Teaching and Representation in World Music Ensembles
Author: Ted Solis
Publisher: Univ of California Press
'Performing Ethnomusicology' is the first book to deal exclusively with creating, teaching, & contextualizing academic world music performing ensembles. 16 essays discuss the problems of public performance & the pragmatics of pedagogy & learning processes.
Medical Ethnomusicology is a new field of integrative and holistic research and applied practice that approaches music, health, and healing anew, engaging the biological, psychological, emotional, social, and spiritual domains of human life that frame and inform our experiences of health and healing, illness and disease, life and death. The power of music to create health and healing at the individual, community, and societal levels is not only linked to these domains of human life, but is intimately interwoven with the ever present and multifaceted frame of culture, which is often where meaning lies, and is a key factor that creates or inhibits efficacy. The Oxford Handbook of Medical Ethnomusicology appeals to all those interested in music, medicine, and culture, and represents a new stage of collaborative discourse among researchers and practitioners who embrace and incorporate knowledge from a diversity of fields. Importantly, such knowledge, by definition, spans the globe of traditional cultural practices of music, spirituality, and medicine, including biomedical, integrative, complementary, and alternative models; is rooted in new physics, philosophy, psychology, sociology, cognitive science, linguistics, medical anthropology, and of course, music, dance, and all the healing arts. The book is more than the first collected volume to establish the discipline of medical ethnomusicology and express its broad potential; it is also an expression of a wider paradigm shift of innovative thinking and collaboration that fully embraces both the health sciences and the healing arts. The authors encourage the development of this new paradigm through an openness to and engagement of knowledge from diverse research areas and domains of human life conventionally viewed as disparate, yet laden with potential benefits for an improved or vibrant quality of life, prevention of illness and disease, even cure and healing.
What are the new directions in ethnomusicological fieldwork? What do we see when we acknowledge the shadows we cast in the field? Will fieldwork continue as an integral part of ethnomusicological theory and method? Glancing forward and backward, the authors in this collection explore a range of issues that can help ethnomusicologists and those who study human experience and creativity to conceptualize the nature of fieldwork. This is the first book by ethnomusicologists to consider fieldwork as an issue-laden practice, rather than as a methodology requiring a prescriptive manual. The contributors challenge the very notion of fieldwork: its goals, the nature of knowledge gained, and the place of fieldwork in historical studies. Until now the focus in ethnomusicological writing and teaching centered around analyses and ethnographic representations of musical cultures. This book signals a new fieldwork, shifting the balance away from the data-collecting model toward an approach that is reflexive, humanistic, and experiential. It makes provocative reading for all fieldworkers, those in ethnomusicology as well as anthropology, sociology, folklore, area studies, linguistics, and other ethnographic disciplines.a"
Ethnomusicology: A Research and Information Guide is an annotated bibliography of books, recordings, videos, and websites in the field of ethnomusicology. The book is divided into two parts; Part One is organised by resource type in catagories of greatest concern to students and scholars. This includes handbooks and guides; encyclopedias and dictionaries; indexes and bibliographies; journals; media sources; and archives. It also offers annotated entries on the basic literature of ethnomusicological history and research. Part Two provides a list of current publications in the field that are widely used by ethnomusicologists. Multiply indexed, this book serves as an excellent tool for librarians, researchers, and scholars in sorting through the massive amount of new material that has appeared in the field over the past decades.
Ethnomusicology: A Contemporary Reader is designed to supplement a textbook for an introductory course in ethnomusicology. It offers a cross section of the best new writing in the field from the last 15-20 years. Many instructors supplement textbook readings and listening assignments with scholarly articles that provide more in-depth information on geographic regions and topics and introduce issues that can facilitate class or small group discussion. These sources serve other purposes as well: they exemplify research technique and format and serve as models for the use of academic language, and collectively they can also illustrate the range of ethnographic method and analytical style in the discipline of ethnomusicology. Ethnomusicology: A Contemporary Reader serves as a basic introduction to the best writing in the field for students, professors, and music professionals. It is perfect for both introductory and upper level courses in world music.
Simone Krger provides an innovative account of the transmission of ethnomusicology in European universities, and explores the ways in which students experience and make sense of their musical and extra-musical encounters. By asking questions as to what students learn about and through world musics (musically, personally, culturally), Krger argues that musical transmission, as a reflector of social and cultural meaning, can impact on students' transformations in attitude and perspectives towards self and other. In doing so, the book advances current discourse on the politics of musical representation in university education as well as on ethnomusicology learning and teaching, and proposes a model for ethnomusicology pedagogy that promotes in students a globally, contemporary and democratically informed sense of all musics.
Applied ethnomusicology is an approach guided by principles of social responsibility, which extends the usual academic goal of broadening and deepening knowledge and understanding toward solving concrete problems and toward working both inside and beyond typical academic contexts (International Council for Traditional Music 2007). This edited volume is based on the first symposium of the ICTM’s Study Group on Applied Ethnomusicology in Ljubljana, Slovenia in 2008 that brought together more than thirty specialists from sixteen countries worldwide. It contains a Preface, an extensive Introduction, and twelve selected peer-reviewed articles by authors from Australia, Austria, Canada, Germany, Slovenia, Serbia, South Africa, the United Kingdom, and the United States of America, divided into four thematic groups. These groups encompass: diverse perspectives on the growing field of applied ethnomusicology in various geographical and problem-solving contexts; research and teaching-related connotations; the potential in contributing to sustainable music cultures; and the use of music in conflict resolution situations. The edited volume Applied Ethnomusicology: Historical and Contemporary Approaches brings together previously dispersed knowledge and perspectives, and offers new insights to various disciplines within the humanities and social sciences. Rooted in diverse scholarly traditions, it addresses a variety of challenges in today’s world and aims to benefit the quality of human existence.
Ethnomusicology is an academic discipline with a very broad mandate: to understand why and how human beings are musical through the study of music in all its geographical and historical diversity. Ethnomusicological scholarship, however, has been remiss in articulating such goals, methods, and theories. A renowned figure in the field, Timothy Rice is one of the few scholars to regularly address this problem. In this volume, he offers a compilation of essays drawn from across his career that finds implicit and yet largely unrecognized patterns unifying ethnomusicology over its recent history. Modeling Ethnomusicology summarizes thirty years of thinking about the field of ethnomusicology as Rice frames and reframes the content of eight of his most important essays from their original context in relation to the environment of today's ethnomusicology. Rice proposes a variety of models meant to guide students and researchers in their study of ethnomusicology. Some of these models pull together disparate strands of the field, while others propose heuristic models that generate questions for researchers as they plan and conduct their research. A new introduction to these essays reviews the history of his writing about ethnomusicology and proposes an innovative model for theorizing in ethnomusicology by ethnomusicologists. This book will be an enduring, essential text in undergraduate and graduate ethnomusicology classrooms, as well as a must-buy for established scholars in the field.
Ethnomusicologists believe that all humans, not just those we call musicians, are musical, and that musicality is one of the essential touchstones of the human experience. This insight raises big questions about the nature of music and the nature of humankind, and ethnomusicologists argue that to properly address these questions, we must study music in all its geographical and historical diversity. In this Very Short Introduction, one of the foremost ethnomusicologists, Timothy Rice, offers a compact and illuminating account of this growing discipline, showing how modern researchers go about studying music from around the world, looking for insights into both music and humanity. The reader discovers that ethnomusicologists today not only examine traditional forms of music-such as Japanese gagaku, Bulgarian folk music, Javanese gamelan, or Native American drumming and singing-but also explore more contemporary musical forms, from rap and reggae to Tex-Mex, Serbian turbofolk, and even the piped-in music at the Mall of America. To investigate these diverse musical forms, Rice shows, ethnomusicologists typically live in a community, participate in and observe and record musical events, interview the musicians, their patrons, and the audience, and learn to sing, play, and dance. It's important to establish rapport with musicians and community members, and obtain the permission of those they will work with closely over the course of many months and years. We see how the researcher analyzes the data to understand how a particular musical tradition works, what is distinctive about it, and how it bears the personal, social, and cultural meanings attributed to it. Rice also discusses how researchers may apply theories from anthropology and other social sciences, to shed further light on the nature of music as a human behavior and cultural practice. About the Series: Oxford's Very Short Introductions series offers concise and original introductions to a wide range of subjects--from Islam to Sociology, Politics to Classics, Literary Theory to History, and Archaeology to the Bible. Not simply a textbook of definitions, each volume in this series provides trenchant and provocative--yet always balanced and complete--discussions of the central issues in a given discipline or field. Every Very Short Introduction gives a readable evolution of the subject in question, demonstrating how the subject has developed and how it has influenced society. Eventually, the series will encompass every major academic discipline, offering all students an accessible and abundant reference library. Whatever the area of study that one deems important or appealing, whatever the topic that fascinates the general reader, the Very Short Introductions series has a handy and affordable guide that will likely prove indispensable.