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Author : George W. Lyon Publisher : University of Calgary Press Page : 178 pages File Size : 46,5 Mb Release : 1999 Category : History ISBN : 9781895176834
Defining community music as non-commercial music performed by local musicians for members of a small group, traditional music aficionado and English professor Lyon (Mount Royal College, Calgary) offers a historical survey of the diverse musical styles played primarily by nonprofessional performers of Alberta, Canada. Abundant, fine b & w historical photographs. Annotation copyrighted by Book News, Inc., Portland, OR.
An ethnographic study of music, performance, migration, and circulation, Singing Across Divides examines how forms of love and intimacy are linked to changing conceptions of political solidarity and forms of belonging, through the lens of Nepali dohori song. The book describes dohori: improvised, dialogic singing, in which a witty repartee of exchanges is based on poetic couplets with a fixed rhyme scheme, often backed by instrumental music and accompanying dance, performed between men and women, with a primary focus on romantic love. The book tells the story of dohori's relationship with changing ideas of Nepal as a nation-state, and how different nationalist concepts of unity have incorporated marginality, in the intersectional arenas of caste, indigeneity, class, gender, and regional identity. Dohori gets at the heart of tensions around ethnic, caste, and gender difference, as it promotes potentially destabilizing musical and poetic interactions, love, sex, and marriage across these social divides. In the aftermath of Nepal's ten-year civil war, changing political realities, increased migration, and circulation of people, media and practices are redefining concepts of appropriate intimate relationships and their associated systems of exchange. Through multi-sited ethnography of performances, media production, circulation, reception, and the daily lives of performers and fans in Nepal and the UK, Singing Across Divides examines how people use dohori to challenge (and uphold) social categories, while also creating affective solidarities.
Critical Perspectives in Canadian Music Education by Carol A. Beynon,Kari K. Veblen Pdf
Music education in Canada is a vast enterprise that encompasses teaching and learning in thousands of public and private schools, community groups, and colleges and universities. It involves participants from infancy to the elderly in formal and informal settings. Nevertheless, as post-secondary faculties of music and programs are growing significantly, academic books and materials grounded in a Canadian perspective are scarce. This book attempts to fill that need by offering a collection of essays that look critically at various global issues in music education from a Canadian perspective. Topics range from a discussion of the roots of music education in Canada and analysis of music education practices across the country to perspectives on popular music, distance education, technology, gender, globalization, Indigenous traditions, and community music in music education. Foreword by composer R. Murray Schafer.
The Oxford Handbook of Community Music by Brydie-Leigh Bartleet,Lee Higgins Pdf
Community music as a field of practice, pedagogy, and research has come of age. The past decade has witnessed an exponential growth in practices, courses, programs, and research in communities and classrooms, and within the organizations dedicated to the subject. The Oxford Handbook of Community Music gives an authoritative and comprehensive review of what has been achieved in the field to date and what might be expected in the future. This Handbook addresses community music through five focused lenses: contexts, transformations, politics, intersections, and education. It not only captures the vibrant, dynamic, and divergent approaches that now characterize the field, but also charts the new and emerging contexts, practices, pedagogies, and research approaches that will define it in the coming decades. The contributors to this Handbook outline community music's common values that center on social justice, human rights, cultural democracy, participation, and hospitality from a range of different cultural contexts and perspectives. As such, The Oxford Handbook of Community Music provides a snapshot of what has become a truly global phenomenon.
Author : Gary E. McPherson,Graham F. Welch Publisher : Oxford University Press Page : 352 pages File Size : 43,9 Mb Release : 2018-05-03 Category : Music ISBN : 9780190674557
Special Needs, Community Music, and Adult Learning by Gary E. McPherson,Graham F. Welch Pdf
Special Needs, Community Music, and Adult Learning is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this fourth book in the set focuses on issues and topics that help to broaden conceptions of music and musical involvement, while recognizing that development occurs through many forms. The first section addresses music education for those with special abilities and special needs; authors explore many of the pertinent issues that can promote or hinder learners who share characteristics, and delve deep into what it means to be musical. The second section of the volume addresses music as a shared, community experience, and the diverse and constantly evolving international practice of community music. The chapters in the third section provide evidence that the process of music education exists as a lifelong continuum that encompasses informal, formal, and non-formal methods alike. The authors encourage music educators to think in terms of a music learning society, where adult education is not peripheral to the priority of other age groups, but is instead fully integral to a vision for the good of society. By developing sound pedagogical approaches that are tailored to take account of all learners, the volume endeavors to move from making individual adaptations towards designing sensitive 'universal' solutions. Contributors Carlos R. Abril, Mary Adamek, Kenneth S. Aigen, Chelcy Bowles, Mary L. Cohen, William M. Dabback, Alice-Ann Darrow, John Drummond, Cochavit Elefant, David J. Elliott, Lee Higgins, Valentina Iadeluca, Judith A. Jellison, Janet L. Jensen, Patrick M. Jones, Jody L. Kerchner, Thomas W. Langston, Andreas C. Lehmann, Katrina McFerran, Gary E. McPherson, David Myers, Adam Ockelford, Helen Phelan, Andrea Sangiorgio, Laya H. Silber, Marissa Silverman, Rineke Smilde, David S. Smith, Kari K. Veblen, Janice Waldron, Graham F. Welch
Kwakwaka'wakw welcome songs, an aria from Joseph Quesnel's 1808 opera Lucas et Cécile, rubbaboos (a combination of elements from First Peoples, French, and English music), the Tin Pan Alley hits of Shelton Brooks, and the contemporary work of Claude Vivier and Blue Rodeo all dance together in Canada's rich musical heritage. Elaine Keillor offers an unprecedented history of Canadian musical expressions and their relationship to Canada's great cultural and geographic diversity. A survey of "musics" in Canada - the country's multiplicity of musical genres and rich heritage - is complemented by forty-three vignettes highlighting topics such as Inuit throat games, the music of k.d. lang, and orchestras in Victoria. Music in Canada illuminates the past but also looks to the future to examine the context within which Canadian music began and continues to develop. A CD by the author of previously unrecorded Canadian music is included.
Community Music Today by Kari K. Veblen,Stephen J. Messenger,Marissa Silverman,David J. Elliott Pdf
Community Music Today highlights community music workers who constantly improvise and reinvent to lead through music and other expressive media. It answers the perennial question “What is community music?” through a broad, international palette of contextual shades, hues, tones, and colors. With over fifty musician/educators participating, the book explores community music in global contexts, interconnections, and marginalized communities, as well as artistry and social justice in performing ensembles. This book is both a response to and a testimony of what music is and can do, music’s place in people’s lives, and the many ways it unites and marks communities. As documented in case studies, community music workers may be musicians, teachers, researchers, and activists, responding to the particular situations in which they find themselves. Their voices are the threads of the multifaceted tapestry of musical practices at play in formal, informal, nonformal, incidental, and accidental happenings of community music.
A freewheeling blend of continental European folk music and the songs, tunes, and dances of Anglo and Celtic immigrants, polkabilly has enthralled American musicians and dancers since the mid-19th century. From West Virginia coal camps and east Texas farms to the Canadian prairies and America's Upper Midwest, scores of groups have wed squeezeboxes with string bands, hoe downs with hambos, and sentimental Southern balladry with comic "up north" broken-English comedy, to create a new and uniquely American sound. The Goose Island Ramblers played as a house band for a local tavern in Madison, Wisconsin from the early 1960s through the mid-1970s. The group epitomized the polkabilly sound with their wild mixture of Norwegian fiddle tunes, Irish jigs, Slovenian polkas, Swiss yodels, old time hillbilly songs, "Scandihoovian" and "Dutchman" dialect ditties, frost-bitten Hawaiian marches, and novelty numbers on the electric toilet plunger. In this original study, James P. Leary illustrates how the Ramblers' multiethnic music combined both local and popular traditions, and how their eclectic repertoire challenges prevailing definitions of American folk music. He thus offers the first comprehensive examination of the Upper Midwest's folk musical traditions within the larger context of American life and culture. Impeccably researched, richly detailed and illustrated, and accompanied by a compact disc of interviews and performances, James P. Leary's Polkabilly: How the Goose Island Ramblers Redefined American Folk Music creates an unforgettable portrait of a polkabilly band and its world.
Congregational Music, Conflict and Community by Jonathan Dueck Pdf
Congregational Music, Conflict and Community is the first study of the music of the contemporary 'worship wars' – conflicts over church music that continue to animate and divide Protestants today – to be based on long-term in-person observation and interviews. It tells the story of the musical lives of three Canadian Mennonite congregations, who sang together despite their musical differences at the height of these debates in the late 1990s and early 2000s. Mennonites are among the most music-centered Christian groups in North America, and each congregation felt deeply about the music they chose as their own. The congregations studied span the spectrum from traditional to blended to contemporary worship styles, and from evangelical to liberal Protestant theologies. At their core, the book argues, worship wars are not fought in order to please congregants' musical tastes nor to satisfy the theological principles held by a denomination. Instead, the relationships and meanings shaped through individuals’ experiences singing in the particular ways afforded by each style of worship are most profoundly at stake in the worship wars. As such, this book will be of keen interest to scholars working across the fields of religious studies and ethnomusicology.
Community Music at the Boundaries by Lee Willingham Pdf
Music lives where people live. Historically, music study has centred on the conservatory, which privileges the study of the Western European canon and Western European practice . The Eurocentric way music has been studied has excluded communities that are considered to be marginalized in one or more ways despite that the majority of human experiences with music is found outside of that realm. Community music has emerged as a counter-narrative to the hegemonic music canon: it seeks to increase the participation of those living on the boundaries. Community Music at the Boundaries explores music and music-making on those edges. “The real power of community music,” writes Roger Mantie in the foreword, “lies not in the fiction of trying to eliminate boundaries (or pretending they don’t exist), but in embracing the challenge of ’walking‘ them.” Contributions from scholars and researchers, music practitioners, and administrators examine the intersection of music and communities in a variety of music-making forms: ensembles, university and police choirs, bands, prison performing groups, youth music groups, instrument classes, symphonies, drum circles, and musical direction and performance. Some of the topics explored in the volume include education and change, music and Indigenous communities, health and wellness, music by incarcerated persons, and cultural identity. By shining a light on boundaries, this volume provides a wealth of international perspectives and knowledge about the ways that music enhances lives.
American Musicological Society,International Musicological Society
Author : American Musicological Society,International Musicological Society Publisher : Philadelphia, PA (201 S. 34th St., Philadelphia 19104) : American Musicology Society ; [S.l.] : International Musicology Society Page : 568 pages File Size : 44,5 Mb Release : 1984 Category : Dissertations, Academic ISBN : UCSC:32106007145029
Talking Music is a collection of nineteen of Holger Petersen's in-depth radio interviews with artists--the pioneering men and women who created the blues and roots sounds that have influenced the course of popular culture and music in North America. Many of his interview subjects are no longer with us--their stories need to be told.The book is divided into four collections of interviews: British Blues Revival, Delta and Memphis Blues, Artists Who Helped Build Stony Plain, and Bonus Tracks.Each interview is preceded by informative background material on the artist, Petersen's own stories of their meetings, and photographs.
Kari K. Veblen,David J. Elliott,Stephen J. Messenger,Marissa Silverman
Author : Kari K. Veblen,David J. Elliott,Stephen J. Messenger,Marissa Silverman Publisher : R & L Education Page : 0 pages File Size : 50,9 Mb Release : 2013 Category : Music ISBN : 1607093200
Community Music Today by Kari K. Veblen,David J. Elliott,Stephen J. Messenger,Marissa Silverman Pdf
Community Music Today highlights community music workers who constantly improvise and reinvent to lead through music and other expressive media. It answers the perennial question "What is community music?" through a broad, international palette of contextual shades, hues, tones, and colors. With over fifty musician/educators participating, the book explores community music in global contexts, interconnections, and marginalized communities, as well as artistry and social justice in performing ensembles. This book is both a response to and a testimony of what music is and can do, music's place in people's lives, and the many ways it unites and marks communities. As documented in case studies, community music workers may be musicians, teachers, researchers, and activists, responding to the particular situations in which they find themselves. Their voices are the threads of the multifaceted tapestry of musical practices at play in formal, informal, nonformal, incidental, and accidental happenings of community music.
Post-colonial Distances by Beverley Diamond,Denis Crowdy,Daniel Mark Downes Pdf
This anthology emanated from a conference in St. Johnâ (TM)s, Newfoundland, that brought together popular music scholars, folklorists and ethnomusicologists from Canada and Australia. Implicit in that conference and in this anthology is the comparability of the two countries. Their â ~post-colonialâ (TM) status (if that is indeed an appropriate modifier in either case) has some points of similarity. On the other hand, their â ~distanceâ (TM) â " from hegemonic centres, from colonial histories â " is arguably more a matter of contrast than similarity. Canada and Australia are similar in various regards. Post-colonial in the sense that they are both former British colonies, they now each have more than a century of stature as nation states. By the beginning of the 21st century, they are each modest in size but rich in ethnocultural diversity. Nonetheless, each country has some skeletons in the closet where openness to difference, to indigenous and new immigrant groups are concerned. Both countries are similarly both experiencing rapid shifts in cultural makeup with the biggest population increases in Australia coming from China, India, and South Africa, and the biggest in Canada from Afro-Caribbean, South Asian countries, and China. The chapters in this anthology constitute an important comparative initiative. Perhaps the most obvious point of comparison is that both countries create commercial music in the shadow of the hegemonic US and British industries. As the authors demonstrate, both proximity (specifically Canadaâ (TM)s nearness to the US) and distance have advantages and disadvantages. As the third and fourth largest Anglophone music markets for popular music, they face similar issues relating to music management, performance markets, and production. A second relationship, as chapters in this anthology attest, is the significant movement between the two countries in a matrix of exchange and influence among musicians that has rarely been studied hitherto. Third, both countries invite comparison with regard to the popular music production of diverse social groups within their national populations. In particular, the tremendous growth of indigenous popular music has resulted in opportunities as well as challenges. Additionally, however, the strategies that different waves of immigrants have adopted to devise or localize popular music that was both competitive and meaningful to their own people as well as to a larger demographic bear comparison. The historical similarities and differences as well as the global positionality of each country in the early 21st century, then, invites comparison relating to musical practices, social organization, lyrics as they articulate social issues, career strategies, industry structures and listeners.