Books on the topic 'Traditional thai music'
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1
Akins, Joel. Passing it on: Traditional lanna music in the modern-day city of Chiang Mai. Bangkok, Thailand: Institute of Asian Studies, Chulalongkorn University, 2012.
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2
1821-1891, White Cool, ed. That dancin' dolly: A retelling of Buffalo gals, a traditional American song. New York: Dutton Children's Books, 2004.
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" --that old barbershop sound": Die Entstehung einer Tradition amerikanischer A-capella-Musik. Stuttgart: Steiner, 2009.
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4
Sounding the center: History and aesthetics in Thai Buddhist performance. Chicago: University of Chicago Press, 2001.
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5
Thailand. Samnakngān Khana Kammakān Watthanatham hǣng Chāt., ed. Dontrī phư̄nbān læ sinlapa kānsadǣng khō̜ng Thai =: Folk music and traditional performing arts of Thailand. [Bangkok]: Samnakngān Khana Kammakān Watthanatham hǣng Chāt, Krasūang Sưksāthikān, 1985.
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6
Merchant, Tanya. Beyond the Canon. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0002.
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This chapter examines traditional music as a means to construct a cohesive pre-Soviet past in Uzbekistan. Traditional music encompasses three maqom traditions with roots in cities that currently exist within the borders of Uzbekistan: Xorazm maqom, Shashmaqom, and Tashkent-Ferghana maqom. The chapter first considers the history of the construction of the canon of traditional music in Uzbek institutions before discussing traditional music and maqom's links to nationalism in the city of Tashkent. It then looks at women's roles performing the great works in the maqom tradition, along with two masters of this tradition, Yunus Rajabi and Munojat Yulchieva. It also explores the role of maqom in the shift in cultural capital in Uzbekistan after independence. The chapter concludes with an assessment of dutar ensembles as an area of contested gender identity that is very much context dependent.
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Lufi & Friends. My First Russian Book That Sings Traditional Songs. Lufi & Friends, LLC, 2021.
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8
DeWitt, Mark F. Training in Local Oral Traditions. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0004.
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This chapter is a study of programs that offer performance training in oral-tradition musics at accredited two- and four-year postsecondary institutions in the United States, Canada, and Mexico, especially but not exclusively those that focus on traditions that developed in the region where the institution is located. The trajectory of oral-tradition musics in North American higher education is found to be one of gradual acceptance through many disconnected local efforts, resulting in a variety of solutions to problems inherent in reforming a curriculum not designed for the needs of learning in oral traditions. The chief intended audience of this chapter are faculty and administrators of schools and departments of music, especially those who are contemplating the addition of local oral-tradition music to their curriculum or are at least open to the idea of doing so.
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Manuel, Peter. Concluding Perspectives. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038815.003.0006.
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This concluding chapter presents some hypotheses and conclusions about Bhojpuri diasporic dynamics, broader implications for diaspora studies in general, the relation of music genres like tassa to Afrocreole culture, and the implications of this relationship for our understanding of the phenomenon of Caribbean creolization. It suggests that Indo-Caribbean culture, including music culture, can be seen as an ongoing dialectic product of three primary cultural realms—the transplanted but deeply local Bhojpuri little tradition, the imported North Indian great traditions (whether of visiting godmen or Bollywood blockbusters), and Afrocreole culture. The relation between the local Bhojpuri little tradition and the imported Indian great traditions is complex and in some ways competitive. While some cultural activists do lament the hegemony of imported filmsong over local music, others seem to feel that both Bhojpuri traditional songs and Bollywood fare can comfortably coexist.
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Hsu, Eddie. Traditional Music for the People. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0008.
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In this chapter I use Chinese music departments in the PRC and Taiwan as case studies, exploring how the process of institutionalization has reshaped traditional music in the region and how Chinese music programs have developed responses to growing concerns about their relevance to the surrounding community. More Chinese music programs now seek to develop curricula that incorporate the practices of oral/aural tradition from local musical communities. In an effort to make traditional music more accessible to a wider audience, some institutions attempt to increase their appeal through interdisciplinary collaborations and outreach events as well. I argue that collaborations between institutions and communities will become indispensable to Chinese music programs to help ensure an appropriate representation of local music genres and its relevance to local audiences.
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Howard, Keith David. Christianity and Korean Traditional Music. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.005.
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Keith Howard offers an account of how Korean Christians who are professional musicians specializing in traditional music (kugak) have been attempting to construct a relationship between their faith and Korean traditional music, by incorporating Christian narratives into traditional musical forms, such as p’ansori. Howard notes that both Christianity and Korean traditional music constitute powerful symbols of the place of Korea (for Koreans) in the globalized world; however, because of the contradictory logics of two transnationally imagined identity politics—one imagining Korea as modern and privileging the Western, and the other focusing on Korean “heritage” and privileging the “Korean”—the institutional spaces of Korean traditional music and Christian music have remained separate and distinct.
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Howard, Keith David. Christianity and Korean Traditional Music. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.005_update_001.
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Keith Howard offers an account of how Korean Christians who are professional musicians specializing in traditional music (kugak) have been attempting to construct a relationship between their faith and Korean traditional music, by incorporating Christian narratives into traditional musical forms, such as p’ansori. Howard notes that both Christianity and Korean traditional music constitute powerful symbols of the place of Korea (for Koreans) in the globalized world; however, because of the contradictory logics of two transnationally imagined identity politics—one imagining Korea as modern and privileging the Western, and the other focusing on Korean “heritage” and privileging the “Korean”—the institutional spaces of Korean traditional music and Christian music have remained separate and distinct.
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Manuel, Peter. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038815.003.0001.
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This chapter provides background data on Indo-Caribbean history and situates that culture's development in the context of diasporic studies as a whole. It provides an overview of North Indian Bhojpuri music culture and of Indo-Caribbean music culture, with reference to traditional Bhojpuri aspects, creolized entities like chutney-soca, and the ramifications of exposure to North Indian “great tradition” musics—both pop and classical—since the 1940s. It argues that the various trajectories and the form of Bhojpuri diasporic music in general must be attributed primarily not to inherent features of particular genres or to the activities of particular artists but rather to intricate dynamics of diaspora culture—in this case, Bhojpuri Caribbean diasporic culture.
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Talk That Music Talk: Passing on Brass Band Music in New Orleans the Traditional Way. University of New Orleans Publishing, 2014.
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15
A City That Sings Cincinnatis Choral Tradition 18002012. Orange Frazer Press, 2012.
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16
Justice, Deborah. Mainline Protestantism and Contemporary versus Traditional Worship Music. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.28.
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This chapter explores the ways American mainline pastors, musicians, and laypeople navigate the divergent media economies of hymnody and popular music and accommodate both by creating multiple worship services—shared by a single congregation—that reflect the aesthetics and symbolic resonances of each repertoire. It does so using an ethnographic case study of a congregation in Nashville, Tennessee. The chapter argues that studies of the “worship wars” need to take into account these newly dominant ways of organizing multiple genre systems in a single congregation—characterized here as a kind of “cosmopolitanism”—particularly as they are practiced by churches in mainline denominations.
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Anno, Mariko. Piercing the Structure of Tradition. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781939161079.001.0001.
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What does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? This book investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. The book examines the musical structure and nohkan melodic patterns of five traditional Noh plays and assesses the degree to which Issō School nohkan players maintain to this day the continuity of their musical traditions in three contemporary Noh plays influenced by William Butler Yeats. The book's ethnographic approach draws on interviews with performers and case studies, as well as the author's personal reflection as a nohkan performer and disciple under the tutelage of Noh masters. The book argues that traditions of musical style and usage remain influential in shaping contemporary Noh composition and performance practice, and the existing freedom within fixed patterns can be understood through a firm foundation in Noh tradition.
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Baragwanath, Nicholas. The Solfeggio Tradition. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197514085.001.0001.
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The book is the first study of the solfeggio tradition, which was fundamental to the training of European musicians c. 1680–1830. It addresses one of the last major gaps in historical research concerning eighteenth-century performance and pedagogy. The method flourished in Italian conservatories for disadvantaged children, especially at Naples. The presence of large manuscript collections in European archives (almost three hundred in Italy alone) attests to the importance of this kind of exercise. Drawing on research into more than a thousand manuscript sources, the book reconstructs the way professional musicians in Europe learned and thus conceived the fundamentals of music. It reveals an approach that differs radically from modern assumptions. Solfeggi underpinned an art of melody that allowed practitioners to improvise and compose fluently. Part I provides contextual information about apprenticeship, the church music industry, its associated schools, and the continued significance of plainchant to music education. Part II reconstructs the real lessons of an apprentice over the course of three or four years from spoken to sung solfeggio. Part III surveys the primary sources, classifying solfeggi into four main types and outlining their historical origins, characteristic features, and pedagogical purposes.
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Willingham, Lee, and Glen Carruthers. Community Music in Higher Education. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.9.
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The establishment of community music courses and degree programs in universities gives rise to discourse about the fundamental principles of community music. Can community music flourish in the complexity of academia, where disciplines are regulated, researched, and examined systematically? This chapter will argue that community music principles are synergistic with higher education goals, and, in fact, traditional music education has much to learn and gain from community music practices. How can schools of music be more civic minded, community friendly, and enhance the cultural life of the regions they serve? How can rigour exist (artistic and scholarly) in a culture of empathy, inclusivity, and hospitality where nonformal pedagogies are practiced, and where intergenerational and lifelong learning—along with activism, health, and wholeness—are foundational? These questions are addressed and measured against a tradition where audition standards and progression pathways are becoming increasingly multivalent.
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Alonso-Minutti, Ana R., Eduardo Herrera, and Alejandro L. Madrid, eds. Experimentalisms in Practice. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.001.0001.
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This book problematizes the notion of experimentalism as defined in conventional narratives about experimental musical practices. Contributors take a broad approach to a wide variety of Latin@ and Latin American music traditions conceived and/or perceived as experimental. The adoption of a plural “experimentalisms” points at a purposeful decentering of its usual US and Eurocentric interpretative frameworks. The case studies in this book contribute to this by challenging discourses about Latin@s and Latin Americans that have historically marginalized them. As such, the notion of “experimentalisms” works as a grouping, as a performative operation of sound, soundings, music, and musicking that gives social and historical meaning to the networks it temporarily conforms and situates. This book responds to recent efforts to reframe and reconceptualize the study of experimental music in terms of epistemological perspective and geographic scope, but also engages traditional scholarship about musical experimentalisms. Contributors provide important challenges in relation to the types of music that have been traditionally considered experimental and the reasons why scholars have adopted these perspectives. Included in this book are case studies localized in Argentina, Brazil, Colombia, Costa Rica, Cuba, México, Peru, and the United States, but with frequent regional, transnational, and postnational implications. This book contributes to the current conversations about music experimentalism while providing new points of entry to further reevaluate the field.
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Bakan, Michael B. Graeme Gibson. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190855833.003.0007.
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Graeme Gibson is a man of many talents. He curates an online museum of more than four hundred world music instruments, plays many of those instruments himself, designs and builds others, and conducts copious research on music traditions worldwide. Because “world music involves numerous traditions [up] to contemporary musics,” Graeme says, “I prefer to think of it as a spectrum that includes numerous genres.” He sees parallels between the spectrum of world music and the autism spectrum, where he states that he “also found that everyone is different from their case, to my case and so on. I do agree with the term ‘spectrum,’ ” he adds, “but we still have lots to learn.” Living with “classic autism” all his life, Graeme has faced formidable challenges. Yet he would not rid himself of his condition even given the chance: “Some symptoms I would like to have gone, like stress triggers and so on, but I fear in the end my music may be lost too.”
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Talty, Jack. Noncanonical Pedagogies for Noncanonical Musics. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0005.
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This chapter explores the ways in which a selection of European pedagogues and institutions involved in folk, traditional, world music, and popular music education navigate a world of music pedagogy that has been historically dominated by the Western classical tradition. More specifically, it interrogates how pedagogues draw on, adapt, or depart from Western classical pedagogy to manage “canonicity” in music education and to negotiate the needs and expectations of local musical communities. The research, informed by interviews conducted with individuals at eight European music departments, suggests that pedagogical ideologies that are self-reflexive and flexible are easily tailored to suit specific educational goals. Further, collaborative dialogue between higher education and extra-institutional practitioners ensures that perceived disconnects between higher education and community are mitigated.
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Wilde, Guillermo. The Sounds of Indigenous Ancestors. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.32.
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This article examines how music, corporality, and memory were intertwined in the Jesuit missions of South America during the colonial period. More specifically, it considers how European music was imposed upon indigenous peoples whereas traditional indigenous musical traditions were censured as part of a larger project of political and cultural domination that was not completely unilateral. It argues that the Jesuits used censure and the mechanisms of adaptation in various regions of South America to disconnect musical expression and corporality that had characterized preexisting native rituals involving music, or, more broadly, sound, together with dance and movement. The chapter concludes by assessing the significance and persistence of indigenous music within the context of the Jesuit missions.
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Straus, Joseph N. Therapeutic Music Theory and the Tyranny of the Normal. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190871208.003.0007.
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This chapter weaves together two stories that are usually told separately. The first is the story of disability, especially how people have talked about bodies perceived as defective, deviant, or deformed. The second is the story of music, especially how music theorists have talked about musical features perceived as in some sense abnormal. Traditional music theory is a normalizing discourse, designed to rationalize abnormal musical elements (like formal anomalies or dissonant harmonies) with respect to normal ones, and it has thus implicitly allied itself with the medical model of disability. A countertradition within music theory is a disablist discourse that embraces elements traditionally understood as strange, odd, eccentric, and idiosyncratic, without making any effort to position them within a normative context, and is thus aligned with the sociocultural model of disability. Disablist music theory crips music.
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Platte, Nathan. In the Selznick Family Tradition. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0002.
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This chapter begins with David Selznick’s apprenticeship in silent cinema under his father, Lewis J. Selznick, in New York. As with other directors and producers who learned film in the silent era, Selznick’s early experiences shaped his attitude to cinema, even long after the introduction of sound. This chapter argues that musical traces from Lewis J. Selznick’s films, such as sheet-music tie-ins from War Brides (directed by Herbert Brenon, 1916), and the father’s tense relationship with New York’s musically effusive exhibitor, Samuel “Roxy” Rothafel, are critical for understanding David Selznick’s use of music in later films as means for reconciling aesthetic and commercial aims. The chapter concludes with Selznick’s work at Paramount, the studio at which Selznick gleaned many important lessons concerning music in early sound films. A discussion of Selznick’s Four Feathers and The Dance of Life prepares the stage for the producer’s bolder musical operations at RKO.
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Hear my sad story: The true tales that inspired Stagolee, John Henry, and other traditional American folk songs. 2015.
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Gibbons, William. Gamifying Classical Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0011.
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This chapter addresses the ways in which classical music lends itself to gamification, a pervasive trend in contemporary culture in which aspects of games are applied to non-game activities to encourage desired behaviors. The chapter presents two case studies of recent mobile applications that illustrate different approaches to the gamification of classical music. The first of these discusses the Young Person’s Guide to the Orchestra, an app that updates traditional, and problematic, approaches to music education, namely, music appreciation. The second case study considers Steve Reich’s Clapping Music, an app that embraces the interactivity of games to blur the lines between education and musical performance.
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McIntosh, Jonathan. The women’s international gamelan group at the Pondok Pekak. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0008.
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Balinese gamelan music stresses notions of unity, community and totality that are realized through the interaction of players and instruments. Traditionally considered a male activity, Balinese women now perform gamelan music in sacred and secular contexts. Moreover, the rise of mass tourism and an increase in the number of expatriates living in Bali now means that gamelan music has become an important site for ‘intercultural’ collective music-making. Nonetheless, little research exists concerning this emerging and significant facet of Balinese musical performance, with no studies examining intercultural musical activities of women’s gamelan ensembles. This chapter explores the collective creativity and social agency of an international women’s gamelan ensemble in Bali. Examining how this musical ensemble emerged, the micro processes of orchestral rehearsals and performances, and the relationship between traditional music and dance, this chapter extends research that has focused hitherto on the gamelan ensemble in Bali as a (primarily male) orchestral practice.
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Polenberg, Richard. Hear My Sad Story: The True Tales That Inspired Stagolee, John Henry, and Other Traditional American Folk Songs. Cornell University Press, 2015.
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Strohm, Reinhard, ed. The Music Road. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.001.0001.
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The book, derived from the Balzan musicology project ‘Towards a global history of music’, describes cultural traditions and communication patterns of music, dance and theatre in the world region between India and the Mediterranean in the last 2000 years. The new metaphor of the ‘Music Road’—the western half of the ‘Silk Road’—refers to the travels of musical songs, instruments and ideas across both space and time. The book has an introduction and 16 chapters, each by a different author. Highlighted are the following cultural traditions: ancient Gandhāra (first centuries ce); traditions of the Alexander legend; the musical philosophy and practice of Muslim societies; colonial India and the West; Greek music and nationalism (19th–20th centuries); travelling music-theatre companies in the Eastern Mediterranean; the ‘Gypsy rhapsody’ in European art music. The keynote chapter by Martin Stokes reviews the work of Villoteau and Lachmann, advocating a fusion of historical thought and ethnomusicology. The book offers case studies not only on music per se, but also on fine art, dance, musical theatre, on the theology, philosophy, historiography and literature of music, and on East–West relations in the musical practice of colonial and modern times. It is argued in the introduction and implied elsewhere that the musical culture of this world region, and its interactions with the West, have always been on the move, that its diversities and disruptions are counterbalanced by numerous internal and external linkages, and that the reifying term of ‘orientalism’ might be replaced by ‘the East–West imagination’.
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Kartomi, Margaret. The Mandailing Raja Tradition in Pakantan. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0011.
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This chapter examines the music culture of the village complex of Pakantan in south Tapanuli, North Sumatra, with particular emphasis on the Mandailing raja tradition. It aims to reconstruct the historical and aesthetic context of Pakantan's pre-Muslim ritual orchestral music in the eighteenth and nineteenth centuries, when the village was ruled by a chieftain (raja) of the original Lubis clan. The three ritual orchestras, which are differentiated by their respective sets of either five or nine tuned gordang drums or two untuned gordang drums, possess indigenous religious and aesthetic meaning. After providing an overview of the Mandailing people's cultural history, the chapter discusses the social role, aesthetic thought, and ritual practice of their ceremonial music. More specifically, it considers the gordang sambilan performed at major ceremonies, funerals, weddings, and clairvoyant rituals. It shows that each musical item on ceremonial occasions, whether played on a gondang or a gordang ensemble, is named after its totop, or fixed drum rhythm, and serves as an invocation.
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Jorritsma, Marie. Hidden Histories of Religious Music in a South African Coloured Community. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.13.
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This chapter explores persistent traces of both indigenous and Euro-colonial music traditions in the church music of South African coloured people (a group of mixed racial heritage that was marginalized and oppressed by the apartheid regime). The author characterizes these persistent historical traces in coloured people’s performance style as “hidden transcripts” (following James Scott). Through the powerful historiographic tool of ethnomusicological listening, this chapter points to colonial as well as “African” traces surviving in contemporary musics and locates both encounter and resistance in contemporary performance styles, even those most closely related to colonial repertoires.
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Sykes, Jim. The Cartography of Culture Zones. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912024.003.0006.
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This chapter criticizes the “cartography of culture zones”—the standard way cultural history is described in Sri Lanka—which locates traditional cultures in ethnically defined, regionally based culture zones. First, the chapter expands on the book’s previous exploration of Sinhala and Tamil musics by introducing the musics of Sri Lankan Muslims (an ethnic and religious category), Christians (a heterogenous religious category), Burghers (Eurasians), Kaffirs (Sri Lankans of African descent), and Väddas (the indigenous population). The chapter argues that scholars tend to adopt the European-derived idea that music belongs distinctly to humans with cultural histories rigidly demarcated along ethnic, religious, and regional lines. The chapter then traces histories of musical connection between Sri Lankan communities and culture zones. All the same, the chapter avoids debunking Sinhala Buddhist music as “Hindu” in character (a mistake of colonial era scholarship). The chapter respects difference while arguing for the importance in the Sri Lankan public sphere of recognizing connections.
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Malone, Thomas. “Singer’s Music”. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.27.
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With a turbulent musical fabric of open and parallel fifths, high-decibel vocal production, and a grassroots DIY organizational structure, Sacred Harp singing has been described variously as “Gregorian Chant meets Bluegrass” and “Punk Rock Choral Music.” With historical roots in rural singing schools of New England and the American South, singing from The Sacred Harp tunebook remains a living, growing, and vital musical multinational subculture that operates without auditions, rehearsals, or performances. This chapter discusses participatory and social factors of music outside the presentational frame, the ideas of serious leisure, and philosophical notions of musicking and musical praxis to illuminate ways in which Sacred Harp singing stands apart from the concertizing traditions of Western art music and choral performance.
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Alexander, Phil. Sounding Jewish in Berlin. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190064433.001.0001.
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This book explores in lively detail the music, musical networks, and performance spaces of the contemporary Berlin klezmer and Yiddish music scene. It chronicles an avowedly international group of musicians (Jewish and non-Jewish) who collectively represent an important new transnational voice for this traditional Eastern European Jewish music. Through the words and music of the performers, the author reveals a rich and constantly developing scene that has embedded itself in the contemporary city in creative, diverse, and sometimes confrontational ways. This ongoing transformation of Berlin klezmer is powerful evidence that if traditional music is to remain audible amid the noise of the urban, it must stake its claim as a meaningful part of that noise. By engaging with the city itself, klezmer in Berlin has moved beyond “revival”—revealing how traditional culture can remain relevant within a shifting, overlapping, decidedly modern, urban cosmopolitanism.
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Kartomi, Margaret. Sumatra’s Performing Arts, Groups, and Subgroups. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0001.
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This book examines the traditional musical arts of Sumatra, with particular emphasis on the ethnographic, cultural, and historical contexts of the performing arts that contain music as well as some of the changes in their style, content, and reception from 1971 when the author began her field travels. The musical arts, or performing arts containing music, include the vocal, instrumental, and body percussive music, the dance and other body movement, the art of self-defense, the bardic arts, and the musical theater performed at domestic ceremonies. The book considers the musico-lingual groups and subgroups of Sumatra—population groups and subgroups that are primarily distinguished from one another on the basis of the lingual attributes of their vocal-musical genres (including songs, ritual/religious chanting, song-dances, and intoned theatrical monologues or exchanges). This chapter provides an overview of some of the major themes that recur throughout the book—identity, rituals and ceremonies, religion, the impact of foreign contact on the performing arts, the musical instruments and pitch variability, the dances and music-dance relationships, social class, gender issues, and arts education.
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Hansen, Bethanie L. Teaching Music Appreciation Online. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190698379.001.0001.
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In this book, readers will learn practical tips and strategies to teach music appreciation online. As online education is a growing field, an increasing number of teachers trained in traditional/live methods find themselves now teaching online and potentially without mentors to assist them. Students are also changing, seeking highly engaged, relevant, and interactive learning opportunities that connect to their lives. Here, readers will find helpful guidance in planning curriculum; integrating multimedia assets; designing forum discussions; developing assignments; preparing rubrics; engaging in forum discussions; preparing, managing, and teaching the course; providing feedback and grading; and following up with struggling and challenging students. The book can serve as a resource to those already teaching music appreciation online or as a comprehensive guide to those new to the field. Additionally, it may serve as a resource to instructors in other disciplines who seek to shift live courses to the online format, as well as music appreciation instructors who would like to integrate digital or online components into traditional face-to-face courses. The book is organized into five major sections, designed to guide the novice online educator in-depth while also appealing to the seasoned veteran through the ability to review each section as a stand-alone resource. Although some readers will desire to read from cover to cover, they will also be able to move in a nonlinear manner from chapter to chapter, using chapters in modular form, in order to benefit from the sections that most apply to them at any given time.
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Pecknold, Diane. The Country Music Association, The Country Music Foundation, and Country Music’s History. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.15.
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This chapter explores how the Country Music Association and the Country Music Foundation have shaped the telling of country music history. It traces the development of the Foundation and the Country Music Hall of Fame and Museum from the mid-1960s to the present, arguing that although the Foundation sought to become a traditional academic institution in its early years, it was ultimately re-envisioned as a public education institution, also incorporating a museum that would house the Hall of Fame. This stance reflected both the wider trend toward museum corporatization and a democratic impulse to interpret country music history for the widest possible public. Despite the tensions inherent in balancing entertainment with education and sales potential with academic interests, this philosophy not only resulted in a sustainable vehicle for enshrining country music history, it produced a more nuanced presentation of that history than is often acknowledged.
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Gibbons, William. Classifying Game Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0012.
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This final chapter considers the ways in which video game music has rapidly entered the concert repertoire, and what that change might mean for how listeners, critics, and musicians understand classical music. In the wake of successful long-running concert tours such as Video Games Live (which pairs local orchestras with a traveling multimedia show) and Final Symphony, many financially strapped orchestras have embraced game music as a way of reaching out to millennial audiences, much to the chagrin of some traditionally minded audience members. Moreover, some groups have begun to advocate for reclassifying game music as classical, thus breaking down persistent barriers between high and low arts.
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O’Collins, SJ, Gerald. Transmission of Tradition, the Sensus Fidelium, and the Holy Spirit. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198830306.003.0004.
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The presence of the risen Christ is actualized by innumerable traditions. This chapter begins by setting out twelve traditions or groups of traditions that embody or at least allude to the Christus praesens: for instance, baptism, the creeds, the Eucharist, Christian marriage, sacred music, church architecture, and such items as the use of palm branches, incense, holy water, candles, icons and other works of religious art, and, not least, glorious copies of the Book of the Gospels like the Book of Kells. The transmitters of Christian tradition include not only bishops and councils but also innumerable individuals and groups who have handed on the treasures of faith: for instance, writers, artists, and saints, not least the thirty-six doctors of the Church. The Holy Spirit is the primary bearer of tradition, and underpins the ‘sense of the faithful’, the instinctive insight of the baptized into their inherited faith.
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Herbert, Trevor, Martin V. Clarke, and Helen Barlow, eds. A History of Welsh Music. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781009036511.
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From early medieval bards to the bands of the 'Cool Cymru' era, this book looks at Welsh musical practices and traditions, the forces that have influenced and directed them, and the ways in which the idea of Wales as a 'musical nation' has been formed and embedded in popular consciousness in Wales and beyond. Beginning with early medieval descriptions of musical life in Wales, the book provides both an overarching study of Welsh music history and detailed consideration of the ideas, beliefs, practices and institutions that shaped it. Topics include the eisteddfod, the church and the chapel, the influence of the Welsh language and Welsh cultural traditions, the scholarship of the Celtic Revival and the folk song movement, the impacts of industrialization and digitization, and exposure to broader trends in popular culture, including commercial popular music and sport.
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Edwards, Jane. Music Therapy Research. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.50.
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Music therapy is an evidence-based profession. Music therapy research aims to provide information about outcomes that support music therapy practice including contributing to theoretical perspectives that can explain why changes occur during treatment. Music therapy research has been conducted in a range of health, education, and community contexts throughout the world. Initially many music therapy developments in the university sector occurred through the establishment of training programmes that were developed and delivered by music therapists with professional experience in leading services in education and health care. Now many music therapy training programmes are led by people with practice experience along with research qualifications, and some universities offer music therapy doctoral pathways. Music therapy research capacity has expanded through a notable increase in PhD graduates as well as an increase in funded research in music therapy. This chapter covers: (1) traditions, (2) trends, and (3) contexts for music therapy research.
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Bauer, William I. Music Learning Today. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197503706.001.0001.
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Grounded in a research-based, conceptual model called Technological Pedagogical and Content Knowledge (TPACK), the essential premise of Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music is that music educators and their students can benefit through use of technology as a tool to support learning in the three musical processes—creating, performing, and responding to music. Insights on how technology can be used to advantage in both traditional and emerging learning environments are provided, and research-based pedagogical approaches that align technologies with specific curricular outcomes are described. Importantly, the book advocates that the decision on whether or not to utilize technology for learning, and the specific technology that might be best suited for a particular learning context, should begin with a consideration of curricular outcomes (music subject matter). This is in sharp contrast to most other books on music technology that are technocentric, organized around specific software applications and hardware. The book also recognizes that knowing how to effectively use the technological tools to maximize learning (pedagogy) is a crucial aspect of the teaching-learning process. Drawing on the research and promising practices literature in music education and related fields, pedagogical approaches that are aligned with curricular outcomes and specific technologies are suggested. It is not a “how to” book per se, but rather a text informed by the latest research, theories of learning, and documented best practices, with the goal of helping teachers develop the ability to understand the dynamics of effectively using technology for music learning.
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Knickerbocker, Scott. Green Banjo. Edited by Greg Garrard. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199742929.013.024.
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This article explores the ecoformalism of country music and the so-called old-time music. It explains that country music, especially in its traditional and alternative forms, offers rich soil for the growth of environmentalist sensibilities that transcend stereotypes of style and taste that people habitually associate with political positions. Like country music, old-time music also exudes a sense of place, long considered an important starting place in thinking and behaving ecologically. This article also discusses some lyrics in old-time music that express environmental sentiments.
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Ruthmann, S. Alex, and Roger Mantie, eds. The Oxford Handbook of Technology and Music Education. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199372133.001.0001.
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Few aspects of daily existence are untouched by technology. The learning and teaching of music is no exception, and arguably has been impacted as much or more than other areas of life. Digital technologies have come to affect music learning and teaching in profound ways, influencing everything from how we create, listen, share, consume, interact, and conceptualize musical practices and the musical experience. For a discipline as entrenched in tradition as music education, this has brought forth myriad views on what does and should constitute music learning and teaching. In order to tease out and elucidate some of the salient problems, interests, and issues, this volume sought to critically situate technology in relation to music education from a variety of perspectives: historical, philosophical, socio-cultural, pedagogical, musical, economic, policy, and so on, organized around four broad themes: (1) Emergence and Evolution, (2) Locations and Contexts: Social and Cultural Issues, (3) Experiencing, Expressing, Learning and Teaching, and (4) Competence, Credentialing, and Professional Development. The editors solicited essays from 22 “Core Perspective” and 19 “Further Perspective” authors based on their potential to contribute a diversity of perspectives on technology and music education in terms of gender, theoretical perspective, geographical distribution, and relationship to the field. The overall thrust was to provide contrasting perspectives and conversational voices rather than reinforce traditional narratives and prevailing discourses. The website http://ohotame.musedlab.org/ provides opportunities to participate and sustain the dialogue relating to technology and music education.
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Olsen, Dale A. Flutes and Gender Roles. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037887.003.0004.
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This chapter presents numerous short folktales that pertain to the topic of gender, and includes analysis of gender sub issues, such as flute playing and the reversal of social order, flute playing and gender specificity, and flutes and gender specificity. In most world cultures during modern times, traditional flute playing is limited to men rather than women; North American concert music traditions are an exception, however. This has not always been the case. According to what we can learn from mythology, women at one time were the original flute players, but they had their flutes taken away from them by the men. In anthropology, this is known as a reversal of social order.
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Brady, Erika. Country Music Studies and Folklore. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.17.
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This chapter suggests that academic folklorists have been slow to undertake study of country music until the late twentieth century in part due to the discipline’s early history as an outgrowth of European, British, and American nineteenth century intellectual movements embracing the notion of the “folk” as a social entity retaining a pure and uncontaminated oral tradition of song. On the other hand, promoters, musicians, and audiences have embraced country music because of both a constructed myth and an authentic legacy of cultural identity, both deriving from American folk music. The global nature of country music in an era of extensive digitalization of media presents challenges within the industry to retain at least a pretense of history/regionalism and within academic folk studies to address new and unfamiliar media as conduits of tradition and new definitions of musical community.
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Snyder, Jean E. The Family and Community That Shaped Burleigh’s Youth. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0002.
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This chapter examines the family and community that shaped Harry T. Burleigh's youth. In the early 1860s, as the country moved toward civil war, a young Henry Thacker Burley (the family used the “Burley” spelling during his lifetime but eventually changed to the English spelling, “Burleigh”) settled in Erie and threw himself into the struggle against slavery and for equal rights. On September 17, 1862, Henry and Elizabeth Lovey Waters were married. On December 12, 1866, Henry (Harry) Thacker Burleigh was born. This chapter discusses how the strong music tradition at St. Paul's Episcopal Cathedral in Erie nourished Harry's lifelong commitment to church music in general and to the Episcopal Church in particular. It also considers Elizabeth's marriage to John Edgar Elmendorf after Henry. It shows that Burleigh's most profound influence in his formative years was his strong family, for whom education was a primary value. Through his public and business education in Erie, Harry T. Burleigh developed the skills and the confidence that facilitated his entry into New York City's broader public arena.
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Taylor, Benedict, ed. Rethinking Mendelssohn. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190611781.001.0001.
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Rethinking Mendelssohn offers a new perspective on Felix Mendelssohn’s music and aesthetics, arguing for a fresh understanding of the composer, his music, and its central relationship to nineteenth-century culture. Building on the renaissance in Mendelssohn scholarship of the last two decades, the present book sets a new tone for research on Mendelssohn. It challenges the traditional modes of discourse about this composer in moving beyond rehabilitation and source studies to engage in rigorous criticism and analysis, seeking to rethink the issues that shaped Mendelssohn, his music, and its reception from his own day to the present. This volume includes contributions from younger, emerging scholars as well as from some of the most prominent figures outside specialist Mendelssohn circles in order to open up new ways of understanding the composer and set out future directions in Mendelssohn studies. Besides offering fresh accounts of some of his most familiar orchestral pieces, particular attention is given here to Mendelssohn’s contested views on the relationship between art and religion, the analysis of his instrumental music in the wake of recent controversies in Formenlehre, and the burgeoning interest in his previously neglected contribution to the German song tradition.
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Ashley, Richard. Musical improvisation. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0038.
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Musical improvisation is, to many in the Western world, an activity shrouded in mystery. Most listeners are familiar with some genres of music in which improvisation is a commonplace, such as rock and other popular styles, jazz, or perhaps ‘ethnic’ musics – that is to say, composed or improvised ‘traditional’ musics falling outside the typical Western canons. Therefore listeners are aware that many musicians can, and routinely do, produce novel musical utterances in real time. The question for most them is ‘How is improvisation carried out?’ With this formulation of the question, musical improvisation becomes a suitable topic for psychological investigation, focusing on cognitive, physical, and interpersonal processes, and on the musical structures on which these processes operate. This article seeks to bring together the literature on musical improvisation that will be of interest and benefit to those wishing to know more about it from a cognitive perspective.