of any sort as a required part of training in the discipline. In general, ethnomusicology does not dialogue sufficiently with applied music faculty or students. This chapter begins with reflection on what aspiring performers of the twenty-first century need to know in order to be professionally successful and continues with a consideration of how coursework offerings by ethnomusicologists can be retooled so as to contribute directly to the requirements of students in BM programs: to ear training, music theory, orchestration, junior and senior recitals, and so on. Lastly, the chapter covers an approach to teaching world music courses that focuses both on applied performance and on pressing contemporary issues (community outreach, social justice, financial exploitation, etc.) that link world traditions to other repertoires and make their relevance immediately apparent.
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Clendinning, Elizabeth A. "Bimusicality and Beyond." In American Gamelan and the Ethnomusicological Imagination, 154–78. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0008.
Full textAbstract:
The chapter examines roles for gamelan in music pedagogy outside ethnomusicology. First, the pedagogical benefits of teaching gamelan are compared to those of teaching African drum ensembles and steel pan, two other non-Western classical percussion traditions that are commonly taught in American colleges. Then, the benefits of teaching gamelan within percussion education, composition, and music education programs are considered as teachers who employ gamelan in their classroom discuss how they use the instruments. Pedagogical benefits for students include improving motor coordination, physical technique, focus, and cognition; improving their listening skills; and expanding their concepts of artistic collaboration or group social skills, in addition to instilling real possibilities for cross-cultural professional artistic collaboration.
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Clendinning, Elizabeth A. "Early Encounters in Bimusicality." In American Gamelan and the Ethnomusicological Imagination, 23–46. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0002.
Full textAbstract:
The chapter presents an overview of the introduction of gamelan to North America and examines how the ensembles assumed a key role within the philosophy and practice of American collegiate world music education. Musical and cultural exhibitions at world’s fairs, the dispersion of early recordings of gamelan music, transnational performance tours, and the work of Western composers and pedagogues led to the importation of instruments and founding of early academic gamelans. The world music ensemble programs modeled after those founded at UCLA by Mantle Hood embodied a new and important paradigm in ethnomusicology termed bimusicality, as well as sparking the collegiate world music ensemble movement. The chapter concludes with a brief overview of the current gamelan scene in the United States that reconnects the early development of academic gamelan ensembles to contemporary artistic and educational practices.