Music Traditions, Cultures, and Contexts

Herausgeber: Elliott, Robin; Smith, Gordon E

• Broschiertes Buch

Produktbeschreibung

"Music Traditions, Cultures, and Contexts" is a tribute to the ethnomusicologist Beverley Diamond in recognition of her outstanding scholarly accomplishments. The volume includes essays by leading ethnomusicologists and music scholars as well as a biographical introduction. The book's contributors engage many of the critical themes in Diamond's work, including musical historiography, musical composition in historical and contemporary frameworks, performance in diverse contexts, gender issues, music and politics, and how music is nested in and relates to broader issues in society. The essays raise important themes about knowing and understanding musical traditions and music itself as an agent of social, cultural, and political change. "Music Traditions, Cultures, and Contexts" will appeal to music scholars and students, as well as to a general audience interested in learning about how music functions as social process as well as sound.

Produktdetails

• Verlag: Wilfrid Laurier University Press
• Seitenzahl: 366
• Erscheinungstermin: 19. April 2010
• Englisch
• Abmessung: 229mm x 154mm x 32mm
• Gewicht: 533g
• ISBN-13: 9781554581771
• ISBN-10: 155458177X
• Artikelnr.: 27011250

Autorenporträt

Robin Elliott holds the Jean A. Chalmers Chair in Canadian Music at the Faculty of Music, University of Toronto. He recently co-edited two books for WLU Press, Music Traditions, Cultures, and Contexts (with Gordon E. Smith, 2010) and Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress (with Friedemann Sallis and Kenneth DeLong, 2011). Gordon E. Smith is a professor of ethnomusicology at Queen's University. Formerly director of the School of Music, he is currently Associate Dean in the Faculty of Arts and Science. His recent publications include Istvan Anhalt: Pathways and Memory (with Robin Elliott), Folk Music, Traditional Music, Ethnomusicology: Canadian Perspectives, Past and Present (2007); and Marius Barbeau: Modelling Twentieth-Century Culture (2008).

Inhaltsangabe

Table of Contents for Music Traditions: Cultures & Contexts, edited by
Robin Elliot and Gordon E. Smith
List of Illustrations
List of Music Illustrations
Acknowledgments
Preface
1. Beverley Diamond: Life Stories, Academic Directions and Teaching,
Research, and Scholarly Activity Robin Elliot and Gordon E. Smith
2. Conservations with Clifford Crawley Beverley Diamond
3. Ethnomusicology Critiques Itself: Comments on the History of a Tradition
Bruno Nettl
4. Is Fieldwork Still Necessary? Ellen Koskoff
5. Toward a History of Ethnomusicology's North Americanist Agenda Kay
Kaufman Shelemay
6. Encountering Oral Performance as Total Musical Fact Regula Burckhardt
Qureshi
7. You Also Work as a Church Organist? Whatever For? Charlotte J. Frisbie
8. The Politics of Organology and the Nova Scotia Banjo: An Essay in Honour
of Beverley Diamond Neil V. Rosenberg
9. Strategies of Survival: Traditional Music, Politics, and Music Education
among Two Minorities of Finland Pirkko Moisala
10. Father of Romance, Vagabond of Glory: Two Canadian Composers as Stage
Heroes John Beckwith
11. Funk and James Brown, Re-Africanization, the Interlocked Groove, and
the Articulation of Community Rob Bowman
12. On the One: Parliament/Funkadelic, the Mothership, and Transformation
Rob Bowman
13. Politics through Pleasure: Party Music in Trinidad Jocelyne Guilbault
14. A Festschrift for the Twenty-First Century: Student Voices Kip Pegley
and Virginia Caputo
Appendix: Beverley Diamond-Publications and Lectures
Contributors
Index
Contributors' Bios
John Beckwith, composer, writer, and professor emeritus, Faculty of Music,
University of Toronto, was one of Beverley Diamond's teachers at the
University of Toronto. His Arctic Dances for oboe and piano (1984) are
based on her transcriptions of Inuit dance-songs. Recent works include A
New Pibroch for Highland pipes, strings, and percussion (2003); Fractions
for microtonal piano and string quartet (2006); and Beckett Songs for
baritone and guitar (2008). A CD of selected vocal works, Avowals, appeared
in 2007 from Centrediscs. Beckwith is the author of Music Papers: Articles
and Talks by a Canadian Composer, 1961-1994 (1997), and In Search of
Alberto Guerrero (2006). Talks given at a symposium in Toronto in 2007
marking his eightieth birthday appear in the ICM Newsletter 5, no. 3
(September 2007).
Rob Bowman has been writing professionally about rhythm and blues, rock,
country, jazz, and gospel for over a quarter century. Nominated for five
Grammy Awards, in 1996 Bowman won the Grammy in the "Best Album Notes"
category for a 47,000-word monograph he penned to accompany a 10-CD box set
that he also co-produced, The Complete Stax/Volt Soul Singles Volume 3:
1972-1975 (Fantasy Records). He is also the author of Soulsville U.S.A.:
The Story of Stax Records (Schirmer Books), winner of the 1998 ASCAP-Deems
Taylor and ARSC Awards for Excellence in Music Research. On top of his
popular press and liner note work, Bowman played a seminal role in the
founding and creation of the Stax Museum of American Soul Music (opened in
Memphis in 2003), wrote the four-part television documentary series The
Industry, and has helped pioneer the study and teaching of popular music in
the world of academia. He is a tenured professor at York University in
Toronto, and regularly lectures on popular music around the world.
Virginia Caputo received her Ph.D. from the Department of Social
Anthropology at York University in 1996, holding a SSHRCC doctoral
fellowship. She is associate professor and director of the Pauline Jewett
Institute of Women's and Gender Studies at Carleton University where she
has taught since 1997. An ethnomusicologist and social anthropologist,
Virginia's research lies at the intersection of feminism, anthropology, and
child/girlhood research. Her work addresses theoretical and methodological
approaches to research with children with a specific interest in children
as social actors. Her research has included work on children's experiences
in schools, gender issues in music, children's oral traditions, young women
and technology, and third wave feminism.
Beverley Diamond, FRSC, is Canada Research Chair in Traditional Music and
Ethnomusicology at Memorial University of Newfoundland. Music traditions,
cultures, and contexts is a tribute to her outstanding scholarly
contributions, which are discussed, along with her life and various aspects
of her career, in Chapter 1 of this book.
Robin Elliott studied Canadian music with Beverley Diamond as an
undergraduate student at Queen's University. He is professor of musicology
in the Faculty of Music, University of Toronto, where he holds the Jean A.
Chalmers Chair in Canadian music, is the director of the Institute for
Canadian Music, and is associate dean, undergraduate education. He has
co-edited Istvan Anhalt: Pathways and memory (2001), Music and literature
in German romanticism (2004), and Centre and periphery, roots and exile:
Interpreting the music of Istvan Anhalt and György Kurtág (forthcoming from
Wilfrid Laurier University Press). He is a senior fellow at Massey College.
Charlotte J. Frisbie is professor emerita of anthropology at Southern
Illinois University, Edwardsville (SIUE). A former president of the Society
for Ethnomusicology and co-founder, in 1982, of the Navajo Studies
Conference, Inc., she continues both anthropological and ethnomusicological
research. At present, her Navajo work focuses on ethnohistory, historic
preservation and restoration, traditional foods and their preparation,
traditional indigenous knowledge, repatriation and other responses to
NAGPRA, and autobiographies. Other continuing interests include indigenous
peoples of North America, gender studies, ritual drama, language and
culture, Native American hymnody, action anthropology,
collaborative/reciprocal ethnography, history of SEM and its early women,
and the history of the Quercus Grove southern Illinois farming community
where she and her family live. A music major in college years ago,
Charlotte also maintains a lively interest in church music and performs it
as a bell-ringer and an organist.
Jocelyne Guilbault is professor of ethnomusicology in the Music Department
of the University of California, Berkeley. Since 1980, she has done
extensive fieldwork in the French Creole- and English-speaking islands of
the Caribbean on both traditional and popular music. She has published
articles on ethnographic writings, aesthetics, the cultural politics of
Western Indian music industries, and world music. She is the author of
Zouk: World music in the West Indies (1993) and the co-editor of Border
crossings: New direction in music studies (1999-2000). Her recent book,
Governing sound: The cultural politics of Trinidad's Carnival musics
(2007), explores the ways the calypso music scene became audibly entangled
with projects of governing, audience demands, and market incentives.
Ellen Koskoff is professor of ethnomusicology at the University of
Rochester's Eastman School of Music and director of the Eastman School's
ethnomusicology programs as well as its Balinese gamelan angklung. She has
published widely on Jewish music and on gender and music, and is the editor
of Women and Music in Cross-Cultural Perspective (1987) and the author of
Music in Lubavitcher Life (2000), which won the 2002 ASCAP Deems-Taylor
award. Koskoff is a contributor to the New Grove Dictionary of Music and
Musicians and is the general editor of the Garland Encyclopedia of World
Music, vol. 3, "The United States and Canada." She is also the general
editor of the University of Rochester Press's Eastman/ Rochester Studies in
Ethnomusicology Series and a former president of the Society for
Ethnomusicology.
Pirkko Moisala is the professor of ethnomusicology at Helsinki University.
Currently she is the president of Finland's Society for
Ethnomusicology. From 1993 to 2000 she was the co-chair of the Music and
Gender Study Group of the International Council for Traditional Music. Her
research embraces the cultural study of all kinds of music, with particular
specializations in Nepal and Finland. She co-edited Music and gender (2000)
with Beverley Diamond, and is the author of Cultural cognition in music:
Continuity and change in the Gurung music of Nepal (1991), the coauthor of
Gender and qualitative methods (2003), and the author of Kaija Saariaho
(2009).
Bruno Nettl was born in Prague, received his Ph.D. at Indiana University,
and spent most of his career teaching at the University of Illinois, where
he is now professor emeritus of music and anthropology. His main research
interests are ethnomusicological theory and method, music of Native
American cultures, and music of the Middle East, especially Iran. He has
been concerned in recent years with the study of improvisatory musics, and
with the intellectual history of ethnomusicology. Among his books, the most
recent are The study of ethnomusicology (1983), which, after over twenty
years, appeared in a revised edition in 2005; and Encounters in
ethnomusicology (2002), a professional memoir. He has served as president
of the Society for Ethnomusicology and in 2002 completed a second term as
editor of its journal, Ethnomusicology.
Kip Pegley is an associate professor in the School of Music at Queen's
University, Kingston, Ontario, with cross-appointments to the Department of
Film and Media, and the Department of Women's Studies. Her recent book,
Coming to you wherever you are: MuchMusic, MTV, and youth identities, was
published with Wesleyan University Press in 2008. She is currently
co-editing (with Susan Fast, McMaster University) a volume of essays
entitled Music, violence and geopolitics, which explores the role of music
in geopolitical conflicts from the twentieth and twenty-first centuries,
including wars, revolutions, protests, genocides, and the post-9/11 "war on
terror."
Regula Burckhardt Qureshi, FRSC, is professor of music and director of the
Folkways Alive Project, as well as founder and director of the Canadian
Centre for Ethnomusicology at the University of Alberta. She has a special
interest in ethnography, documentation, and collaborative research as well
as music-making. Her publications focus on music as a social, cultural, and
spiritual practice. A cellist and sarangi player, her numerous publications
include Sufi music in India and Pakistan: Sound, context, and meaning in
Qawwali (1986); Music and Marx: Ideas, practice, politics (2002); and
Master musicians of India: Hindustani musicians speak (2007); she also
co-edited Muslim society in North America (1983) and Muslim families in
North America (1991).
Neil V. Rosenberg is professor emeritus at Memorial University in St.
John's, Newfoundland, where he taught in the Department of Folklore from
1968 to 2004. A fellow of the American Folklore Society and recipient of
the Folklore Studies Association of Canada's Marius Barbeau Award for
lifetime achievement, he has published extensively on Canadian and American
folk music topics. His books include Bluegrass: A history (2005) and
Transforming tradition: Folk music revivals examined (1993). He has been
playing the banjo since 1959.
Kay Kaufman Shelemay, the G. Gordon Watts professor of music and professor
of African and African American Studies at Harvard University, has carried
out fieldwork in Africa (Ethiopia and Ghana), the Middle East (Israel), and
the United States. A former president of the Society for Ethnomusicology
and a member of the Board of the American Folklife Center at the Library of
Congress, Shelemay's most recent books include the textbook Soundscapes:
Exploring music in a changing world (2nd ed., 2006), and Pain and its
transformations: The interface of biology and culture (2007), co-edited
with Sarah Coakley. Shelemay has held fellowships from the National
Endowment for the Humanities, the Guggenheim Foundation, and the American
Council for Learned Societies, and was named the chair for Modern Culture
at the John W. Kluge Center of the Library of Congress. Her current
research focuses on Ethiopian music and musicians new to North America.
Gordon E. Smith is professor of ethnomusicology at Queen's University,
Kingston, Ontario. Formerly director of the School of Music, he is
currently associate dean in the Faculty of Arts and Science. He is
co-editor of Istvan Anhalt: Pathways and memory (2000), Folk music,
traditional music, ethnomusicology: Canadian perspectives, past and present
(2007), and Marius Barbeau: Modelling twentieth-century culture (2008). He
is editor of MUSICultures (formerly The Canadian Journal for Traditional
Music/La Revue de musique folklorique canadienne), and his current research
also includes fieldwork in the Mi'kmaw community of Eskasoni, Cape Breton
Island, Nova Scotia.