Founded by Al O'Connor in 1973, the steelband program at Northern Illinois University was the first of its kind in the United States. Thanks to the talent and dedication of O'Connor, Cliff Alexis, ...Liam Teague, Yuko Asada, and a plethora of NIU students and staff members, the program has flourished into one of the most important in the world. Having welcomed a variety of distinguished guest artists and traveled to perform in locales around the US and in Taiwan, Trinidad, and South Korea, the NIU Steelband has achieved international acclaim as a successful and unique university world music program. This fascinating history of the NIU Steelband traces the evolution of the program and engages with broader issues relating to the development of steelband and world music ensembles in the American university system. In addition to investigating its past, Steelpan in Education looks to the future of the NIU Steelband, exploring how it attracts and trains new generations of elite musicians who continue to push the boundaries of the steelpan. This study will appeal to musicians, music educators, ethnomusicologists, and fans of the NIU Steelband.
Living from Music in Salvador examines the labor of musicians in Salvador da Bahia, widely regarded as Brazil's most African city. Drawing on fieldwork that spans sixteen years, the book explores ...local musicians' lives as members of a flexible work force, emphasizing questions of race, social class, and cultural politics in relation to professional music making. From clubs and restaurants to Carnaval parades and festival celebrations, to concert stages and recordings, the abiliy of musicians to earn a living wage is contingent on their navigating industry and societal conditions that are profoundly informed by the entrenched legacies of colonization and slavery.
This Handbook offers an overview of the thriving interdisciplinary field of Western music and philosophy. It seeks to represent this area in all its fullness, including a diverse array of ...perspectives from music studies (notably historical musicology, music theory, and ethnomusicology), philosophy (incorporating both analytic and continental approaches), and a range of cognate disciplines (such as critical theory and intellectual history). The Handbook includes, but does not confine itself to, consideration of key questions in aesthetics and the philosophy of music. Each essay provides an introduction to its topic, an assessment of past scholarship, and a research-driven argument for the future of the research area in question. Taken together, these essays provide a current snapshot of this field and outline an abundance of ways in which it might develop in the future.
From one of the most lauded scholars in ethnomusicology comes this enlightening and highly personal narrative on the evolution and current state of the field of ethnomusicology. Surveying the field ...he helped establish, Bruno Nettl investigates how concepts such as evolution, geography, and history serve as catalysts for advancing ethnomusicological methods and perspectives. This entertaining collection covers Nettl's scholarly interests ranging from Native American to Mediterranean to Middle Eastern contexts while laying out the pivotal moments of the field and conversations with the giants of its past. Nettl moves from reflections on the history of ethnomusicology to evaluations of the principal organizations in the field, interspersing those broader discussions with shorter essays focusing on neglected literature and personal experiences.
Improvisation is a commonly recognised marker of flamenco. Since flamenco is a musical practice that was traditionally transmitted aurally and often acquired rather than explicitly taught, there is ...no widely accepted teaching methodology for the increasing number of participants in this style, and even less guidance on improvisation.The aim of this study is to show what the structural aspects of a flamenco piece are, and which of these aspects are open to improvisation. It also examines how improvisation is conceived of by practitioners, and how it is practised and taught. The observations and findings here are drawn from fieldwork centred on learning the flamenco guitar and consequent ethnographic notes.
Este estudio subraya la labor musicológica y pedagógica de María Dolores Torres de Gálvez. El trabajo se encuentra metodológicamente dentro del marco de un estudio bibliográfico e histórico. Este ...realiza una aproximación al recorrido vital de la etnomusicóloga jienense, a través de un vaciado documental de la difusión que su trabajo ha proyectado sobre la comunidad científica internacional. Dentro de esta aportación también se realiza un recorrido sobre la denominación del término folclore musical, su evolución histórica y su valoración como fuente nacional y regional, tomando como ejemplo la herencia del Cancionero de Lola Torres. Los resultados de este trabajo muestran un reflejo sobre la práctica actual de este cancionero, su enseñanza y las principales fuentes científicas sobre la didáctica del folclore musical y su posible difusión musical en el futuro. Lola Torres se convierte en símbolo de mujer, todavía viva dentro de la práctica de su cancionero, su legado, siendo muestra de un ejemplo folclórico andaluz, patrimonio musical y recurso de incalculable valor didáctico.
Este artigo aborda o êxito da pedagogia colaborativa do tambor de crioula no componente curricular Prática de Conjunto III (2015.2) no curso de Licenciatura em Música da Universidade Federal do ...Maranhão (UFMA). A referida prática teve como inovação a flexibilização de hierarquias na relação professor/aluno, tanto no que diz respeito a quem detém o conhecimento musical como em relação à metodologia empregada para transmiti-lo. Isto só foi possível através da criação de um ambiente de cooperação onde alunos cotistas, herdeiros das tradições musicais afro-maranhenses, puderam compartilhar seus conhecimentos e visões de mundo com o restante da turma, assumindo de forma inédita o protagonismo no processo educativo. Práticas pedagógico-musicais multiculturais, como esta, estão fundadas na ideia de que o ensino de música deve assumir seu papel político na construção da justiça social, cidadania, democracia e redução das desigualdades étnico-raciais, já a partir da formação de professores de música. Tais ideias vêm ganhado força nas áreas de educação musical e etnomusicologia (LUCAS et al., 2016. QUEIROZ, 2017. CAMPBELL, 2018), porém sua concretização encontra resistência nas rígidas estruturas institucionais e disposições conservadoras arraigadas nos cursos superiores de música no Brasil. Conclui-se que apenas a partir da transformação das instituições formadoras de professores de música se pode, com a atuação dos futuros educadores musicais, contribuir para dirimir preconceitos e promover a inclusão de epistemologias historicamente desprezadas.
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