Nikola Zekic is currently studying ethnomusicology at Belgrade's Music Academy.
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Katherine Meizel is an Assistant Professor of Ethnomusicology, Bowling Green State University.
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Lobley is now an assistant professor in ethnomusicology at the University of Virginia.
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Rebecca Bodenheimer is a freelance writer and scholar with a Ph.D. in ethnomusicology.
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Rebecca Bodenheimer is a freelance writer and Cuba scholar with a Ph.D. in ethnomusicology.
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There, Smith focused on ethnomusicology, interpreting how people's music performances are influenced by cultural biases.
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"DNA is not destiny," said Timothy Taylor, a professor of ethnomusicology and musicology at UCLA.
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He also took classes in ethnomusicology at the Sorbonne, learning about music from India and Brazil.
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Years later, while teaching at Pittsburgh, he earned a Ph.D. in ethnomusicology from Wesleyan University in Connecticut.
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Some are probably wondering: What can I possibly do with this American Studies degree and Ethnomusicology minor?
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She later studied for a master's in ethnomusicology at Hunter College of the City University of New York.
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"There was a time when ethnomusicology was in some places not really integrated into music programs," Mr. Scott said.
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Recovering this aspect of the music was a challenge that Liron, who completed her bachelor's degree in ethnomusicology, readily accepted.
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She is now 34 and pursuing a Ph.D. in samba-reggae ethnomusicology in her free time away from the group.
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In the 1980s, he turned his attention to the study of ethnomusicology and indulging his passion for sailing and chasing hurricanes.
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His death was announced by Kent State University, where he was university professor emeritus of music, specializing in composition and African ethnomusicology.
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It was initially a response to the reigning approach of ethnomusicology, which they perceived as prizing a kind of detached, academic expertise.
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" Ingrid Monson, a professor of ethnomusicology at Harvard, said, though, that "Vijay's dissertation was one of the first to talk about embodied cognition.
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In 1954 Mr. Chou obtained a master's degree at Columbia, and in 1964 he returned there to teach, later introducing ethnomusicology into the curriculum.
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The goal, Mr. Mealy said, is to engage in "a kind of ethnomusicology of the past" that focuses on idiomatic rather than accurate playing.
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After studying ethnomusicology at Sarah Lawrence, Rifkin spent 10 years playing in a series of indie music projects, then had a change of heart.
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He and other researchers cross-reference DNA tests with baptismal records, marriage certificates, census reports, oral histories, ethnomusicology findings, land titles and other archival documents.
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When Mr. Young moved to New York, in 1960, Mr. Johnson remained at U.C.L.A., shifting his focus to ethnomusicology and, by 1962, to mathematical study.
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"He was once described to me as a political entrepreneur," said Benjamin Teitelbaum, assistant professor of ethnomusicology and international affairs at the University of Colorado, Boulder.
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In 2006, the designation served as the title of his blog, which he used to share the music he had heard while studying ethnomusicology in Ghana.
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Among them were an ethnomusicology doctorate and a new role in the indie-rock outfit Real Estate, whose lead guitar duties he assumed after Matt Mondanile was deposed in 2016.
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She was dead-set on a PhD in ethnomusicology and when skinny envelopes showed up from McGill, Princeton, and the University of Chicago, she figured her life was over at 20163.
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In 2016, an ethnomusicology student at Quachita Baptist University in Arkansas presented that very argument in an honours thesis; established academics have called joik a central symbol of the Sami revival.
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If Story's latest album Bahir, out Friday via Soundway Records, feels like it boasts an academic's attention to detail, it's because he literally studies Africa and Ethnomusicology at UCLA's graduate school.
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For a minute, he was, paradoxically, churning out these recordings at a pretty rapid clip, somehow managing to quickly arrange his spectral vocalizations in between his PhD studies in ethnomusicology and anthropology.
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O'Brien is currently working towards a Ph.D. in ethnomusicology at the University of Toronto, and when we speak on the phone, she's in between classes, getting ready to TA a course called Global Popular Music.
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His 1974 book, "The Music of Africa," is widely considered a definitive historical study, and "Ethnomusicology and African Music," a collection of his writings published in 2005, is used in classrooms throughout Africa and across the world.
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Gregory Melchor-Barz, a professor of ethnomusicology at Vanderbilt University, studies musical rituals around death in AIDS-stricken regions of sub-Saharan Africa, but it was the story of his mother's recent death that he told me first.
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A pioneering work of ethnomusicology, the book begins with an insightful introduction from Cross that traces the musical and intellectual lineage of rap music and explores the nuanced styles, personalities, and socio-political messages in the then-burgeoning L.A. rap scene.
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With an inclination towards ethnomusicology, he's as prone to go deep into the Colombian jungles in search of music culture unsullied by commercialism—as he did for the 2012 documentary Jende Ri Palenge—as he is to hunt down rare synths in Bogotá.
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Ever since he first visited Ghana in 2002 as a student working on an ethnomusicology degree, Mr. Shimkovitz has been an avid collector of locally produced African music cassettes, turning his passion into a popular music blog in 2006 and a record label in 2011.
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Thram, Diane. 2014. The legacy of music archives in historical ethnomusicology: A model for engaged ethnomusicology. In J. McCollum and D. G. Hebert (Eds.), Theory and Method in Historical Ethnomusicology. Lanham, MD: Lexington Books. 309–335.
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Urbana and Chicago: University of Illinois Press. With training as an anthropologist, Merriam was a member of the anthropology school of ethnomusicology. Along with the musicology school, these two factions of ethnomusicology make up a large population in the world of ethnomusicology and they are often at odds.Merriam, Alan P. 1975. “Ethnomusicology Today.” Current Musicology 20: 50-66.
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In particular, ethnomusicologist Timothy Rice called for a more human-focused study of ethnomusicology,Rice, Timothy. 1987. "Toward the Remodeling of Ethnomusicology." Ethnomusicology 31(3): 469-516. putting emphasis on the processes that bind music and society together in musical creation and performance.
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Nettl, Bruno. "The Harmless Drudge: Defining Ethnomusicology." The Study of Ethnomusicology: Thirty-one Issues and Concepts. Urbana: University of Illinois, 2005. 3-15. Print.
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Folklore Institute refers to the folklore studies program of Indiana University Bloomington (USA). The Folklore Institute, together with the Ethnomusicology Institute, constitute the larger Department of Folklore and Ethnomusicology. The Department of Folklore and Ethnomusicology is a unit of the College of Arts and Sciences.
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Ethnomusicology is an academic field encompassing various approaches to the study of music (broadly defined), that emphasize its cultural, social, material, cognitive, biological, and other dimensions or contexts instead of or in addition to its isolated sound component or any particular repertoire. Ethnomusicology can be used in a wide variety of fields, such as teaching, politics, cultural anthropology etc. While the origins of ethnomusicology date back to the 18th and 19th centuries, it was formally introduced as “ethnomusicology” by Dutch scholar Jaap Kunst around 1950. Later, the influence of study in this area spawned the creation of the periodical Ethnomusicology and the Society of Ethnomusicology.
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The idea of decolonization is not new to the field of ethnomusicology. As early as 2006, the idea became a central topic of discussion for the Society for Ethnomusicology.Chavez, Luis and Russel Skelchy. "Decolonizable Spaces in Ethnomusicology." Society for Ethnomusicology Student News 12(2): 20-21.
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Willard Rhodes, "A Decade of Progress", Ethnomusicology 7 (1963): 178, accessed 29 September 2013.William Rhodes, "SEM History", The Society for Ethnomusicology Website, accessed 29 September 2013.
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Neither should be considered as an end in itself; the two must be joined into a wider understanding. This definition of ethnomusicology comes in response to a number of other important ethnomusicology authors, such as Jaap Kunst, who defined ethnomusicology via the types of music studied in the field, Merriam’s own definition of ethnomusicology concerns a more general idea set with which the field of ethnomusicology is concerned with. In his own words, he defines it simply as “the study of music in culture” (cite Merriam’s 1960 work here).
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Bruno Nettl distinguishes between discipline and field, believing ethnomusicology is the latter.Nettl, Bruno. 1975. "The State of Research in Ethnomusicology, and Recent Developments." Current Musicology 20: 67-78.
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Many universities around the world offer ethnomusicology classes and act as centers for ethnomusicological research by the Society of Ethnomusicology lists some graduate and undergraduate degree- granting programs.
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"Alexander J. Ellis and His Place in the History of Ethnomusicology." Ethnomusicology p. 308 Together with Otto Abraham, they founded the "Berlin School of Comparative Musicology".Christensen, Dieter. 1991.
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Comparative musicology and early ethnomusicology tended to focus on non-Western music, but in more recent years, the field has expanded to embrace the study of Western music from an ethnographic standpoint. The International Council for Traditional Music (founded 1947) and the Society for Ethnomusicology (founded 1955) are the primary international academic organizations for advancing the discipline of ethnomusicology. Ethnomusicologists have offered varying definitions of the field. More specifically, scholars debate what constitutes ethnomusicology.
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Nettl, Bruno. 1963. "A Technique of Ethnomusicology Applied to Western Culture." Ethnomusicology 7(3): 221-224. He is interested in the categories they would create to classify their own music.
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The purpose of this book is to create a better understanding of the anthropological aspects of music, defining ethnomusicology as not the study of the music of non-western cultures, but instead as the study of the relationship which music bears to society. Merriam claims the goals of ethnomusicology cannot be realized by considering music to be an object separate from the humans which make it, and therefore argues for the sake of an anthropology of music. Studying just the music as an object, Merriam argues, is counterintuitive to the goals of ethnomusicology, excluding a very important aspect of ethnomusicology, which is music’s intrinsic ties to the ways humans act. Articulating this relationship, Merriam states, Ethnomusicology, Merriam posits, “has most often been made in terms of what [musicology] encompasses,” being that the realms of musicology and ethnomusicology are exclusive to one another, and ethnomusicology has simply been relayed as being what musicology is not. Moving towards a clearer definition of ethnomusicology, Merriam writes that ethnomusicology “makes its unique contribution in welding together aspects of the social sciences and aspects of the humanities in such a way that each complements the other and leads to a fuller understanding of both.
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Lucy's Legacy. Kindle Books.Netti, Bruno (2005). The Study of Ethnomusicology.
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Over time, the definition broadened to include study of all the musics of the world according to certain approaches.Merriam, Alan. 1960. "Ethnomusicology: A Discussion and Definition of the Field." Ethnomusicology 4(3): 107-114.
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A proposed decolonized approach to ethnomusicology involves reflecting on the philosophies and methodologies that constitute the discipline.Adamy, Hannah. "Reading, Decolonizing: Some Resources From Many Perspectives." Society for Ethnomusicology Student News 12(2): 42-43.
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His heavy association with the anthropology school of ethnomusicology had resulted in his views on the various issues plaguing ethnomusicology to considered representative of the attitudes and views of the anthropology school.Nettl, Bruno. 2005. “20.
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In 1963, The Society for Ethnomusicology produce a special, tenth anniversary issue with articles that looked back at the Newsletter and Society’s accomplishments. Challenged to find a way to measure these successes, David McAllester and Donald Winkelman both commented on the impressive efforts made at academic institutions around the country to include courses entirely or partially related to ethnomusicology. In McAllester’s “Ethnomusicology: The Field and the Society” article, he quoted Winkelman’s finding that about 30 institutions offered anywhere from one to fourteen courses related to ethnomusicology.David P., McAllester, "Ethnomusicology, the Field and the Society", Ethnomusicology 7 (1963): 182, accessed 29 September 2013. This is an incredible number when compared to the findings of Bruno Nettl, who had been charged to construct a survey of the institutions that offered courses in ethnomusicology in 1954, which showed that only fourteen institutions made the list.Nettl 183.
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These changes to the field's name paralleled its internal shifts in ideological and intellectual emphasis.Nettl, Bruno. "The Harmless Drudge: Defining Ethnomusicology." The Study of Ethnomusicology: Thirty-one Issues and Concepts. Urbana: U of Illinois, 2005. 3-5. Print.
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An individual that stood as a foil to him was his fellow ethnomusicologist, Mantle Hood. A member of the musicology school of ethnomusicology, Hood was known for initiating an important ethnomusicology graduate program at UCLA. This graduate program was centered on bimusicality or “international musicianship,” the practice in graduate ethnomusicology where students should make the effort to become proficient in musical traditions outside of their own.
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He ultimately proposes an ethnographic model of disability as a complementary alternative to existing socio-medical models, further arguing that the ethnographic and relativistic principles of applied ethnomusicology can effectively promote neurodiversity and autism acceptance.Bakan, Michael B., et al. "Following Frank: Response-ability and the co-creation of culture in a medical ethnomusicology program for children on the autism spectrum." Ethnomusicology 52.2 (2008): 163-202.
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From 1958 to January 1972 she was dance editor for the journal Ethnomusicology.
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Baker, Geoffrey. 2005. "¡Hip hop, Revolución! Nationalizing Rap in Cuba." Ethnomusicology 49, no.
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Programs include: MA and PhD in Music Education, Musicology, Theory, Performance and Ethnomusicology.
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This simplified model was used by Rice as a foil to the method he was proposing, consistently referencing how his model furthered things accomplished by the Merriam model.Rice, Timothy. 1987. “Toward the Remodeling of Ethnomusicology.” Ethnomusicology 31(3): 469-516.
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Mengel, Maurice (2007): The Age of Archives in Early Romanian Ethnomusicology. Towards a Paradigm of the Archive Between 1927 and 1943. In European Meetings in Ethnomusicology 12, pp. 146–168.Marian-Bălaşa, Marin (2003): Studii şi materiale de antropologie muzicală.
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Alarcon-Jimenez, Ana-Maria. "Student Voices." Society for Ethnomusicology Student News 12(2): 6. One of the issues proposed by Brendan Kibbee for "decolonizing" ethnomusicology is how scholars might reorganize the disciplinary practices to broaden the base of ideas and thinkers.
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Bakan describes Mark's experience as a "remarkable and positive behavioral/emotional transformation in him".Bakan, Michael B. 2009. "Measuring Happiness in the Twenty-First Century: Ethnomusicology, Evidence-Based Research, and the New Science of Autism." Ethnomusicology 53(3):510–518.
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He helped develop the ethnomusicology depart alongside Nicholas England, but later traveled to Africa and Asia to conduct and bring back research.McAllester, “Obituary: Willard Rhodes (1901-1992),” 256. Bruno Nettl and Richard Waterman were able to bridge the gap between the anthropology and music departments by teaching across both departments, bringing up Wayne State University as one of the countries strongest ethnomusicology institutions.McAllester, "Ethnomusicology, the Field and the Society," 184.
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In 1975, he moved to the U.S. for doctoral studies in Ethnomusicology at Wesleyan University.
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Jody Diamond. "Review: Out of Indonesia: Global Gamelan." Ethnomusicology 42/1 (Winter 1998), 174-183.
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Ethnomusicology can benefit from psychological approaches to the study of music cognition in different cultures.
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The purpose of this prize is "[t]o recognize the most significant article in ethnomusicology written by a member of the Society for Ethnomusicology and published within the previous year (whether in the journal Ethnomusicology or in another journal or edited collection)." In 2011, her book Women, the Recited Qur’an, and Islamic Music in Indonesia received the Alan Merriam Prize Honorable Mention. She received the Phi Beta Kappa Award for Excellence in Teaching.
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He served as president of the Society for Ethnomusicology and as editor of its journal, Ethnomusicology. Nettl held honorary doctorates from the University of Illinois, Carleton College, Kenyon College, and the University of Chicago. He was a recipient of the Fumio Koizumi Prize for ethnomusicology, and was a fellow of the American Academy of Arts and Sciences. Nettl was named the 2014 Charles Homer Haskins Prize Lecturer by the American Council of Learned Societies.
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The study of music of non-Western cultures, and the cultural study of music, is called ethnomusicology. Students can pursue the undergraduate study of musicology, ethnomusicology, music history, and music theory through several different types of degrees, including bachelor's degrees, master's degrees and PhD degrees.
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" The Study of Ethnomusicology: Thirty-one Issues and Concepts. Urbana: University of Illinois, 2005. Print. This type of research contributed to a larger phenomenon called Orientalism." It was also during that time that Clifford Geertz's concept of thick description spread from anthropology to ethnomusicology.
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Baker, Geoffrey. 2005. "¡Hip hop, Revolución! Nationalizing Rap in Cuba." Ethnomusicology 49, no. 3: pg. 368.
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His chief area of interest in the field of ethnomusicology was the folk music of Turkey.
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Stated broadly, ethnomusicology may be described as a holistic investigation of music in its cultural contexts.See Combining aspects of folklore, psychology, cultural anthropology, linguistics, comparative musicology, music theory, and history,McCollum, Jonathan and Hebert, David, Eds., (2014). Theory and Method in Historical Ethnomusicology Lanham, MD: Rowman&Littlefield.
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Jonathan McCollum, Associate Professor of Music at Washington College in Chestertown, Maryland, is an ethnomusicologist and performer on the Japanese shakuhachi. He is the founding Chair of the Historical Ethnomusicology section of the Society for Ethnomusicology, and is known for his work on the music of Armenia.
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Merriam, Alan. 1960. “Ethnomusicology: A Discussion and Definition of the Field.” Ethnomusicology 4(3): 107-114. He continued his efforts to arrive at a more accurate definition of ethnomusicology by later suggesting that music was the study of “music as culture.” The distinction between these two approaches to define ethnomusicology lie in how culture is treated relative to the study of music. The approach of studying “music in culture” assumes that culture is a complex quality inherent to any society and music exists as a component of that quality. Treating “music as culture” conceives culture not as an object with comments but as a fluid construct and that methods of understanding it can be applied to understanding music.Nettl, Bruno. 2005. “16. Music and “That Complex Whole”: Music in Culture.” In The Study of Ethnomusicology: Thirty-One Issues and Concepts, 215-231.
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Giovanna Marini (born Giovanna Salviucci; 19 January 1937) is an Italian singer-songwriter and researcher of ethnomusicology.
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Maceda, Jose. "A Concept of Time in a Music of Southeast Asia." Ethnomusicology Vol. 30. No. 1.
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Guillaume Veillet is a French cultural journalist and researcher in ethnomusicology born on to Ambilly (Haute-Savoie).
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Nettl, Bruno. 2005. "10. Come Back and See Me Next Tuesday." In The Study of Ethnomusicology: Thirty-One Issues and Concepts, 133-148. Urbana and Chicago: University of Illinois Press The importance of fieldwork in the field of ethnomusicology has required the development of effective methods to pursue fieldwork.
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Namely, she urged ethnomusicologists to research and engage with the music community in order to facilitate the development of educational and therapy programs to further the fight against AIDS.Van Buren, Kathleen J. 2010. "Applied Ethnomusicology and HIV and AIDS: Responsibility, Ability, and Action." Ethnomusicology 54(2):202–223.
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After Mantle Hood began teaching at UCLA the following year, Brown switched to ethnomusicology and became Hood's first teaching assistant. Brown received his doctorate in ethnomusicology from UCLA. His dissertation was titled The Mrdanga: A Study of Drumming in South India (1965). He studied and played the mridangam.
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In Ethnomusicology, Terrence Grimes praises "the overt humanness captured in the dialogue of the film's subjects", saying that it "gives viewers an ardent feeling, force, and joy that is contagious".Grimes, Terrence K., "Say Amen, Somebody! by George T. Neirenberg", Ethnomusicology, Vol. 32, No. 2 (Spring – Summer, 1988), pp.
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The great diversity of musics found across the world has necessitated an interdisciplinary approach to ethnomusicological study. Analytical and research methods have changed over time, as ethnomusicology has continued solidifying its disciplinary identity, and as scholars have become increasingly aware of issues involved in cultural study (see Theoretical Issues and Debates). Among these issues are the treatment of Western music in relation to music from "other," non-Western culturesKolinski, Mieczyslaw. 1957. "Ethnomusicology, Its Problems and Methods." Ethnomusicology 1(10): 1-7.
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The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press. Pp. 316.
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"In the Beginning." The Study of Ethnomusicology: Thirty-one Issues and Concepts. Urbana: University of Illinois, 2005. Print.
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The school is subdivided into the Department of Ethnomusicology, the Department of Music, and the Department of Musicology.
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M.A. Theses in Ethnomusicology and Composition, Wesleyan University. Department of Music. Dreyblatt, Arnold, 1982. Retrieved January 30, 2013.
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Reviewed Work: The Music of Arab Americans: A Retrospective Collection. Ethnomusicology, Vol. 45, No.1. pp 186-187.
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Bouhassoun remains based in Paris, but continues to return to Syria annually to visit family and research ethnomusicology.
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The Continuity of change: On People Changing Their Music.” In The Study of Ethnomusicology: Thirty-One Issues and Concepts, 272-290. Urbana and Chicago: University of Illinois Press. Issues that Merriam has weighed on in heavily in his opinion pieces are the way the field had been and should be defined and the directions it was taking during his lifetime. On defining ethnomusicology, Merriam draws on his background as an anthropologist to surmise that as a field ethnomusicology should aim to study “music in culture.” Merriam emphasizes that to further his argument that ethnomusicology must continue its transition into the study of broader issues by removing focus from the study of musical objects.
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The following year he enrolled at UMBC to study for a Ph.D. in ethnomusicology, which was awarded in 1998.
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She was the Head of the Department of Ethnology and Ethnomusicology at the UCP University from 2005 until 2011.
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During its early development from comparative musicology in the 1950s, ethnomusicology was primarily oriented toward non-Western music, but for several decades it has included the study of all and any musics of the world (including Western art music and popular music) from anthropological, sociological and intercultural perspectives. Bruno Nettl once characterized ethnomusicology as a product of Western thinking, proclaiming that "ethnomusicology as western culture knows it is actually a western phenomenon"; in 1992, Jeff Todd Titon described it as the study of "people making music".
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As comparative musicology was founded primarily in Europe, most scholars based their comparisons in Western music. In an effort to adjust the Western bias present in their studies, academics such as Jaap Kunst began adjusting their approaches in analysis and fieldwork to become more globally focused.Merriam, Alan P. 1977 "Definitions of "Comparative Musicology" and "Ethnomusicology": An Historical-Theoretical Perspective." Ethnomusicology 21(2): 189 In the 1950s, comparative musicology continued to evolve to become ethnomusicology, but still remains today a field focused primarily on comparative studies in music.
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Due to its nature as a field at the intersection of several disciplines, ethnomusicology takes on many forms and is viewed through many lenses, highly dependent on the goals and background of the ethnomusicologist.Nettl, Bruno. 2005. “1. The Harmless Drudge.” In The Study of Ethnomusicology: Thirty-One Issues and Concepts, 3-15.
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One idea posed is that the preference and privilege of the written word more than other forms of media scholarship hinders a great deal of potential contributors from finding a space in the disciplinary sphere.Kibbee, Brendan. "Decolonizing through Sound: Can Ethnomusicology Become More Audible?." Society for Ethnomusicology Student News 12(2): 21-23.
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In 1994 she founded the Web bulletin, "Italian Ethnomusicology," transformed in 1996 into the multimedia Web journal Music and Anthropology .
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"A Concept of Time in a Music of Southeast Asia." Ethnomusicology Vol. 30. No. 1. (Winter 1986), pp. 11-53.
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Netsky holds a Ph.D. in Ethnomusicology from Wesleyan University and bachelor's and master's degrees in composition from New England Conservatory.
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He was one of the pioneer of ethnomusicology in India. His books in English and Marathi are considered to be most authentic and thoughtful sources of cultural musicology. His books Indology and Ethnomusicology: Contours of Early Indo-British Relationship (Promilla and Co., New Delhi, 1992), Essays in Indian Ethnomusicology (Munshiram Manoharlal, New Delhi, 1998), Perspectives on Music: Ideas and Theories (Promilla and Co. Publishers, New Delhi and Chicago, 20080 and Reflections on Musicology and History – With reference to Hindustani Music (Indian Musicological Society, Mumbai-Baroda, 2001) give insights in Indian ethnomusicology. In Keywords and Concepts in Hindustani Music and Music-Contexts: A Concise Dictionary of Hindustani Music, he has meticulously explained many terms and concepts in Hindustani Art music with etymology and cultural connotations.
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In 2002, Rasmussen won the Jaap Kunst Prize for her work "The Qur'an in Indonesian Daily Life: The Public Project of Musical Oratory" from the Society for Ethnomusicology.Jaap Kunst Prize at the Society for Ethnomusicology. Accessed May 12, 2016. This award is given to the best article published annually in the field of ethnomusicology.
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Rob Bowman (born 21 June 1956) is a Canadian Grammy-award-winning professor of ethnomusicology and a music writer. Formerly the director of York University's Graduate Program in Ethnomusicology and Musicology in Toronto, he has written many liner notes, studies and books on popular music. He has been nominated six times for Grammy Awards.
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Rasmussen has written articles appearing in many journals, including Ethnomusicology, Asian Music, Popular Music, American Music, The World of Music, The Garland Encyclopaedia of World Music, and the Harvard Dictionary of Music. She produced four CD recordings documenting immigrant and community music in the United States. She is a former Fulbright senior scholar and served as the First Vice President of the Society for Ethnomusicology. Rasmussen has been teaching courses in ethnomusicology at The College of William & Mary since 1993, where she also directs with Middle Eastern Music Ensemble.
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While the traditional subject of musicology has been the history and literature of Western art music, ethnomusicology was developed as the study of all music as a human social and cultural phenomenon. Oskar Kolberg is regarded as one of the earliest European ethnomusicologists as he first began collecting Polish folk songs in 1839 (Nettl 2010, 33). Comparative musicology, the primary precursor to ethnomusicology, emerged in the late 19th century and early 20th century. The International Musical Society in Berlin in 1899 acted as one of the first centers for ethnomusicology.
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After high school, he attended Northwestern University, earning degrees in directing and ethnomusicology. He also directed stage productions while at Northwestern.
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Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press. Pp. 310.
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"La Habana que no conoces: Cuban rap and the social construction of urban space." Ethnomusicology Forum 15, no. 2: 219, 221.
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The Zeibekiko usually has a rhythmic pattern of Kilpatrick, David. "Ethnomusicology", Vol. 6, No. 3, Canadian Issue (Sep., 1972), p. 577.
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"La Habana que no conoces: Cuban rap and the social construction of urban space." Ethnomusicology Forum 15, no. 2: 215-46.
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Both the school of music and Opera on the Avalon produce operatic works. Memorial's Research Centre for the Study of Music, Media, and Place, houses Memorial's graduate program in ethnomusicology. A leading institution for research in ethnomusicology, the Centre offers academic lectures, scholarly residencies, conferences, symposia, and outreach activities to the province on music and culture.
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Ethnomusicology has been referenced in popular media on occasion. The movie Songcatcher is loosely based on the work of an early ethnomusicologist.
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Field recording was originally a way to document oral presentations, and ethnomusicology projects (pioneered by Charles Seeger, John Lomax and Béla Bartók).
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Music has long been a central medium for cross-cultural exchange. The cross-cultural study of music is referred to as ethnomusicology.
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These two ethnomusicologists in practice emphasized different things in what they believed ethnomusicology should accomplish. Hood was more interested in creating a graduate student body that could accomplish the egalitarian purpose of ethnomusicology in spreading world musics and preserving them. In contrast, Merriam’s priorities lay in proposing a theoretical framework (as he does in The Anthropology of Music) for studying musical data and using that analysis for application towards solving musical problems. Merriam’s contribution to ethnomusicology was felt past his death but especially in the works of Tim Rice of UCLA in the 1980s as he himself was trying to propose a more composed and exact model for conducting work in ethnomusicology. He deconstructed Merriam’s method as stated in The Anthropology of Music and described it as consisting of three analytical levels.
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Michael Bakan, professor of ethnomusicology and Florida State University, has spearheaded research efforts to apply ethnomusicology to autism, and conceptually sees the practice as a form of applied ethnomusicology. He sees the ethnomusicology of autism as in the same realm as other similar epistemological frameworks related to the condition, including the autistic self-advocacy and neurodiversity movements, disability studies, and the anthropology of autism. In his research and publications, he utilizes a polyvocal narrative approach by splicing his words and ideas with the children on the autism spectrum who he plays and listens to music with. He also integrates the ideologies of spokespeople from the autistic self-advocacy movement, and scholars, scientists, and disability rights advocates who represent a broad range of positions and epistemic schools of thought.
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He also studied at Clare College, Cambridge and received a Rockefeller Foundation Fellowship to study ethnomusicology at the University of California, Los Angeles.
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Historical research made using this resource is published in "African Music: Journal of the International Library of African Music" and includes titles such as, for example, "A failed showcase of empire? The gold coast police band, colonial record keeping, and a 1947 tour of Great Britain". In 2018, David Garcia and Naoko Terauchi were co- winners of the Bruno Nettl award from the Society for Ethnomusicology. This annual award is granted "to recognize an outstanding publication contributing to or dealing with the history of the field of ethnomusicology, broadly defined, or with the general character, problems, and methods of ethnomusicology".
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Béhague taught music history, American music, and Latin American music at the University of Illinois at Urbana-Champaign from 1966 to 1974. His scholarly interests gravitated towards ethnomusicology (a new field of interdisciplinary study of music and its complex interrelationships with the cultures that produce it). He ultimately started a program there in Latin American ethnomusicology which is currently maintained by one of his protégés, former UT Austin student Robin Moore. Béhague joined the School of Music faculty at the University of Texas at Austin in 1974, his permanent academic position, where he was instrumental in establishing the graduate program in ethnomusicology.
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In the entry for "Sociomusicology" in the SAGE International Encyclopedia of Music and Culture, David Hebert argues that recent use of the term suggests four definitions: sociology of music, any kind of social scientific research on music (e.g. economic, political, etc.), a specialized form of ethnomusicology focused on relations between sound events and social structure, and a prospective replacement term for ethnomusicology.
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It is often the case that interests in ethnomusicology stem from trends in anthropology, and this no different for symbols. In 1949, anthropologist Leslie White wrote, "the symbol is the basic unit of all human behavior and civilization," and that use of symbols is a distinguishing characteristic of humans.Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts.
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"Philosophy of History and Theory in Historical Ethnomusicology". In J. McCollum and D. G. Hebert, Eds., Theory and Method in Historical Ethnomusicology. Lanham, MD: Lexington Books / Rowman & Littlefield, pp.85-148 Hebert asserts that music contests can have not only positive, but also negative consequences for participants and the musical traditions they display, and require careful design for desirable outcomes.
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McCollum, Jonathan and Hebert, David (2014) Theory and Method in Historical Ethnomusicology Lanham, MD: Lexington Books / Rowman & Littlefield Through use of "a broad spectrum of geocultural examples, the volume includes several engaging strategies for using and writing about history in order to understand the world's musics".Justin R. Hunter (2016). Theory and Method in Historical Ethnomusicology. "NOTES", 72(3), pp.534-537.
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Brown began teaching at Wesleyan University in 1961. He founded the world music/ethnomusicology program at Wesleyan. It was here that Brown first used the term "world music" to describe the ethnomusicology program. Bob Brown followed the philosophy advocated by Mantle Hood, who could be considered the father of gamelan music education in the USA: that students become bi-musical.
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"Music-Prayer-Meditation Dynamics in Healing." The Oxford Handbook of Medical Ethnomusicology. Ed. Benjamin Koen et. al. New York: Oxford University Press. 93-120.
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Ceribašić, Naila. 1998. Ethnomusicology and Ethnochoreology at the Institute During the Nineties. Narodna umjetnost : hrvatski časopis za etnologiju i folkloristiku, 35(2), 66-66.
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Hall, R. (2002) Round the house and mind the dresser: Irish country house dance music. British journal of ethnomusicology, 11, p. 151–154, 2002.
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R. Anderson Sutton, "Interpreting Electronic Sound Technology in the Contemporary Javanese Soundscape," Ethnomusicology 40:2 (Spring – Summer 1996): 249, JSTOR, Online (7 January 2008).
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Baker, Geoffrey. 2006. "La Habana que no conoces: Cuban rap and the social construction of urban space." Ethnomusicology Forum 15, no. 2: pg. 225.
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Kachamba was artist-in-residence at UCLA's Department of Ethnomusicology from November 1999 until July 2000. Donald Kachamba died on Friday 12 January 2001.
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In R. Bader, C. Neuhaus & U. Morgenstern (eds). Concepts, experiments, and Fieldwork : Studies in systematic musicology and ethnomusicology, pp. 217–232. Frankfurt/Main, Peter Lang.
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Loren Nerell (born November 30, 1960) is an American composer and performer of ambient American music and Balinese gamelan.Local Artist Loren Nerell Plays Immersion Fest Saturday , LBPost.com, October 16, 2009 As a composer, Loren has written music for film, theater, dance, and interactive multi-media. He has performed with the Kronos Quartet,Kronos Quartet to Hold Residency at Ethnomusicology Department of Ethnomusicology Newsletter, Vol.
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In France, he studied with Nadia Boulanger. From 1937 to 1969, he served as a professor at Columbia University, where he founded the graduate program in ethnomusicology, and co-founded the Society for Ethnomusicology, serving as that organization's first president. He also conducted field recording in Zimbabwe, Nigeria, and India. His field recordings have been released by Folkways Records and the Library of Congress Recording Laboratory.
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Nazir Ali Jairazbhoy (October 31, 1927 - June 20, 2009) was a professor of folk and classical music of South Asia at the University of California at Los Angeles, where he was the founding chair of the Department of Ethnomusicology and Systematic Musicology. He was appointed professor of music at UCLA in 1975, and retired in 1994. He was president of the Society for Ethnomusicology.
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We are "living in an ecumenical age when the disciplines to which we are 'sub' are moving closer together," wrote Tim Rice in 1987. Richard Crawford responded that scholars indulge in both ecumenical, meaning inclusive, and sectarian thought. In 2017, the Society for Ethnomusicology (SEM) recognized that a trend of nativism and social exclusion within the United States and the world could threaten the values of ethnomusicology, values the SEM defines as including inclusivity and respect for diversity. They raise the question of whether the global political situation could cause a change in the way ethnomusicology is done in the future, or if the field will shrink as a result.
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Ethnomusicology, 11(2), 188-198. In the seventies and eighties, like with ethnomusicology, ethnochoreolology had a focus on a very specific communicative type of "folklore music" performed by small groups and the context and performance aspects of dance were studied and emphasized to be a part of a whole "folkloric dance" that needed to be preserved. This was influenced by the same human centered "thick description" way of study that had moved into ethnomusicology. However, at this time, the sound and dance aspects of the performances studied were still studied and analyzed a bit separately from the context and social aspects of the culture around the dance.
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Nettl, Bruno. 2005. "6. Apples and Oranges." In The Study of Ethnomusicology: Thirty-One Issues and Concepts, 60-73. Urbana and Chicago: University of Illinois Press.
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In this way, the field aims to avoid an "us vs. them" approach to music.Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts.
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Sandra Stahl Dolby aka Sandra K. D. Stahl (born 1946) is a professor in Indiana University’s Department of Folklore and Ethnomusicology and the American Studies Program.
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"The real song catchers: American women pioneers of Ethnomusicology (paper)." Music Library Association, Women's Music Round Table, Austin, Texas, February 14, 2003. Retrieved: April 24, 2016.
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This definition embodies the purpose of the entirety of The Anthropology of Music, being that ethnomusicology is not weighed further in favor of the ethnological or musicological, but instead an inseparable amalgamation of the two. Another aspect of ethnomusicology which Merriam sought to make clear in The Anthropology of Music is the overarching goal of the field of ethnomusicology. Merriam claims, “There is no denial of the basic aim, which is to understand music; but neither is there an acceptance of a point of view which has long taken ascendancy in ethnomusicology, that the ultimate aim of our discipline is the understanding of music sound alone.” This harkens back to the difficulties in ethnomusicology’s past priorities, which were simply the understanding of sound as an object in and of itself, and almost no emphasis was placed on the relationship music had with the cultures it existed in.
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He is an alumnus of the ethnomusicology of the Estonian Academy of Music and Theatre since 2011. Father Sakarias is married to Marion Leppik, a cultural anthropologist.
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Maguire holds a BA Hons Degree in Ethnomusicology and is studying for a master's degree. In 2006, Maguire signed to Dublin modeling agency, Morgan, exiting in 2010.
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Rainer Polak is an ethnomusicologist and djembe drummer who has researched in the field of West African celebration music performances and written in the field of ethnomusicology.
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Michael Tenzer in 1992 Michael Tenzer (born 1957) is a composer, performer, and music educator and scholar. Tenzer was born in New York City and studied music at Yale University (BA. 1978) and University of California, Berkeley (Ph.D. 1986). After teaching at Yale from 1986–96, he moved to University of British Columbia where he teaches ethnomusicology, composition, music theory and gamelan performance, co-directs the doctoral program in ethnomusicology.
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Video review David Kaufman, The New Klezmorim: Voices Inside the Revival of Yiddish Music. Ethnomusicology, Journal of the Society for Ethnomusicology, vol. 47, no. 2 (Spring/Summer 2003): 284-286. Book review Yaacov Mazor, The Klezmer Tradition in the Land of Israel, Jerusalem: The Hebrew University, The Jewish Music Research Centre, 2000. Yearbook for Traditional Music 34 (2002): 207-208. Book review Walter Salmen, Jüdische Musikanten und Tänzer vom 13.
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Wesleyan's program in World Music, described as "one of the top schools in the country for the study of ethnomusicology""The Arms Music Center (Amherst College), A Comparative Facility Report", March 2007 , Comparative Analysis, Wesleyan University, p. 37. Retrieved 9 December 2011Best Schools with Ethnomusicology Graduate Programs: List of Schools , Education-portal.com. Retrieved on 17 October 2011. and music, employs leading teaching musicians and ethnomusicologists, representing a variety of musical traditions.
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""Let's enjoy as Nicaraguans": The use of music in the construction of a Nicaraguan national consciousness. " Ethnomusicology 43.2 (1999): 297-321. Research Library, ProQuest. Web. 11 May. 2010.
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The sociological study of music, sometimes called sociomusicology, is often pursued in departments of sociology, media studies, or music, and is closely related to the field of ethnomusicology.
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Brunnel-Smith, Kenneth. 2008. "Alzheimer's Disease and the Promise of Music and Culture as a Healing Process." The Oxford Handbook of Medical Ethnomusicology. Ed. Benjamin Koen et al.
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See Mark L. Kligman. "The Bible, Prayer, and Maqam: Extra-Musical Associations of Syrian Jews." Ethnomusicology, volume 45 (number 3) (Autumn 2001): pages 443–479. Mark L. Kligman.
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See Mark L. Kligman. "The Bible, Prayer, and Maqam: Extra-Musical Associations of Syrian Jews." Ethnomusicology, volume 45 (number 3) (Autumn 2001): pages 443–479. Mark L. Kligman.
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The two approaches to ethnomusicology bring unique perspectives to the field, providing knowledge both about the effects culture has on music, and about the impact music has on culture.
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Barz, Gregory, Benjamin Koen, and Kenneth Brunnel-Smith. 2008. "Introduction: Confluence of Consciousness in Music, Medicine, and Culture." The Oxford Handbook of Medical Ethnomusicology. Ed. Benjamin Koen et. al.
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Cubillos was born in Torrance, California. He began playing guitar at age 5 and studied jazz and ethnomusicology at Los Angeles County High School for the Arts and UCLA.
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Barbeau's primary contribution to ethnomusicology was primarily around collection.Sargent, Margaret. Folk and Primitive Music in Canada. Journal of the International Folk Music Council, Vol. 4 (1952), pp. 65-68.
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Mokhtabad completed his PhD in Western Composition and Ethnomusicology under Professor Stanley Glasser and Professor John Baily at Goldsmiths, University of London in 2008. Mokhtabad currently resides in Tehran.
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By the 1940s and 1950s it was performed with accordions.Hutchinson, Sydney. (2006). Merengue Típico in Santiago and New York: Transnational Regionalism in a Neo-Traditional Dominican Music. Ethnomusicology, Vol.
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Down this hall is the Centre for Cape Breton Studies, which houses the Folklore and Ethnomusicology Faculties, the Seminar Room, the Rotary Music Performance Room, and the Digitization Lab.
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Specifically, the idea that ethnomusicology is or can be at all factual. In a 1994 book, May it Fill Your Soul: Experiencing Bulgarian Music, Timothy Rice uses enlightenment philosophy to substantiate his opinion that fieldwork cannot be used as fact. The philosophy he works with involves theorizing over the distinction between objectivity and subjectivity. In order to ground those debates in ethnomusicology, he equates musicology to objectivity and musical experience to subjectivity.
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Bill Ivey currently serves as Visiting Research Scholar to the Indiana University Department of Folklore and Ethnomusicology, and is a trustee of the Washington, DC-based Center for American Progress.
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Kolinski, Mieczyslaw. 1977. "Final Reply to Herndon." Ethnomusicology 21(1): 76. Herndon, backing "native categories" and inductive thinking, distinguishes between analysis and synthesis as two different methods for examining music.
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Este was studying at UCLA and graduated in 2010 with a degree in Ethnomusicology (completed in just two years instead of the normal five), specializing in Bulgarian and Brazilian music.
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In composition, one may study for either the DMA or the PhD, depending on the institution. The PhD is the standard doctorate in music theory, musicology, music therapy, and ethnomusicology.
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Diaz, J. D. (2017). Between repetition and variation: A musical performance of malícia in capoeira. Ethnomusicology Forum, 26(1), 46-68. doi:10.1080/17411912.2017.1309297 Similarly capoeiristas use the concept of mandinga.
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Adopting a more anthropological analytical approach, Steven Feld conducted descriptive ethnographic studies regarding "sound as a cultural system."Feld, Steven. 1984 "Sound Structure as Social structure." Ethnomusicology 28(3): 383-409.
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That aside, Merriam proceeds to characterize the nature of ethnomusicological fieldwork as being primarily concerned with the collection of facts. He describes ethnomusicology as both a field and a laboratory discipline.
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The Music Library has digitized this collection and made it available on the World Wide Web."About the center." The Center for Ethnomusicology and Columbia University, 2015. Retrieved: April 24, 2016.
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The Fumio Koizumi Trust was established by Koizumi Mieko, widow of Professor Koizumi Fumio (1927–83), on October 11, 1989, to commemorate her husband's lifelong devotion to ethnomusicology and to honour individuals and organizations who have made significant contributions to this field. The first Fumio Koizumi Prize was awarded in 1989 to a British ethnomusicologist John Blacking, and to Ethnomusicology Research Group of Tokyo National University of Fine Arts and Music. Up to now, 27 individuals and 2 groups have been awarded this prize. List of the winners of the prize together with the reasons for the award can be seen at the Fumio Koizumi Prize in Ethnomusicology Website From 2009 year onwards presented prize lecture texts are also placed on the prize website.
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Over the decades, The Society for Ethnomusicology has created a setting that allows scholars to publish and present their work from the field, better communicate and connect with fellow researchers, and provides leadership opportunities for those striving to improve the field of ethnomusicology.Bruno Nettl, “We’re on the Map: Reflections on SEM in 1955 and 2005,” Ethnomusicology 50 (2006) The society currently publishes a quarterly newsletter, a quarterly journal entitled Ethnomusicology, and an extensive set of "ographies" (bibliography, discography, filmography, videography). It organizes an annual international conference and over a dozen regional conferences, maintains an active website, and presents more than a dozen awards for scholarship and service, such as the Jaap Kunst prize for the best published article in the field.
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Musicology, the academic study of the subject of music, is studied in universities and music conservatories. The earliest definitions from the 19th century defined three sub-disciplines of musicology: systematic musicology, historical musicology, and comparative musicology or ethnomusicology. In 2010-era scholarship, one is more likely to encounter a division of the discipline into music theory, music history, and ethnomusicology. Research in musicology has often been enriched by cross- disciplinary work, for example in the field of psychoacoustics.
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Further, prompted by a college student's personal letter, he recommended that potential students of ethnomusicology undertake substantial musical training in the field, a competency that he described as "bi-musicality." This, he explained, is a measure intended to combat ethnocentrism and transcend problematic Western analytical conventions. Seeger also sought to transcend comparative practices by focusing on the music and how it impacted those in contact with it. Similar to Hood, Seeger valued the performance component of ethnomusicology.
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"Personhood Consciousness: A Child-Ability-Centered Approach to Sociomusical Healing and Autism Spectrum 'Disorders'." The Oxford Handbook of Medical Ethnomusicology. Ed. Benjamin Koen et. al. New York: Oxford University Press. 461-481.
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Ghosh is a first-generation Canadian who studied classical Indian music as a child. Ghosh has master's degrees in biostatistics and ethnomusicology from the University of Vermont. He lives in upstate Vermont.
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A collection of Rhodes' recordings and other materials is held by the UCLA Ethnomusicology Archive. A selection of American Indian music, chosen by Rhodes, was released on the Voyager Golden Record (1977).
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Fritz A. Kuttner. "Prince Chu Tsai-Yü's Life and Work: A Re-Evaluation of His Contribution to Equal Temperament Theory", p.200, Ethnomusicology, Vol. 19, No. 2 (May 1975), pp. 163–206.
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Saint John cites her father as her biggest inspiration. In 1999, she graduated from Wesleyan University with a degree in English. Her father received a PhD in ethnomusicology in 1977, also from Wesleyan.
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As an Andrés Segovia Endowed Music Scholarship recipient, he has pursued doctoral minors in the areas of Music Theory, Ethnomusicology and Flamenco Guitar, and has studied performance with the legendary guitarist Pepe Romero.
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This cents system allowed from precise delineation of particular measurements denoted from pitch denoted as "hundredths of an equal-tempered semitone".Stock, Jonathan. 2007. "Alexander J. Ellis and His Place in the History of Ethnomusicology." Ethnomusicology 51(2): 306-25 Ellis also established a general definition for the pitch of a musical note, which he noted as "the number of...complete vibrations...made in each second by a particle of air while the note is heard".Ellis, Alexander J. 1885.
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In the field of musicology and ethnomusicology tradition refers to the belief systems, repertoire, techniques, style and culture that is passed down through subsequent generations. Tradition in music suggests a historical context with which one can perceive distinguishable patterns. Along with a sense of history, traditions have a fluidity that cause them to evolve and adapt over time. While both musicology and ethnomusicology are defined by being 'the scholarly study of music' they differ in their methodology and subject of research.
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David Park McAllester (6 August 1916 - 30 April 2006) was an American ethnomusicologist and Professor of Anthropology and Music at Wesleyan University, where he taught from 1947-1986\. He contributed to the development of the field of ethnomusicology through his studies of Navajo and Comanche musics, and he helped to establish the ethnomusicology department and the World Music Program at Wesleyan. His recordings of Navajo and Comanche music led to the establishment of the World Music Archives at the University.
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Gillis worked for 25 years in the Archives of Traditional Music at Indiana University in Bloomington, Indiana. First as Associate Director from 1964 to 1977 and then as Director from 1977 to 1981. During his tenure, he was responsible for the acquisition of a large collection of Shellac Discs, supervised students, gave concerts in Bloomington with the Faculty Five, and taught Jazz and Jazz research at the university.Bibliographic Portrait (Memorial Page from the University of Maryland, Baltimore County) Gillis was also (co-)author of several musicological bibliographies, he was the President of the Society for Ethnomusicology from 1973 to 1975, and from 1966 until 1970 he was the editor of the journal Ethnomusicology,Society of Ethnomusicology (50th Meeting) (PDF; 413 kB) for which he wrote numerous original bibliographical articles including discographies and filmographies.
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In November 1953, David P. McAllester, Alan P. Merriam, and Willard Rhodes attended the 52nd Annual Meeting of the American Anthropological Association taking place in the city of Philadelphia. The three found they shared a common interest, particularly in North American Indian music, but also had productive conversation about, "the problems of ethnomusicology, historical, theoretical and methodological, and above all, a need for association and communication with persons with similar interests." The scholars believed that the ever- evolving field of ethnomusicology would be better navigated if the scholars, musicologist, anthropologists, and anyone with passion for ethnomusicology formed a society. The three agreed that producing a newsletter was the first step in founding a society, as it would unite the wider community of scholars to better communicate research and ideas of their fellow scholars.
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Much of Alice’s performing repertoire had its roots in the music of blackface minstrelsy.Chris Goertzen, “Mrs. Joe Person’s Popular Airs: Early Blackface Minstrel Tunes in Oral Tradition,” Ethnomusicology 35, no. 1 (Winter 1991): 31-53.
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In 2006, he taught laboratory of ethnomusicology at the Suor Orsola Benincasa University of Naples. In 2008, he returned at the Sanremo Festival with the song Grande Sud. He is a supporter of esperanto language.
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Baker, Geoffrey. 2006. "La Habana que no conoces: Cuban rap and the social construction of urban space." Ethnomusicology Forum 15, no. 2: 215-46 Freestyling can allow audience members to integrate into the performance stage.
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Dr. S. A. Kumari Durga (1 June 1940 – 20 November 2016) was a musicologist and ethnomusicologist from the Indian state of Tamil Nadu. She was the founder of the Centre for Ethnomusicology based in Chennai.
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In the summer of 1974 he was a Visiting lecturer at the National Institute of Design, Ahmedabad, India. Between 1974 and 1977 he was a PhD student in Ethnomusicology at Wesleyan University in Connecticut. Thereafter he was Research Fellow in African Music at the Institute of African Studies, University of Nairobi, Kenya, and then Lecturer in Ethnomusicology at Kenyatta University College in Nairobi. The impact of these studies on his subsequent musical output is profound, but Denyer has never been interested in hybridization or "crossover".
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The Jan Popper theater is a 140 seat house intended mainly for small performance groups and lectures, although it has been used for many other types of events.” Aside from the performance venues, Schoenberg Hall also contains the Henry Mancini Media Lab as well as the World Music Center. The World Music Center acts like a composing studio, a recording studio, and a classroom. The World Music Center includes the Ethnomusicology Archives, the World Musical Instrument Collection, and is home to publications by the Ethnomusicology department.
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Tracey standing in his old office at ILAM with author Mark Holdaway, discussing the mbiras and karimbas on the wall. During the 28 years Tracey headed ILAM, he lectured on African music at universities in South Africa, Zimbabwe, United States, Germany, Portugal, for various schools and societies, TV, & radio. He received his own honorary doctorate in ethnomusicology from the University of Natal in Durban in 1995. David Dargie, a Catholic priest, trained in ethnomusicology under Andrew and obtained a doctorate from Rhodes University in 1986.
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In 1987 his critically acclaimed retrospective was presented at the Alianza Francesa in Lima, Peru. A mentor to many young artists from Latin America, he took a special interest in studying Andean philosophy and traditions. His collection of ethnomusicology is housed at the Pontifical Catholic University of Peru."Institute of Ethnomusicology " at "Pontifical Catholic University of Peru", Retrieved on 2007-05-22 (in Spanish) A prolific artist he continued to explore new styles in Huayta Huasi his museum-house in the remote town of Ataura in Jauja.
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Ethnomusicologists Keith Howard, Daniel M. Neuman and Judah Cohen contributed chapters. Hebert now edits a book series in this field with Jonathan McCollum for Rowman and Littlefield press, The Lexington Series in Historical Ethnomusicology: Deep Soundings.
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Paul and Natalie moved to Paris in 1921. Shortly after a successful presentation at a conference on ethnomusicology, Natalie was struck by a taxi on the street and killed. Paul was devastated. He remained in France.
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Later calypso, soa or soul calypso and other influences were incorporated into the music.T M Scruggs. ""Let's enjoy as Nicaraguans": The use of music in the construction of a Nicaraguan national consciousness. " Ethnomusicology 43.2 (1999): 297–321.
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Decolonizing Methodologies: Research and Indigenous Peoples. London: Zed Books Ltd. 98. For ethnomusicology, this shift means that fundamental changes in power structures, worldviews, academia, and the university system need to be analyzed as a confrontation of colonialism.
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He has also performed with Jon Jang and Mark Izu. Brown obtained bachelor's degrees in music and psychology at the University of Oregon and earned master's and Ph.D. degrees in ethnomusicology at the University of California, Berkeley.
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As a result, the philosophy has also been characterized as a form of New Confucianism.Arnold, Perris. 1983. "Music as Propaganda: Art at the Command of Doctrine in the People's Republic of China." Ethnomusicology 27(1):1–28.
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He worked closely with music professor and ethnomusicologist, Walter Kaufmann. At Columbia University, Willard Rhodes had already been teaching some ethnomusicology course since he was made full Professor in 1954.McAllester, “Obituary: Willard Rhodes (1901-1992),” 255.
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Stephen Blum (born March 4, 1942) is an American scholar and musician, whose research has primarily been in ethnomusicology. He has lent a multidisciplinary approach to the writing and publication of numerous articles discussing a wide range of musical topics and ideas. Blum's writing displays a strong knowledge of parallel disciplines through the thoughtful inclusion of academic theory from the fields of sociology, historical musicology, philosophy, anthropology, composition and analysis. Through his continued participation and critiques, he has made numerous contributions to the dialogue surrounding the fields of ethnomusicology and musicology.
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Since ethnomusicology evolved from comparative musicology, some ethnomusicologists' research features analytical comparison. The problems arising from using these comparisons stem from the fact that there are different kinds of comparative studies with a varying degree of understanding between them.Nettl, Bruno. The Study of Ethnomusicology: Thirty-one Issues and Concepts. Chapter 6. Urbana: University of Illinois, 2005. Print. Beginning in the late 60s, ethnomusicologists who desired to draw comparisons between various musics and cultures have used Alan Lomax's idea of cantometrics.Lomax, Alan. 1978 [1968] Folk Song Style and Culture.
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Béhague was recognized during his later life as the leading scholar of Latin American ethnomusicology. He was particularly well known for his research on the music of Brazil, which he studied both as a music historian and as an ethnomusicologist. He served (1969–77) as associate editor of the Yearbook for Inter-American Musical Research, and as editor (1974–78) of the journal Ethnomusicology. In 1980 he founded, and subsequently edited, the Latin American Music Review, a journal drawing together academics from all of the Americas to publish in three languages.
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Bandem's commitment in ethnomusicology augmented with the establishment of an Indonesian music association namely Masyarakat Musicology Indonesia (MMI) by him and a group of friends in 1985. MMI hails from Surakarta, Central Java, and Bandem was the first chairman of the non-profit association. Today, MMI has advanced as Masyarakat Seni Pertunjukan Indonesia (MSPI), as a center for research, creation, and development of Indonesian arts, both classic and contemporary. With this organization, Bandem has managed to raise and popularize ethnomusicology as a major discipline in art universities in Indonesia.
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Jordania was born in Georgia (former Soviet Union). He received a BA degree in ethnomusicology from Tbilisi State Conservatory in 1978. During 1979–1983 he was elected as the President of the Board of Creative Youth of Tbilisi. In 1982 he received his PhD degree in musicology–ethnomusicology from Tbilisi Theatrical Institute, and served as lecturer, senior lecturer, assistant professor, and professor at the Department of Georgian Traditional Music at Tbilisi State Conservatory. For one year (in 1984) he served as a dean of the Faculty of Musicology.
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Garfias again appointed Yaşar, together with the noted ney master Niyazi Sayın as University of Washington Visiting Artists for 1980-81 UW dept. of ethnomusicology, "Visiting Artists by Country". While in residence at the University of Washington, Yaşar gave lectures on the makam system of Ottoman classical music. In 1972, Yaşar and Signell attended the annual meeting of the Society for Ethnomusicology (SEM) where Yaşar in effect introduced the largely unknown Turkish Classical Music to ethnomusicologists by talking and performing on the tanbur [Tanburi Necdet Yaşar: Anılar—Dostlar.
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John Kaizan Neptune (born November 13, 1951 in Oakland, California, United States) is an American player and builder of the shakuhachi (Japanese bamboo flute). He is known particularly for his use of the instrument in non- traditional contexts, such as jazz and cross-cultural music.[ Biography], AllMusic Neptune studied ethnomusicology at the University of Hawaii, where he began to study the shakuhachi with a Japanese Buddhist priest in 1971. In 1973, he continued his shakuhachi studies in Kyoto, Japan, returning after one year to Honolulu to complete a degree in ethnomusicology.
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He also wrote contributions for the Harvard Dictionary of Music and the Encyclopedie de la Musique. In the 1980s, he came out of retirement in Hawaii to become Senior Distinguished Professor at the University of Maryland, Baltimore County, where he remained until 1996, establishing an ethnomusicology program. He was a professor of music at West Virginia University and a visiting professor at Harvard, Yale, Wesleyan, Queen's University Belfast, Indiana, and Drake Universities and the University of Ghana. He also served as President of the Society for Ethnomusicology from 1965 to 1967.
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Glareana is a biannual academic journal covering topics related to musical instruments, ranging from historical and critical musicology to theory and organology, ethnomusicology, and music iconographical studies. The journal is published by the Gesellschaft der Freunde alter Musikinstrumente.
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In 1959 he graduated in Composition with Goffredo Petrassi at the Santa Cecilia ConservatoryDiscoteca, Vol.3, 1962, p.21 and in 1962 he obtained Italian citizenship. Graduated in ethnomusicology at U.C.L.A., he is author of several books and essays.
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The first title published was Taking Part in Music: Case Studies in Ethnomusicology, released in 2013 by the Elphinstone Institute. The next volume will be Vita Mea, the autobiography of Scottish literary scholar and Aberdeen alumnus, Sir Herbert Grierson.
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Lucie Rault (also known as Lucie Rault-Leyrat) is an eminent ethnomusicologist residing in Paris. She is master of conference in the Museum of Natural History, and was chief of the department of ethnomusicology of the Musée de l'Homme.
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" Rock Music in American Schools: Positions and Practices Since the 1960s". International Journal of Music Education, 36(1), pp. 14-22. In 2014 he produced a book with Jonathan McCollum (Washington College) entitled Theory and Method in Historical Ethnomusicology.
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Alma Julia Hightower (November 27, 1888 - August 1, 1970) was an American vocalist, musician and music teacher."West Coast Women: A Jazz Genealogy", by Sherrie Tucker, Pacific Review of Ethnomusicology, Vol. 8, No. 1 (Winter 1996/1997), p. 10; .
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Anne K. Rasmussen - Professor of Ethnomusicology, College of William & Mary at the Prince Alwaleed bin Talal Islamic Studies Program at Harvard University. © President and Fellows of Harvard College, 2016. Accessed May 12, 2016.Titon, Jeff T, and Timothy J. Cooley.
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Rasmussen received her B.A. from Northwestern University, her M.A. from the University of Denver, and her Ph.D. in ethnomusicology from the University of California, Los Angeles. She studied with A. J. Racy, Timothy Rice, Nazir Jairazbhoy, Gerard Behague, and Scott Marcus.
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In 2011, Zana returned to her roots, exploring Balkan history and music. She formed the group Zana Mesihovic & The Balkan Soul Orchestra. In 2012 attends her first first-year ethnomusicology class. This class helped gain knowledge about music around the world.
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New Brunswick, NJ: Transaction Books. Pages 3-33 and 117-168. Some cantometric measurements in ethnomusicology studies have been shown be relatively reliable, such as the wordiness parameter, while other methods are not as reliable, such as precision of enunciation.
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There are benefits to ethnomusicological research, i.e. the promotion of international understanding, but the fear of this "musical colonialism"Nettl, Bruno. 2005. "11. You Will Never Understand this Music." In The Study of Ethnomusicology: Thirty-One Issues and Concepts, 149-160.
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The folk music of Georgia consists of at least fifteen regional styles, known in Georgian musicology and ethnomusicology as "musical dialects". According to Edisher Garaqanidze, there are sixteen regional styles in Georgia.Edisher Garakanidze. 1991. Musical dialects of Georgian traditional music.
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Historical musicology and ethnomusicology are much younger disciplines, and the relative importance of the three has fluctuated considerably during the past few centuries. Today, musicology's three broad subdisciplines are of approximately equal size in terms of the volume of research activity.
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Almoda started his career after being the second runner up in a national level broadcast singing competition Nepal Star – 2005 at the age of 16. He achieved a music degree from SOAS, University of London and Kathmandu University specializing in ethnomusicology.
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Bryson grew up in East Brunswick, New Jersey. She began playing instruments at a young age, piano in first grade and then flute in fifth grade. Bryson attended East Brunswick High School. She studied ethnomusicology at Livingstone College; graduated in 1981.
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The Museum of Greek Folk Musical Instruments (), is a museum and Research Centre for Ethnomusicology in the Lassanis Mansion, Plaka, Athens, Greece. It displays about 600 Greek musical instruments from the last 300 years and has as many more in store.
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Abstract available. (AN: 1999-22922) The Suyá people believe strongly in the collective good and share everything, including fire, food, land, songs, performances, shelter, clothes and children.Stephen Blum, Philip V. Bohlman, Daniel M. Neuman (eds). Ethnomusicology and Modern Music History.
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He attended The Evergreen State College when it first opened and graduated with a bachelor's degree; obtained a master's degree in ethnomusicology from Wesleyan University, where he studied with Alvin Lucier and Ron Kuivila; a Master of Fine Arts in Post-studio Arts at California Institute of the Arts where he studied with David Antin, Vito Acconci, John Baldessari, Yvonne Rainer, and James Tenney, and a Ph.D. in Art History and Theory from University of Western Sydney under supervision of Helen Grace.M.A. Theses in Ethnomusicology and Composition, Wesleyan University. Department of Music. Kahn, Jay Douglas, 1987.
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The historical approach in ethnomusicology is a trend that believes in understanding the past in order to understand the present. It has been long recognized as an important part of ethnomusicology, but is now an increasingly important subfield. Viewing music as data reveals that due to new technology, huge amounts of musical data are available through recordings on video phones, social media, and digital collections on the internet such as the International Library of African Music (ILAM). The ILAM is a repository of thousands of recordings made since 1929, recordings which are mostly open access online.
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Towards the end of the 20th century, the field of ethnomusicology had blossomed in American academia. With racial and ethnic demographics evolving rapidly in institutions around the country, the demand for a new type of curricula that focused on teaching students about cultural differences only grew stronger. Incorporating ethnomusicology into the American curriculum allows for students to explore other cultures, and it provides an open space for students with varying cultural backgrounds. Thankfully, recordings of music from around the world began to enter the Euro- American music industry because of the advancements made in technology and musical devices.
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Hwong was born in Hawaii and raised in Los Angeles, California. Her grandmother was a grande dame of Chinese opera and her mother is international actress Lisa Lu. Her first public performance was in concert, playing the pipa, an ancient Chinese lute, at the age of six. She studied ethnomusicology, theater and dance at UCLA and Columbia University from 1978 to 1982, graduating with a B.A. degree cum laude in ethnomusicology. She has chaired philanthropic events for organizations including the Women's Project, American Theatre Wing, Asia Society and Parrish Art Museum and has been on committees such as Southampton Hospital.
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Patricia Shehan CampbellInformation gathered from personal interview. is Donald E. Peterson Professor of Music at the University of Washington, where she teaches courses at the interface of music education and ethnomusicology. Prior to this position, she was a member of the faculties of Washington University in St. Louis and Butler University. Her training includes Dalcroze Eurhythmics, piano and vocal performance, and specialized study in Bulgarian choral song, Indian (Karnatic) vocal repertoire, and Thai mahori, the latter two of which were launched during the period of her PhD studies in Music Education (with cognate studies in Ethnomusicology) at Kent State University.
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The International Library of African Music (ILAM) is an organization dedicated to the preservation and study of African music. Seated in Grahamstown, South Africa, ILAM is attached to the Music Department at Rhodes University and coordinates its Ethnomusicology Programme which offers undergraduate and post- graduate degrees in Ethnomusicology that include training in performance of African music. ILAM, as the largest repository of indigenous African music, is particularly known for its study of the lamellophone mbira of Zimbabwe and Mozambique, as well as the Chopi people's Timbila, a variant of the marimba from southern Mozambique. Some of the instruments inside ILAM.
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He remained in Washington state until 1982, teaching at Evergreen State College in Olympia, Washington, giving private music lessons, and performing in cities of the Pacific Northwest and in British Columbia with several marimba groups he founded. Dumi returned to Zimbabwe with his family in 1982 to develop an ethnomusicology program at the University of Zimbabwe in Harare. Four years later, he was back in Seattle, teaching and earning his own doctorate in ethnomusicology at the University of Washington, after which he returned again to teach at the University of Zimbabwe. He died of a stroke on 25 November 1999 in Zimbabwe.
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The first official SEM meeting was September 2–9, 1956, and since then, the Society of Ethnomusicology has continued to host annual conferences throughout the country and occasionally abroad. Locations for these large-scale gatherings require a host university with a strong ethnomusicology department, hotels that can house the huge number of attendees ranging, which ranges from 800-1000 people, at an affordable price, and has access to air travel. Locations are typical chosen three years in advance by the SEM Board. The conference is then executed by the Program Committee, Local Arrangements Committee, and Business Office.
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In 2007, Bouhassoun was invited to perform at the Festival of Sacred World Music in Fez, Morocco. In 2010, Bouhassoun moved to Paris to begin a masters' degree in ethnomusicology researching Syrian Druze funerals, supervised by the ethnomusicologist Jean Lambert. As of 2016, she was a doctoral student in ethnomusicology at Paris Nanterre University, and a member of the (CREM). Beginning in 2016, Bouhassoun was one of the founding instructor-performers for the project "Orpheus XXI – Music for life and dignity," a program led by Jordi Savall to support refugees in Europe with traditional music training.
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The popularity of the Newsletter increased dramatically, jumping to 472 recipients by April 1955. With the intense interest in ethnomusicology, it was felt that the society could soon be founded. The September Newsletter announced that an organized meeting of ethnomusicologists would take place at the 54th Annual Meeting of American Anthropology Association in Boston on November 18, 1955. McAllester, Merriam, Rhodes, Seeger, and several others, nearly all recipients of the Newsletter, founded the Society for Ethnomusicology and elected its first council: President: Williard Rhodes, Honorary President: Curt Sachs Vice President: Mieczlaw Kolinski Sectretary-Treasurer: David McAllester Editor: Alan Merriam The first official annual conference for the Society for Ethnomusicology was held the following year in alongside the 5th International Congress of Anthropological and Ethnological Sciences on September 5, 1956 in Philadelphia. The constitution was drafted, officer positions expanded, and mission statement defined: “…to promote the research, study, and performance of music in all historical periods and cultural contexts.
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The ethnomusicologist David Locke states: "Cross-rhythm pervades Ewe drumming."Locke, David (1982). "Principles of Off-Beat Timing and Cross-Rhythm in Southern Ewe Dance Drumming" Society for Ethnomusicology Journal Nov. 11. In fact, the overall rhythmic structure is generated through cross-rhythm.
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Evans earned a master's degree in Music from University of California, Berkeley in 1992, with a focus on ethnomusicology. He learned banjo in person from masters such as Tony Trischka, Alan Munde, Bill Keith, Ben Eldridge, Sonny Osborne, and J. D. Crowe.
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The Study of Ethnomusicology: Thirty-one Issues and Concepts. Chapter 6. Urbana: University of Illinois, 2005. Perhaps the first of these objective systems was the development of the cent as a definitive unit of pitch by phonetician and mathematician Alexander J. Ellis (1885).
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Review of "An Anthology of African Music. Nigeria III: Igbo Music" by David Ames and Cynthia Tse Kimberlin, review by Darius L. Thieme, Ethnomusicology 36, #1 (Winter 1992), pp. 137-140, . It was part of the larger and longer enduring UNESCO Collection series.
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In 1993, she earned her PhD in Musical Arts in Musical Composition, along with a minor in ethnomusicology from the University of Michigan. After finishing her degrees, she spent time in London and in Jeonju as an adjunct professor at Jeonju University.
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Profile , Jazztimes.com; accessed December 22, 2017. Rudd later taught ethnomusicology at Bard College and the University of Maine."Bard Press Release: JAZZ AT BARD PRESENTS THE ROSWELL RUDD QUARTET IN CONCERT ON SATURDAY, MARCH 22", bard.edu, February 18, 2003; accessed December 22, 2017.
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Some ethnomusicologists primarily conduct historical studies,McCollum, Jonathan and Hebert, David, Eds., (2014). Theory and Method in Historical Ethnomusicology Lanham, MD: Rowman&Littlefield.; but the majority are involved in long-term participant observation or combine ethnographic, musicological, and historical approaches in their fieldwork.
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2: Calabria, both issued on the Global Village label.They were reviewed by Ralf Carriuolo, who called them "exemplary": see Ethnomusicology: 27: 3 [Sep., 1983]: 570-72. Music from the recordings was used in the (1984) Academy Award-winning documentary, The Stone Carvers.
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She studied music and ethnomusicology for four years at the University of North Texas. Pamela has continued to study with teachers in various subjects, and also as an autodidact. Rodríguez is married to the Spanish economist and writer , with whom she has a daughter.
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Throughout this period Nadel served as an assistant at the Psychologisches Institut and grew more and more interested in ethnomusicology. He produced radio programs for Radio Vienna on music which included discussions of non-Western music, and in 1930 wrote a piece on the marimba.
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Chinese Cyclic Tunings in Late Antiquity, Ethnomusicology Vol. 23 No. 2, 1979. pp. 205–224. Later the same observation was made by the mathematician and music theorist Nicholas Mercator (c. 1620–1687), who calculated this value precisely as = , which is known as Mercator's comma.
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Ivonka Survilla has two daughters. One of her daughters, Dr. Maria Paula Survilla, is a professor of ethnomusicology at Wartburg College in Waverly, Iowa. Her husband Janka Survilla died in Ottawa in 1997. Survilla has participated in more than 30 exhibitions as a painter.
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The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press. Chapter 30: "A New Era" Musical change was increasingly discussed. Ethnomusicologists began looking into a 'global village', straying away from a specialized look at music within a specific culture.
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Deborah Anne Wong (born 1959) is an American academic, educator, and public musicologist. Her scholarship is in the field of ethnomusicology, where she is known for her studies of Asian American and Thai music. She identifies herself as Chinese-American, Asian-American, and multi-ethnic.
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She participated in the French-Greek- Israeli-German documentary film My Sweet Canary in 2011, about the life of Jewish-Greek rebetikó singer Roza Eskenazi. She is director of the Ethnomusicology and Folklore Department of the Istanbul University State Conservatory.Akademik Kadro. Istanbul University State Conservatory.
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Allen graduated from Howard University's jazz studies program in 1979. She then continued her studies: with pianist Kenny Barron in New York; and at the University of Pittsburgh, where she completed a master's degree in ethnomusicology in 1982. After this, she returned to New York.
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In these contexts these stock melodies very often serve as a basis for melodic elaboration and variation. This variation is particularly well codified in the taoqu structure of Chaozhou xianshi music."EOL 8: Birth of a New Mode? (Dujunco): Chaozhou Modal Practice", Ethnomusicology OnLine.
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Zuckerman is a graduate of Williams College, where he received a B.A. in Philosophy in 1993. He then spent a year on a Fulbright scholarship at the University of Legon, Ghana and the National Theatre of Ghana in Accra, where he studied ethnomusicology and percussion.
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With over 50 instruments in the show, many of them African, Tracey helped educate the world about unique African instruments, including the kalimba. He appeared on The Tonight Show with Johnny Carson a number of times. This performance career put his ethnomusicology research on hold.
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1972 "Komitas Vardapet and His Contribution to Ethnomusicology." Ethnomusicology 16(1): 82 A precedent to modern ethnomusicological studies, comparative musicology seeks to look at music throughout world cultures and their respective histories. Similarly to comparative linguistics, comparative musicology seeks to classify music of global cultures, illustrate their geographic distribution, explain universal musical trends, and understand the causation concerning the creation and evolution of music. Developed throughout the early 20th century, the term "comparative musicology" emerged in an 1885 publication by Guido Adler, who added the term "comparative" to musicology to describe works by scholars such as Alexander J. Ellis, whose academic process was founded in cross-cultural comparative studies.
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Because of its growth alongside ethnomusicology, the beginning of ethnochoreology also had a focus on the comparative side of things, where the focus was on classifying different styles based on the movements used and the geographical location in a way not dissimilar to Lomax. This is best shown in "Benesh Notation and Ethnochoreology" in 1967 which was published in the ethnomusicology journal, where Hall advocates using the Benesh notation as a way of documenting dance styles so that it is "possible to compare styles and techniques in detail — even 'schools' within one style — and individual variations in execution from dancer to dancer."Hall, Fernau. (1967). Benesh Notation and Ethnochoreology.
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Steven Joseph "Steve" Loza (born August 9, 1952) is professor of ethnomusicology at UCLA and Lecturer III in music at the University of New Mexico. He is an author of two books and editor of four anthologies in Latin music, including the first in-depth biography of Tito Puente.Steven Loza profile at UCLA Steven Loza has B.A. in music from California State Polytechnic University, Pomona, a Ph.D. in ethnomusicology (1985), and a master's degree in Latin American studies (1979), both from UCLA. Taking a two-year leave of absence from the UCLA, he headed the Arts of Americas Institute in the University of New Mexico College of Fine Arts.
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It was described in a 1974 review in Ethnomusicology, the journal of the Society for Ethnomusicology, as "the most complete, authoritative work ever published on the history of Indian musical instruments." The book carries an exhaustive documentation of musical instruments, right from the ancient Vedic age to modern times, with an emphasis on establishing that modern Indian instruments have their origins in ancient Indian, rather than in Muslim and Western, culture. The book has always been in great demand by scholars and musicians for it also gives insight into fundamentals of playing instruments and traces the development in content along with that of the instrument.
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Mário Raul de Morais Andrade (October 9, 1893 – February 25, 1945) was a Brazilian poet, novelist, musicologist, art historian and critic, and photographer. One of the founders of Brazilian modernism, he virtually created modern Brazilian poetry with the publication of his Paulicéia Desvairada (Hallucinated City) in 1922. He has had an enormous influence on modern Brazilian literature, and as a scholar and essayist—he was a pioneer of the field of ethnomusicology—his influence has reached far beyond Brazil.See Lokensgard and Nunes, in particular, for a detailed account of Andrade's influence in literature, and Hamilton-Tyrell for Andrade's influence in ethnomusicology and music theory.
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In subsequent years, a core group continued to explore new paradigms inspired by Hood's concepts, and worked through correspondence and meetings. The group included Giovanni Giuriati of the University of Rome, Rudiger Schumacher of the University of Cologne, John E. Myers of Bard College at Simon's Rock, and others. Schumacher and Myers delivered related papers at the annual conference of the European Seminar in Ethnomusicology, held in Barcelona, Spain, September 20–25, 1993. In 1999, Hood outlined key principles of his quantum theory - influenced thinking in his paper "Ethnomusicology's Bronze Age in Y2K," delivered as the Seeger Lecture at the congress of the Society for Ethnomusicology held in Austin, Texas.
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55 Ethnomusicology: The Healing Drum. This is not actually a scholarly book, but that is part of its strength: The subjects discussed in part one, about Minianka culture as a whole, are those covered in standard ethnographic studies. Roderic Knight, Book Review pp. 121 Winter 1991.
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Blynn grew up in Miami, and moved to New York City to attend college at Barnard College/Columbia University, graduating from Columbia University with the first-ever undergraduate B.A. in Ethnomusicology. After graduation, she worked as a marketing executive for Verve Records from 1994 to 2000.
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Because of the high density of Europeans and Euro- Americans engaged with the area's research, comparative musicology primarily surveyed the music of non-Western oral folk traditions and then compared them against western conceptions of music.Merriam, Alan P. 1975. "Ethnomusicology Today." Current Musicology 20: 50-54.
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Representing African Music: Postcolonial Notes, Queries, Positions. New York and London: Routledge. Pp.58.Agawu, Kofi. 2003. Representing African Music: Postcolonial Notes, Queries, Positions. New York and London: Routledge. Pp. 64. Currently, scholarship that may have historically been identified as ethnomusicology is now classified as sound studies.
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British Forum for Ethnomusicology. For example, during the 1920s, Limbak had incorporated baris movements into the cak leader role. "Spies liked this innovation," and he suggested that Limbak "devise a spectacle based on the Ramayana," accompanied by cak chorus rather than gamelan, as would have been usual.
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Susso has also been appointed as Regents' Lecturer in ethnomusicology in 1991 at the University of California, Santa Barbara, He appears alone with his kora or with his ensemble that includes singer/dancer Tapa Demba, balafonist Bala Kouyate and his son, Alhassan Susso, on second kora.
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Joep Bor of the Rotterdam Conservatory of Music defined rāga as a "tonal framework for composition and improvisation." Nazir Jairazbhoy, chairman of UCLA's department of ethnomusicology, characterized rāgas as separated by scale, line of ascent and descent, transilience, emphasized notes and register, and intonation and ornaments.
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In 1958, he worked at a recording studio in Paris which specialized in musique concrète. During this period, he met Pierre Boulez, Karlheinz Stockhausen and Iannis Xenakis. In 1963, Maceda earned a doctorate in ethnomusicology from the UCLA. He began pursuing a compositional career more vigorously.
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Never straying from his English roots, Vaughan Williams sought to organically weave elements of his native music into all of his compositions, rather than imitate it. One of the earliest researchers in ethnomusicology, he traveled the British countryside recording and transcribing folk music directly from its source.
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Alberto Hemsi (27 June 1898 – 8 October 1975) was a composer of the 20th Century Classical era. His work in the field of ethnomusicology and integration of Sephardic melodies has been noted as parallel to Béla Bartók's collection of traditional Hungarian music and consequent integration to his music.
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" Ethnomusicology 50.1 (Winter 2006): 149-151. p. 149 The book received the Society for Ethnomusicology's prestigious Alan P. Merriam prize in 2002, marking a broad acceptance of this new method in the institutions of ethnomusicology.Miller, Rebecca. "Divine Utterances: The Performance of Afro-Cuban Santería by Katherine J. Hagedorn.
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Songwriting in the Home has fostered a sense of community among the residents and a means of transcending the institution by bringing in memories and experiences from outside their physical space.Allison, Theresa. 2008. "Songwriting and Transcending Institutional Boundaries in the Nursing Home." The Oxford Handbook of Medical Ethnomusicology.
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Afro-Brazilian agogo bell patterns. , , , Bell pattern 1 is the most basic, or archetypal pattern. It is the 4/4 form of what is known in ethnomusicology as the standard pattern, and known in Cuba as clave. Pattern 1 is used in maculelê and some Candomblé and Macumba rhythms.
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This in addition to the growing materialism in Cuba has put pressure on artists signed by the agency to adopt a more commercially viable sound such as reggaeton.Baker, Geoffrey. 2006. "La Habana que no conoces: Cuban rap and the social construction of urban space." Ethnomusicology Forum 15, no.
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Mwesa Isaiah Mapoma is one of Zambia's best-known living ethnomusicologists. He received his ethnomusicological training from University of California, Los Angeles (UCLA). His dissertation research focused on the royal musicians of the Bemba people in Zambia's Luapula province. His field recordings are housed in the UCLA ethnomusicology archive.
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Music archaeology is an interdisciplinary study field that combines musicology and archaeology. As it includes music from numerous cultures, it is often seen as being a part of ethnomusicology, and indeed a study group looking into music archaeology first emerged from ethnomusicological group the ICTM, not from within archaeology.
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The Indiana University Archives of Traditional Music holds over 100,000 individual audio and video recordings across over 3500 collections of field, broadcast, and commercial recordings. Its holdings are primarily focused on audiovisual recordings relating to research in the academic disciplines of ethnomusicology, folklore, anthropology, linguistics, and various area studies.
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EM publishes books and supplemental audiovisual material on Ethnomusicology in order to aid scholars in research. EM offers access to Annotation Management System (AMS), which allows authors to upload audiovisual material and link it to content in their text. EM is a joint project between Indiana and Temple Universities.
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Sharp was classically trained in piano from an early age, taking up clarinet and guitar as a teen. He attended Cornell University from 1969 to 1971, studying anthropology, music, and electronics. He completed his B.A. degree at Bard College in 1973, where he studied composition with Benjamin Boretz and Elie Yarden; jazz composition, improvisation, and ethnomusicology with trombonist Roswell Rudd; and physics and electronics with Burton Brody. In 1977 he received an M.A. from the University at Buffalo, where he studied composition with Morton Feldman and Lejaren Hiller, and ethnomusicology with Charles Keil.Sachs, J. From Downtown Manhattan to Finland and Beyond New Juilliard Journal Online September 2001 From the late 1970s, Sharp established himself in New York's music scene.
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He wanted to create a musical analytical grammar, which he coined the Cultural Analysis of Music, that could incorporate both sonic description and how cultural and social factors influence structures within music. Blacking desired a unified method of musical analysis that "...can not only be applied to all music, but can explain both the form, the social and emotional content, and the effects of music, as systems of relationships between an infinite number of variables." Like Nattiez, Blacking saw a universal grammar as a necessary for giving ethnomusicology a distinct identity. He felt that ethnomusicology was just a "meeting ground" for anthropology of music and the study of music in different cultures, and lacked a distinguishing characteristic in scholarship.
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Another ethical dilemma of ethnomusicological fieldwork is the inherent ethnocentrism (more commonly, eurocentrism) of ethnomusicology. Anthony Seeger, Emeritus Professor of Ethnomusicology at UCLA, has done seminal work on the notion of ethics within fieldwork, emphasizing the need to avoid ethnocentric remarks during or after the field work process. Emblematic of his ethical theories is a 1983 piece that describes the fundamental complexities of fieldwork through his relationship with the Suyá Indians of Brazil. To avoid ethnocentrism in his research, Seeger does not explore how singing has come to exist within Suyá culture, instead explaining how singing creates culture presently, and how aspects of Suyá social life can be seen through both a musical and performative lens.
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In the Springer Handbook of Systematic Musicology "(the) sections follow the main topics in the field, Musical Acoustics, Signal Processing, Music Psychology, Psychophysics/Psychoacoustics and Music Ethnology while also taking recent research trends into consideration, like Embodied Music Cognition and Media Applications. Other topics, like Music Theory or Philosophy of Music are incorporated in the respective sections." In the European tripartite model of musicology, musicology is regarded as a combination of three broad subdisciplines: ethnomusicology, music history (or historical musicology), and systematic musicology. Ethnomusicology and historical musicology are primarily concerned with specific manifestations of music such as performances, works, traditions, genres, and the people who produce and engage with them (musicians, composers, social groups).
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From 1995-2003 she earned her master's degree and Ph.D. in ethnomusicology at Indiana University. Dr. Maxwell taught ethnomusicology at the University of Virginia. She also toured and recorded with jazz drummer Robert Jospé and with her own group Afrika Soul Maxwell interviewing a musical group from Benin on Voice of America In 2011 Heather returned to Mali as a Fulbright Scholar for a teaching stint in Bamako at the National Conservatory of Music. The coup d'état on March 22, 2012 cut that short and she returned to the US. Later that year Heather joined the Voice of America in Washington, D.C. as host and producer of the worldwide radio program Music Time in Africa.
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Durga served as the Professor Emeritus of the Department of Indian music at the University of Madras for four years and founded the centre of Ethnomusicology in Chennai and currently serves as its director. Durga is the first Asian to have written a book on ethnomusicology. From 25 January 2000 to 23 May 2000, Durga wrote a weekly column on ethnomusic for chennaionline.com. She was one of the participants at the First International Conference on Murugan held in Chennai between 28 and 30 December 1998 and in the Second International Murugan Conference held in Mauritius between 24 and 29 April 2001, where she delivered a lecture on "Lord Murugan in Nada Rupa – A critical study".
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Kalil Amar Wilson (born 1981) is an American vocalist, pianist, songwriter, and ethnomusicologist. Wilson began singing as a child with the Oakland Youth Chorus, studied at the UC Berkeley Young Musicians Program, and graduated magna cum laude from the UCLA Music and Ethnomusicology Departments, being named "Distinguished Ethnomusicology Student" of his graduating class. There, renowned jazz guitarist and UCLA music professor Kenny Burrell wrote of Wilson, "A very special young talent with a unique sound that crosses through genres." Kalil currently teaches and performs in the Bay Area and is a faculty member at the California Jazz Conservatory and a visiting professor and 'curator of jazz' at the Jazz & Musical School, St. Petersburg, Russia.
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Worlds of Music: An Introduction to the Music of the World's Peoples. Belmont, CA: Schirmer Cengage Learning, 2009. Print. Rasmussen was named the William M. and Annie B. Bickers Professor of Middle Eastern Studies in 2014.Anne Rasmussen - Professor (Ethnomusicology) at the College of William & Mary Faculty of Arts and Sciences.
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Imani Sanga is Professor of Music in the Department of Creative Arts, formerly called Department of Fine and Performing Arts, in the College of Humanities at the University of Dar es Salaam, Tanzania. He teaches courses in Ethnomusicology, Philosophy of Music, Composition and Choral Music. He also conducts the university choir.
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The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press. Pp. 306-307. In the 1970s, a number of scholars, including musicologist Charles Seeger and semiotician Jean-Jacques Nattiez, proposed using methodology commonly employed in linguistics as a new way for ethnomusicologists to study music.
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The American poet Steve Richmond developed a unique style based on the rhythms of gagaku. Richmond heard gagaku music on records at U.C.L.A.'s Department of Ethnomusicology in the early 1960s. In a 2009 interview with writer Ben Pleasants, Richmond claimed he had written an estimated 8,000–9,000 gagaku poems.
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Journal of the Royal Musical Association is a peer-reviewed academic journal covering fields ranging from historical and critical musicology to theory and analysis, ethnomusicology, and popular music studies. The journal is published by Routledge on behalf of the Royal Musical Association and the editor-in- chief is Freya Jarman.
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Atherton's postgraduate supervision included sixteen successful doctorates in diverse fields of musical enquiry including, performance, cross-cultural composition, music therapy, ethnomusicology, and music for the screen. Atherton pioneered creative music therapy in adolescence, working at Rivendell (1978–80) with Professor Dame Marie Bashir. He played ‘world’ music in Sirocco (1980-6).
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His album Eclipse was produced by Mickey Hart. He performed with the Kronos Quartet on an arrangement of Escalay in 1992. His pieces were often used in ballet performances and plays. El Din held a number of teaching positions on ethnomusicology in the United States between the 1970s until the 1990s.
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In 1982 Kartomi was elected Fellow of the Australian Academy of the Humanities. She was appointed a Member of the Order of Australia in the 1991 Australia Day Honours for " service to ethnomusicology, particularly south east Asian music ". In 2015 Kartomi was presented with the Sir Bernard Heinze Memorial Award.
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After World War II he created and became the head of the department of musical folklore. Sokoli is considered to be a pioneer of Albanian ethnomusicology. His work on Ottoman music modes and practices in Balkan music has been regarded as one of the most important ones on the subject.
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Ethnomusicology 27, no. 1 (1983): 1–28. In modern times, it developed into a key feature of former Communist Party general secretary Hu Jintao's signature ideology of the Scientific Development Concept developed in the mid-2000s, being re-introduced by the Hu–Wen Administration during the 2005 National People's Congress.
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His researches in Musicolinguistics have been favorably reviewed in the leading journals of anthropology, ethnomusicology, and linguistics. He holds that his use of the term "Musicolinguistics" containing the prefix "Musico-" before "-linguistics" also suggests the evolution of music, e.g. humming, before language. Chandola is also a novelist who covers multicultural themes.
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This IES unit is the first university museum in Ethiopia. The museum has a permanent collection in five fields of study: anthropology, art, ethnomusicology, numismatics (the study of coinage), and philately (the study of postage stamps). Its hosts temporary exhibitions. It has objects dating back to the early Aksumite period.
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Olof became a Riksspelman in 2006. Mikael Grafström is an increasingly prominent nyckelharpa builder. Benjamin has studied at Bethany College and the Royal College of Music in Stockholm, becoming the first North American to earn a bachelor's degree in nyckelharpa performance. Ben is a doctoral student in ethnomusicology at Brown University.
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" It was also decided that the hyphen would be removed from ethno-musicology with some disapproval."David P., McAllester, "Obituary: Willard Rhodes (1901-1992)", Ethnomusicology 37 (1993): 251-262, accessed 29 September 2013. The following year, it was recorded that 25% of the Society’s membership was made up of non-U.
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Alex Dea was trained in Western classical music and received a Ph.D. in Ethnomusicology from Wesleyan University, with a specialty in Javanese gamelan music. He was a performer in La Monte Young's experimental music group Theatre of Eternal Music.Potter, Keith (2000). Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass.
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Mulvey grew up in Cambridge and attended Chesterton Community College and Long Road Sixth Form College. At the age of 19 he moved to Havana, Cuba, to study music and art. On returning to the UK, Mulvey enrolled at the University of London's School of Oriental and African Studies to study Ethnomusicology.
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The origins of music and its connections to identity have been debated throughout the history of ethnomusicology. Thomas Turino defines "self," "identity," and "culture" as patterns of habits, such that tendencies to respond to stimuli in particular ways repeat and reinscribe themselves.Turino, Thomas. 2008. Music as Social Life: The Politics of Participation.
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Paul Collaer (Boom, 8 June 1891 - Brussels, 10 December 1989) was a Belgian musicologist, pianist, and conductor of Flemish background. Through concerts and radio broadcastings, he played an important role in the popularization of 20th century music in Belgium. An early proponent of period instruments practice, he dedicated his last years to ethnomusicology.
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Music of The Bahamas is a docu-musical adapted from E. Clement Bethel's master's thesis in ethnomusicology. Written by Nicolette Bethel and Philip A. Burrows. Directed by Philip A. Burrows. First performed in 1991 for the Edinburgh Festival Fringe, and again in 1992 during the Quincentennial Season of the Dundas Repertory Company.
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From 1970 to 1973, he was at the University of Nigeria, Nsukka, where he began his studies in music. He completed his undergraduate degree (1973–77) at the Guildhall College of Music, London, and from 1977 to 1981 he attended Queen's University Belfast, attaining both an M.A. and a Ph.D. in ethnomusicology.
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Although he was known principally for his work in classical music, in the later years of his life Brook became fascinated with ethnomusicology. He often sought out and trained budding music historians in how to bring their reports and studies of local music traditions into the mainstream, academic world of music history.
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The Oxford Handbook of Medical Ethnomusicology, Oxford University Press, USA, April 27, 2011, p. 170 Basudde died in an accident while travelling to his parents' house in Masaka, south of Kampala. His funeral was a national occasion, and the funeral fund raised 12 million shillings. Some saw Basudde as a rebellious spirit.
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He also finished a diploma in percussion at the City of Basel Music Academy (Basel's Conservatory school) in 1960. He attended École pratique des hautes études for his doctorate. He joined French National Centre for Scientific Research (CNRS) becoming a director of research. He taught ethnomusicology at the University of Paris X-Nanterre.
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She teaches Composition at Trinity Laban Conservatoire of Music and Dance. Her research interests centre on ethnomusicology with a particular emphasis on the politics of gender and sexuality, post-colonialism and the music industry and postmodernism in electronic musics. She is researching at City University for a PhD on contemporary composition in Iran.
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Ethnomusicologists following the anthropological approach include scholars such as Steven Feld and Alan Merriam. The anthropological ethnomusicologists stress the importance of field work and using participant observation. This can include a variety of distinct fieldwork practices, including personal exposure to a performance tradition or musical technique, participation in a native ensemble, or inclusion in a myriad of social customs. Similarly, Alan Merriam defined ethnomusicology as "music as culture," and stated four goals of ethnomusicology: to help protect and explain non-Western music, to save "folk" music before it disappears in the modern world, to study music as a means of communication to further world understanding, and to provide an avenue for wider exploration and reflection for those who are interested in primitive studies.
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Alongside the Ethnomusicology journal, The Society for Ethnomusicology publishes a variety of works, nearly all of which are peer-reviewed. The SEM website itself serves as a communicative and archival device, enabling members to discuss the latest news, share project updates, and gives digital access to many of the print publications. The SEM website offers free access to the last fifteen issues of the journal (currently volumes 43-57 from 1999-2013), the student newsletter, and on-going lists of Ographies, including bibliographies, discographies, and dissertations. Issues of the SEM Newsletter are also available from between 2002-2010, volumes 36-44, however, the latest digital copies are only available to members. A full list of SEM’s publications available through the website can be found here.
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The society was founded in 1946, continuing the work of a predecessor institution. It deals with questions of historical musicology, ethnomusicology and systematic musicology. The society also promotes musicological research in dialogue with other disciplines. In addition, it sees itself as an organ for communicating findings from the field of music to the public.
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Henry, Edward O. 1976. "The variety of Music in a North Indian Village: Reassessing Cantometrics." Ethnomusicology 20(1):49-66. Another approach, introduced by Steven Feld, is for ethnomusicologists interested in creating ethnographically detailed analysis of people's lives; this comparative study deals with making pairwise comparisons about competence, form, performance, environment, theory, and value/equality.
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A musicologist is someone who studies music (see musicology). A historical musicologist studies music from a historical perspective. An ethnomusicologist studies music in its cultural and social contexts (see ethnomusicology). A systematic musicologist asks general questions about music from the perspective of relevant disciplines (psychology, sociology, acoustics, philosophy, physiology, computer science) (see systematic musicology).
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Born in 1938 in Kanpur, Uttar Pradesh, India, Tewari studied at Banaras Hindu University with Dr. Lalmani Misra, Pandit Madhav Vaman Thakar, and professor B. R. Deodhar, earning a doctor of music degree in 1967. He moved to the United States to study at Wesleyan University, where he earned a Ph.D. in ethnomusicology in 1974.
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In the 1960s and 1970s she had several TV appearances both as herself in musical specials and as an actress in popular TV shows of the time. Price's repertoire includes many obscure, lesser-known gems from the Great American Songbook. She has worked as an adjunct assistant professor at the UCLA Department of Ethnomusicology.
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Necdet Yaşar (; 1930 - October 24, 2017) was a Turkish tanbur lute player and teacher. A founding member of the Istanbul State Turkish Music Ensemble, he performed throughout the world as a cultural ambassador for Turkey and taught twice at the University of Washington (USA).UW dept. of ethnomusicology, "Visiting Artists by Country" at Washington.
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Wolf studied composition with Gordon Mumma, Alvin Lucier, and La Monte Young, as well as musical tunings with Erv Wilson and Douglas Leedy and ethnomusicology (M.A., Ph.D. 1990 Wesleyan University"Wesleyan Dissertations and Theses in Music ", Wesleyan.edu.). Important contacts with Lou Harrison, John Cage, Walter Zimmermann. Managing Editor of the journal Xenharmonikon, 1985-89.Xenharmonikôn.
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After completing her schooling and musical education in Germany, she pursued her M.Mus. in ethnomusicology from the School of Oriental and African Studies, University of London, where she also studied mediaeval Hindi literature, Sanskrit and South Asian politics.Vats, Pritima. "Vrindavan ke suron ne Italy lautne nahi diya", Hindustan, 29 December 2002. Retrieved 25 June 2016.
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Southeast Asia Program Publications, Cornell University. I Wayan Dibia, a performer, choreographer and scholar, suggests, by contrast, that the Balinese were already developing this form when Spies arrived on the island.David W. Hughes, "Review: Kecak: The Vocal Chant of Bali, by I Wayan Dibia", British Journal of Ethnomusicology, Vol. 6, (1997), pp. 195–195.
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Itzam Cano (born in Mexico City, Mexico) is a Mexican jazz double bassist. He studied ethnomusicology at the Escuela Nacional de Música from the Universidad Nacional Autónoma de México (UNAM). He studied electric bass and contrabass and the development of improvisation, jazz theory, and harmony. In late 2005, he joined free jazz ensemble Zero Point.
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He also formed another band, the New Dalta Ahkri, with members including Henry Threadgill, Anthony Davis and Oliver Lake. In the 1970s, Smith studied ethnomusicology at Wesleyan University. He played again with Anthony Braxton, as well as recording with Derek Bailey's Company. In the mid-1980s, Smith became Rastafarian and began using the name Wadada.
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With a full tertiary programme and full range of degrees,Bachelor of Music. New Zealand Musician. (New Zealand). NZSM has strengths in historical research, allowing a representation of scholarly expertise across multiple fields including musicology, opera studies, jazz, ethnomusicology, music and film, baroque and classical performance practice, contemporary performance, music technology, and electronic music.
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"This emphasis upon music as communication, human understanding, and world peace, not only through musical performance, but also through research, teaching, and other forms of dissemination, is one of the greatest gifts Mantle Hood has given to ethnomusicology."Dale Olsen, "Encomium for Mantle Hood", SEM Newsletter, Vol. 39, No. 3, p. 4, May 2005.
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SEM awards prizes on national, chapter, and sectional levels. These awards are designed to recognize the work of individuals in the field of ethnomusicology. Awards vary in purpose, financial prize (if any), eligibility, where and how often the prize is awarded, and application deadline. For a full list of awards and their descriptions, click here.
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He is a graduate of the Academy of Music of Alexander Hamilton High School in Beverlywood, Los Angeles. Washington next enrolled in UCLA's Department of Ethnomusicology, where he began playing with faculty members such as Kenny Burrell, Billy Higgins and band leader/trumpeter Gerald Wilson. Washington features in the album Young Jazz Giants in 2004.
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Colin Macmillan Turnbull (November 23, 1924 – July 28, 1994) was a British- American anthropologist who came to public attention with the popular books The Forest People (on the Mbuti Pygmies of Zaire) and The Mountain People (on the Ik people of Uganda), and one of the first anthropologists to work in the field of ethnomusicology.
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He founded the National Saint Yared School of Music in Ethiopia, serving as its first director (1963-1968). He was designated a National Composer by Ethiopian Emperor Haile Selassie I, in 1967. Shortly after that he began his graduate studies in the United States, and earned the first Ph.D. in ethnomusicology at Wesleyan University. Ashenafi was a prolific writer.
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Victor Kofi Agawu, who publishes as V. Kofi Agawu or more often simply as Kofi Agawu, is a music scholar from the Volta Region of Ghana.Paul W. Schauert, Representing Ghanaian Music: A Critical History (Indiana University, 2005), p. 160. He specializes in musical semiotics and ethnomusicology. He is a Distinguished Professor at the Graduate Center, CUNY.
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Criton became interested into ethnomusicology as well, taking part in the activities of the "Groupe de Recherche sur la Tradition Orale" (Abidjan 1979). Her works are created in France and abroad: Darmstadt, American Festival of Microtonal Music (New York), Ircam, Radio France, Manca, Today Musics, Midem, Presences, Intermusica, Ars Electronica, Ijsbrecker Institute, Archipelago Festival, Ilkhom XX (Tashkent), Simn (Bucharest).
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Video distributions of the film have subtitles in English, French, German, and Spanish. ;Kusisqa Waqashayku: From Grief and Joy We Sing :A 2007 documentary by Holly Wissler, who holds a doctorate in ethnomusicology. This 53-minute independent production has soundtracks in English, Spanish and Quechua. It was filmed and edited entirely in Q’eros and Cusco, Peru.
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Barbara Helen Tedlock was born in Battle Creek, Michigan to Byron Taylor and Mona Gerteresse (O'Connor) McGrath. Tedlock earned a Bachelor's degree in Rhetoric from the University of California, Berkeley in 1967. In 1973, she earned a Master's in Anthropology and Ethnomusicology from Wesleyan University. Tedlock completed her PhD in Anthropology at SUNY Albany in 1978.
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Zeibekiko: Zeibekiko or Zeybekiko () is a Turkic folk dance with a rhythmic pattern of 9/4Kilpatrick, David. "Ethnomusicology", Vol. 6, No. 3, Canadian Issue (Sep., 1972), p. 577. or else 9/8 (broken down as 1/8 + 1/16 + 1/16 + 1/8 + 1/8 + 1/8 + 1/16 + 1/16 + 1/8 + 1/8 + 1/8).
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Bilby is the son of Kenneth W. Bilby. After graduating from Bard College with a Bachelor’s degree, he attended Wesleyan University for a Master’s degree in Anthropology and Ethnomusicology. He earned his Ph.D in Anthropology from The Johns Hopkins University. He was a 2004 recipient of the Guggenheim Fellowship for his work in Jamaican musical ethnography.
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Sonus: Journal of Investigation Into Global Musical Possibilities is a peer- reviewed academic journal that covers musicology, music education, composition, theory, journalism, ethnomusicology, and other areas of the music and performing arts. It was co-founded in the fall of 1980 by American composer and music theorist Pozzi (Olga) Escot, who, since then, has been its editor-in-chief.
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Olive Lewin was born in Vere, in Clarendon, Jamaica, to teachers.Chris Salewicz, "Olive Lewin: Anthropologist who rescued Jamaican folklore from Eurocentrism", The Independent, 14 July 2013. She studied music and ethnomusicology in the United Kingdom. She is a Fellow of Trinity College, London, and an Associate of the Royal Academy of Music and the Royal School of Music.
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The Don Ellis Library and Collection resides in the Ethnomusicology Archives at UCLA. From 1981 to 2000 it was housed at Eastfield College, part of Dallas County Community College District, DCCCD in Mesquite, Texas. Along with writings, instruments and other items, is his Grammy Award for best score for the movie The French Connection in 1971.Fenlon, Sean.
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In 1997, Christopher Small, retired in Sitges and donated his personal library to the University of Girona. The collection is of outstanding quality and unique in the context of catalan universities. Most of its nearly 500 volumes are centered around music and cover ethnomusicology, musical sociology, and popular music - especially afroamerican genres like jazz, blues, soul. etc.
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Gaunt attended the School of Music at the University of Michigan in Ann Arbor from 1988-1997, where she earned a Ph.D. in Musicology with a specialization in ethnomusicology. She also studied classical voice with operatic tenor George Shirley. She also holds a master's and associate degree in voice from SUNY Binghamton and The American University, respectively.
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She completed her doctorate in ethnomusicology at Wesleyan University, US. On 8 March 1984, she performed at a celebration marking the 150th anniversary of Wesleyan University. On obtaining her doctorate, Durga carried out a comparative study of Gregorian and Vedic chants and Thevaram hymns as a part of her post-doctoral research work at Yale University.
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Potter received a bachelor's degree in jazz studies from Concordia University and a master's degree in ethnomusicology from the Université de Montréal. She studied the bansuri in India with Pandit Hariprasad Chaurasia. She also studied with various musicians in Canada and India, including Boubacar Diabaté, Simon Shaheen, Ramasutra and Ganesh Anandan. Potter released her first album Bansuri in 1997.
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He later achieved his PhD in ethnomusicology from the University of Pittsburgh. Because of his unique knowledge and specialty in the history of Ukrainian music, Taras has been invited to teach and perform at universities in England, France, Poland, Germany, Belgium, Austria, Russia, Yugoslavia, Canada, the Middle East and Asia, in addition to all over the United States.
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She has been awarded the Retzius Medal of the Swedish Society for Anthropology and Geography. Ortner was previously married to Robert Paul, a cultural anthropologist now at Emory University; and to Raymond C. Kelly, Emeritus Professor of Anthropology at The University of Michigan. She is currently married to Timothy D. Taylor, a Professor of Ethnomusicology and Musicology at UCLA.
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Joan Rimmer (11 December 1918 – 29 December 2014) was an English musicologist who specialised in the history of musical instruments (especially the Irish harp) and in historical dance forms. She was also a pioneer in ethnomusicology who presented, in the course of 30 years, numerous programmes on traditional music from around to the world on BBC radio.
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Ruth Katz (born 1927) is an Israeli musicologist, a pioneer of academic musicology in Israel, professor emerita at the Hebrew University of Jerusalem. She has been a corresponding Member of the American Musicological Society since 2011. She was named laureate of the Israel State Prize in 2012. Katz's work addresses ethnomusicology, philosophy and aesthetics of music, and music cognition.
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Berent's undergraduate training was in music performance and musicology. She subsequently pursued research in music cognition, including fieldwork in ethnomusicology (in Mexico).Berent, I., El enfoque émico en el análisis de tradiciones musicales orales: Hacia un estudio del pensamiento musical. [The emic perspective in the analysis of oral musical traditions: Towards a study of musical thought] in Signos.
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After graduating from the Lycée Malherbe, Sabine Devieilhe obtained a diploma in musicology and ethnomusicology at the University of Rennes 2. In parallel to her studies, she joined the choir of the . She participated as a chorister in a production of The Flying Dutchman by Richard Wagner in 2002. Her voice was praised and she became a soloist.
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Without any formal training in ethnomusicology, Tracey wrote several papers on African music for the Journal of African Music, the publication his father started as a means of disseminating the results of research at ILAM and other institutions about Africa and the world. One of Andrew's early papers was a description of the mbira music of Jege Tapera.
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The South African Department of Education and the ILAM Music Heritage Project SA teach African music using western musical framework. ILAM's Listen and Learn for students 11–14 is "unique" in teaching curriculum requirements for western music using recordings of traditional African music.Theory and Method in Historical Ethnomusicology ed. Jonathan McCollum and David G. Hebert, p.
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The International Study Group on Music Archaeology (ISGMA), which includes archaeoacoustical work, is a pool of researchers devoted to the field of music archaeology. The study group is hosted at the Orient Department of the German Archaeological Institute Berlin (DAI, Deutsches Archäologisches Institut, Orient-Abteilung) and the Department for Ethnomusicology at the Ethnological Museum of Berlin (Ethnologisches Museum Berlin, SMB SPK, Abteilung Musikethnologie, Medien-Technik und Berliner Phonogramm-Archiv). The ISGMA comprises research methods of musicological and anthropological disciplines (archaeology, organology, acoustics, music iconology, philology, ethnohistory, and ethnomusicology). The Acoustics and Music of British Prehistory Research Network was funded by the Arts and Humanities Research Council and Engineering and Physical Sciences Research Council, led by Rupert Till and Chris Scarre, as well as Professor Jian Kang of Sheffield University's Department of Architecture.
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Urbana and Chicago: University of Illinois Press. Merriam’s idea of how ethnomusicology should be defined drew from his idea of what an ethnomusicologist should accomplish. Merriam had, like all ethnomusicologists, completed fieldwork in his area of interest, but he was characterized by his peers in ethnomusicology as being more scientific and focusing on drawing conclusion from data. In his own writings, he emphasizes the application of data gathered in the field to solving relevant musical problems and how such application is motivated by the approach and goal of the researcher. Further, he claims the indispensable link between the data gathered in the field and the conclusions drawn from it by proposing his opinion on “armchair ethnomusicologists”: Merriam is characterized by a drive to solve relevant problems using data gathered in the field hands-on.
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Frances Densmore recording Blackfoot chief Mountain Chief for the Bureau of American Ethnology in 1916 Ethnomusicology is the study of music from the cultural and social aspects of the people who make it. It encompasses distinct theoretical and methodical approaches that emphasize cultural, social, material, cognitive, biological, and other dimensions or contexts of musical behavior, in addition to the sound component. Folklorists, who began preserving and studying folklore music in Europe and the US in the 19th century, are considered the precursors of the field prior to the Second World War. The term ethnomusicology is said to have been first coined by Jaap Kunst from the Greek words ἔθνος (ethnos, "nation") and μουσική (mousike, "music"), It is often defined as the anthropology or ethnography of music, or as musical anthropology.
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Scholars have characterized medical ethnomusicology as "a new field of integrative research and applied practice that explores holistically the roles of music and sound phenomena and related praxes in any cultural and clinical context of health and healing". Medical ethnomusicology often focuses specifically on music and its effect on the biological, psychological, social, emotional, and spiritual realms of health. In this regard, medical ethnomusicologists have found applications of music to combat a broad range of health issues; music has found usage in the treatment of autism, dementia, AIDS and HIV, while also finding use in social and spiritual contexts through the restoration of community and the role of music in prayer and meditation. Recent studies have also shown how music can help to alter mood and serve as cognitive therapy.
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Self-described "culture bearer" Jacqueline Cogdell DjeDje of the University of California, Los Angeles broke new ground in ethnomusicology with her study of "fiddle" music of the Luo of Kenya. Citing Kwame Anthony Appiah, she rejects "nativist nostalgia . . . largely fueled by that Western sentimentalism so familiar after Rousseau".Appiah, Kwame Anthony. 1992. In My Father’s House: Africa in the Philosophy of Culture.
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Münir Nurettin Beken (born 12 April 1964) is Associate Professor of Ethnomusicology at the UCLA Herb Alpert School of Music. He is one of the founding members of the State Turkish Music Ensemble and the leading ud performer of his generation in Turkey. He performs ud recitals in a variety of venues throughout the U.S. and Turkey, and lectures on classical Turkish music.
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From 1928 he and sociology professor Dimitrie Gusti visited the various regions of Romania in order to make sound recordings. In 1931 he published the article "Schiţa unei metode de folclor muzical" (Sketch of a method for music folklore), which became one of the foundational texts for ethnomusicology. In 1943 he became cultural consultant for the Romanian embassy in Bern.
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In 1975, she completed a master's degree in ethnomusicology from Indiana University, which she attended on a Fulbright fellowship. Her master's thesis examined the social role of folk songs in Liberia. Shortly after completing her undergraduate degree, Agnes married Rudolph von Ballmoos, with whom she had two sons. Their elder son, also named Rudolph, served as Liberia's ambassador to the United Kingdom.
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Esther Warkov, Ph.D. is an American activist and music researcher who has authored books and studies on music. Her scholarly articles on ethnomusicology have been featured in several journals. She and her husband Joel Levin were featured in the media for co-founding Stop Sexual Assault in Schools (SSAIS) in Portland, OR, which advocates for preventing sexual violence in K-12 schools.
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Billy Ivey was born in Detroit, Michigan on September 6, 1944. Ivey was reared in Calumet, a mining town located in the Keweenaw Peninsula in Michigan's Upper Peninsula. He graduated from the University of Michigan in 1966, received a master's degree in folklore and ethnomusicology from Indiana University in 1970, and became a PhD candidate in folklore and history in 1971.
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Evans has taught ethnomusicology at San Francisco State University, the University of Virginia, and Duke University. Evans gives private banjo lessons at his home in Albany, California. He also stages banjo workshops at major music festivals all over the country. A convocation by Evans "The Banjo in America: A Musical and Cultural History" has been presented in various venues across the country.
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Uday began teaching at the age of 20. He now lives and teaches students at his house in Pune. He was also a Visiting Artist in Residence at the University of Washington in Seattle in the Department of Ethnomusicology, a position held many years ago by his Guru, Zia Mohiuddin Dagar. He gives workshops in London every year at the Asian Music Circuit.
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Following her graduation, Burnim continued at Indiana University, joining the faculty of the Department of Afro-American Studies (now the Department of African American and African Diaspora Studies). She went on to chair the department. She transferred to the Department of Folklore and Ethnomusicology in 1999. She served as director of the Archives of African American Music and Culture from 2014 to 2016.
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Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press. pp. 149-160 Part of the problem, Nettl notes, is that the vast majority of ethnomusicologists are "members of Western society who study non-Western music," contributing to the perception that wealthy, white individuals are taking advantage of their privilege and resources.
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Nettl characterizes the majority of outsiders as "simply members of Western society who study non-Western music, or members of affluent nations who study the music of the poor, or maybe city folk who visit the backward villages in their hinterland."Nettl, Bruno. 2005. "11. You Will Never Understand this Music." In The Study of Ethnomusicology: Thirty-One Issues and Concepts, 149-160.
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It was also at this time that the emphasis of ethnomusicological work shifted from analysis to fieldwork, and the field began to develop research methods to center fieldwork over the traditional "armchair" work. In 1960, Mantle Hood established the Institute of Ethnomusicology at the University of California at Los Angeles, largely legitimizing the field and solidifying its position as an academic discipline.
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Pronsky was born in Brooklyn, New York City and began professional vocal training at the age of eight. In 1996 she met Lucy Wainwright Roche, then a fellow high school student at Saint Ann's School. Wainwright Roche introduced her to folk music and Pronsky began to study guitar. Pronsky attended Brown University and graduated in 2002 with a degree in Ethnomusicology.
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Protagonists might identify with a local neighborhood, or loyally follow a particular star. Professors, flamencologos, sourced in musicology or ethnomusicology contributed. Although often rife with music-culture controversy, as frequently such disputes are all together explicitly ignored.Among factors in the cauldron are the dynamic opposition of flamenco tradition versus innovation, the latter frequently including interpenetration with other musical styles. E.g.
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Originally from Toronto, she studied ethnomusicology at Bennington College in Vermont."Crusading producer passionate about film: She isn't afraid to confront the mandarins and accountants". Toronto Star, June 19, 1994. Returning to Toronto after her graduation, she wrote film reviews for various Toronto publications until taking a job as second assistant director on Charles Burnett's 1983 film My Brother's Wedding.
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Lentini' first instrument was the guitar, built by his grandfather with the doors of an antique wardrobe. Ever since he was young he dedicated himself to the composition and arrangement of music. He made his debut at the Folkstudio, a historic nightclub in Rome. He graduated with high honours in Cultural Anthropology and studied Ethnomusicology in Rome and in London.
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Darnal has received several awards and honours for his indispensable contributions in the field of ethnomusicology. Nepal Post, in honour of Darnal’s contributions, has published tickets with a picture of Darnal, which is worth ten rupees. The curriculum developed by the Ministry of Education, Nepal includes Darnal’s biography, entitled "Sangeetagya Ramsharan Darnal", as a part of Nepali textbooks for grade 9.
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Martin Stokes is King Edward Professor of Music at the King's College London in the United Kingdom. He has special research interests in ethnomusicology and anthropology, as well as Middle Eastern popular music. Dr Stokes obtained his DPhil (PhD) from the University of Oxford (1989). He currently studies music and music theory with a particular emphasis on the contemporary Middle East.
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Moley (Mícheál Pádraig) Ó Súilleabháin earned an M.A. in Ethnomusicology at the University of Limerick and studied rap music and the rap culture in County Cork, Ireland. He sang and played bodhrán with The Chieftains at Belfast Festival at Queens in 2007 and is an expert in "Human beatbox" techniques, which introduced him to Bobby McFerrin with whom he has recorded.
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Another theory lays doubt to the former claim, suggesting the kulintang could not have existed prior to the 15th century due to the belief that Javanese (Indonesian) gong tradition, which is what the kulintang was believed to be derived from, developed only by the 15th century.Skog, Inge. "North Borneo Gongs and the Javanese Gamelan." Ethnomusicology Research Digest 4(1993): 55-102.
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This resource enabled him to continue historical research for The History of England. Hume's volume of Political Discourses, written in 1749 and published by Kincaid & Donaldson in 1752,Sher, Richard B. 2008. The Enlightenment and the Book: Scottish Authors and Their Publishers in Eighteenth-Century Britain, Ireland, and America, (Chicago Studies in Ethnomusicology Series). Chicago: University of Chicago Press. . p. 312.
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Bowman was born and grew up in Toronto."A Conversation With... Rob Bowman". FYI Music News, 28 March 2016 by Bill King He earned an Honours B.A. in musicology in 1978 at York University, and in 1982 completed an M.F.A. in ethnomusicology, also at York. In 1983 he began his PhD studies at the University of Memphis, completing these in 1993.
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Hao Huang (黄俊豪) is an American concert pianist, author and the Bessie and Cecil Frankel Endowed Chair in Music at Scripps College. Huang authored or co- authored over two dozen scholarly articles in general music, popular music, ethnomusicology, anthropology, American Studies and Humanities. He has performed and lectured in North and South America, Europe, Asia, Africa and the Middle East.
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Along with Alan Merriam, Willard Rhodes, and Charles Seeger, he founded the Society for Ethnomusicology in 1955. He specialized in Native American music, and did field work on the Navajo reservation for many years in the summer. He partially retired in 1979 and retired fully in 1986 to a home in the Berkshires. He died on 30 April 2006 in Monterey, Massachusetts.
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In the Fall of 1978, Prof. T. Temple Tuttle of Cleveland State University befriended Ramnad Raghavan after attending a lecture of his at the Niagara chapter of the Society for Ethnomusicology. They began collaborating on a series of projects, and Prof. Tuttle suggested that the Festival move to the university's campus in order to attract and accommodate a larger audience.
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Both sides viewed the collection to be mainly lost. In West Berlin, Kurt Reinhard rebuilt an archive at the Ethnological Museum. New recordings were made, mostly on tape. Due to this, and the fact that by this time the archive had also assembled an important collection of musical instruments, in the 1960s the collection was renamed the "Department for Ethnomusicology" (musikethnologische Abteilung).
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Born in Dublin, Máire Breatnach obtained a B.A., B.Mus. and M.A. degrees at UCD, in Dublin where she lectured, as she also did in the College of Music, DIT before starting a freelance career as a performing musician. She later obtained a further M.A., in Ethnomusicology, from the University of Limerick, and a Ph.D. from Dublin City University in 2013.
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Hebert has worked for universities on five continents: Sibelius Academy, Boston University College of Fine Arts, Lomonosov Moscow State University, Te Wananga o Aotearoa, University of Southern Mississippi, Tokyo Gakugei University and the International Research Center for Japanese Studies. From 2012, he has also frequently lectured in Beijing for postgraduate seminars at China Conservatory, and in 2015 was a Visiting Professor in Brazil with the music PhD program at Federal University of Rio Grande do Sul. Across recent years Hebert has given keynote speeches for music conferences worldwide: Poland, Estonia, Sweden, Norway, China, Tanzania, and Uzbekistan. Hebert also serves on editorial boards of several scholarly journals, led the Historical Ethnomusicology group of the Society for Ethnomusicology (of which he is a Life member) in 2009-2011, and was Editor of the 25th anniversary proceedings of the Nordic Association for Japanese and Korean Studies.
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Prof. Campbell has enjoyed involvement in professional organizations (and their boards, especially the Society for Ethnomusicology, the International Society for Music Education, and The College Music Society). Campbell has served terms as President of the College Music Society, Vice President of the Society for Ethnomusicology and Chair of the Board of Smithsonian Folkways. She has served on editorial boards of the Psychology of Music, British Journal of Music Education, Research Studies in Music Education, Journal of Research in Music Education, College Music Symposium, and other journals, as well as co-editor of the Global Music Series of Oxford University Press. Her activity has been to examine contemporary situations relevant to cultural diversity and multicultural mandates in the teaching of music in various settings, and to seek out culturally responsive practices and the policies that articulate them.
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Now located in Karaj, the Faculty of Music was spun off from the Faculty of Applied Arts and moved out of Tehran in 1994. That original program was formed from the Conservatory of Music and the College of National Music in 1989. The school has programs in military, Iranian, and classical music, as well as composition and ethnomusicology. Dr. Hamid Askari is the school's dean.
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In the same year he recorded for Arhoolie Records. He toured extensively during the 1960s and 1970s. While in California in 1970 he made several recordings with Sue Draheim, Kenny Hall, Ed Littlefield, Lou Curtiss, Kathy Hall, Will Scarlett and others at Sweet's Mill Music Camp, forming a group he called "The California Sheiks".UCLA Ethnomusicology Archive (Lou Curtiss San Diego Folk Festival Collection 1962–1987).
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From 1948, he was a producer for the BBC Radio classical music station called the Third Programme, until he moved to Germany from 1964 to 1966 where he was Assistant Director of the Institute for Musical Research in Berlin. After teaching assignments in Illinois and Hawaii universities, he was appointed Professor of Music (Ethnomusicology) at UCLA in 1969. He retired in 1983 and moved to Wales.
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Benjamin Raphael Teitelbaum (born January 27, 1983) is an American ethnographer and political commentator. An Assistant Professor of Ethnomusicology at the University of Colorado, Boulder and former Head of Nordic Studies at the same institution, he is best known for his ethnographic research into far-right groups in Scandinavia and commentary on immigration, and is frequently cited as an expert in Scandinavian and American media.
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Eva Catherine Gardner (born February 17, 1979) is an electric bassist from Los Angeles, California. She is a graduate of the Los Angeles County High School for the Arts, where she studied under trumpet player Bobby Rodriguez. She holds a degree in ethnomusicology from UCLA (Cum Laude). Eva Gardner is the daughter of The Creation bassist Kim Gardner, and cites her father as her primary influence.
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Jill Paquette- DeZwaan was born in Houston, Canada in 1979. She is of French-Canadian and Native American ancestry. Raised in a musical family, Paquette first played piano at age three and began taking classical lessons that extended into her teenage years, eventually learning to play guitar as well. At 17 she attended Prairie Bible College in Alberta where she planned to study ethnomusicology.
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He was a Fulbright lecturer in India during the year 1959–60 and received a Fulbright grant to study in Romania, 1971–2. A pioneering scholar of Charles Ives, he was elected to the board of directors of the Charles Ives Society in 1975. Indeed, he demonstrated an unusually wide breadth of erudition as a scholar, publishing writings on music theory, ethnomusicology, Charles Ives, and Paul Hindemith.
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Richard graduated cum laude from Howard University with degrees in both vocal performance and piano, in addition to graduate work in the field of ethnomusicology. Smallwood was a member of The Celestials, the first gospel group on Howard University's campus. That group was the first gospel act to appear at Switzerland's Montreux Jazz Festival. Richard was also a founding member of Howard's first gospel choir.
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Gerard Henri Béhague (November 2, 1937 – June 13, 2005) was an eminent Franco- American ethnomusicologist and professor of Latin American music. His specialty was the music of Brazil and the Andean countries and the influence of West Africa on the music of the Caribbean and South America, especially candomblé music. His lifelong work earned him recognition as the leading scholar of Latin American ethnomusicology.
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Ana Lara was born in Mexico City and studied at the National Conservatory of Music with Mario Lavista and Daniel Catán and later with . She continued her studies at the Warsaw Academy of Music with and Wlodzimierz Kotonski. She also studied ethnomusicology at the University of Maryland, graduating with a Master of Arts degree. After completing her studies, Lara worked as a composer and music producer.
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Young received his undergraduate degree in Ethnomusicology from UCLA, and his master's degree in Health Services Research and PhD in Psychology from Stanford University. Prior to joining UCLA as a postdoctoral fellow, Young worked in technology and user behavior/human factors at the NASA Ames Research Center and Cisco Systems. Since 2011, he has been a professor with the UCLA Department of Family Medicine.
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Pan Shiji was born in Taipei, and her family emigrated to Canada in 1974. She took piano lessons and studied composition with Hsu Tsang-houei in Taiwan. In America she studied composition with Robert Turner at the University of Manitoba from 1976–80 and with Chou Wen-chung at Columbia University, New York, from 1980–88. During this time, she worked at the Columbia Center for Ethnomusicology.
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Born in Andover, Massachusetts, Higgins had his high school education at Phillips Academy, where his father taught English and his mother taught music for many years. He attended Wesleyan University and received all three of his degrees from there: a B.A. as a double major in music and history in 1962, an M.A. in musicology in 1964, and a Ph.D. in ethnomusicology in 1973.
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Rey Fresco was formed in 2008 by four longtime friends and prominent members of the Ventura, California music scene. The band is composed of Xocoyotzin “Xoco” Moraza, a graduate of UCLA who holds a degree in Ethnomusicology. Andrew Jones, surf board shaper, drum maker and drummer. Roger Keiaho, vocalist and guitarist, a native of Fiji and whose younger brother is NFL linebacker Freddy Keiaho, Shawn Echevarria, bassist.
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Dave was born in Wellesley, Massachusetts in 1975. He began his musical studies at the age of 8. In 1993, Rempis began a degree in classical saxophone at Northwestern University with Frederick Hemke. As part of his studies in anthropology, he spent a year at the International Centre for African Music and Dance at the University of Ghana in Legon, studying African music and ethnomusicology.
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Nominations for the Fumio Koizumi Prize can be made only by the members of the Fumio Koizumi Prize Committee. The prize Committee consists of seven members, outstanding Japanese scholars in musicology and ethnomusicology. Committee designates independent experts to evaluate each entry and discusses all the entries at the meeting, held in Tokyo in December. The winner can be a single scholar, of a group of scholars.
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He retired from there a few years back. He has published as much in Bengali as in French. One of his recent contributions is a documentary film on the musical pillars in the temples of South India (CNRS-Audiovisual, Paris). Since 1981, Prithwindra Mukherjee joined the LACITO of the CNRS (Department of Ethnomusicology) working on a comprehensive cognitive study of scales of North and South Indian music.
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Dr. Taras Filenko, pianist, organist, and musicologist, studied music in Kiev, Donetsk, Moscow, and Pittsburgh. He was awarded a degree for piano performance in 1982, followed in 1989 by an advanced degree (Kand. Nauk), in the history of music from the National Academy of Music of Ukraine (Kiev Conservatory of Music). Filenko earned a second doctorate in ethnomusicology from the University of Pittsburgh in 1998.
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Dr. Filenko's extensive education is not limited to musical topics alone. He participated in the Program for Executives at Carnegie Mellon University and the American- European Seminar in Salzburg, Austria. He also earned a diploma in public administration from the Management Academy in Ukraine. Dr. Filenko has worked in the fields of history of music, ethnomusicology, and music performance (piano and organ) for over twenty-five years.
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In 1930, Necdet Yaşar was born in Nizip, a small town near Gaziantep, Turkey. He graduated from the School of Economics, Istanbul University.Aksoy 2005, op. cit. Professor Robert Garfias, Director of the Ethnomusicology Program at the University of Washington (Seattle, Washington State, USA)--on the recommendation of graduate student Karl Signell—appointed Yaşar as Visiting Artist for 1972-73 academic year [Signell 1977, p. xv].
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She grew up in Fredericksburg, Virginia, and now lives in Massachusetts. McKeown began her career in the folk scene. She released her first album, Monday Morning Cold in 1999 on her own label (TVP Records), travelling throughout New England while a student at Brown University in order to promote the record. Although she had begun studying ornithology, she graduated from Brown with a degree in ethnomusicology.
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Maultsby began lecturing at Indiana University in 1971, while still a graduate student. She became the founding director of the Indiana University Soul Revue, a student ensemble dedicated to Black music. By 1975, she was an assistant professor in the Department of African-American Studies. She went on to become chair of the department (1985–91), then professor in the Department of Folklore and Ethnomusicology (from 1992).
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From his childhood joined musical associations that defined his vocation. He studied violoncello, Art History, ethnomusicology and choral and orchestral conduction at the National Conservatory of Music, and the National School of Music of UNAM. Disciple of prestigious teachers as Barbara Kaminska (Poland), Enrique Marmisolle, Jorge Cordova, Leonardo Velazquez and Christian Caballero among many others. Also attended Master Classes from Yo-Yo Ma and Mstislav Rostropovich.
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Béla Bartók in 1927 Béla Viktor János Bartók (; , ; 25 March 1881 – 26 September 1945) was a Hungarian composer, pianist, and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Franz Liszt are regarded as Hungary's greatest composers. Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology.
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After she finished her B.A. in Painting, she moved to Italy to pursue her artistic education. She graduated in Musicology majoring in Ethnomusicology from the University of Bologna. While in Italy, she was invited by the Vatican and different Italian TV channels and performed as a soloist with one of the oldest Italian choirs. She also performed with the most well known Italian musicians such as Franco Battiato, Andrea Parodi, etc.
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Gonzalez holds a PhD degree in Gender, Women & Sexuality Studies from the University of Washington and a BA in Ethnomusicology from the University of California, Los Angeles. She was a Fulbright Garcia-Robles Scholar (2007–2008), a Ford Foundation Dissertation Fellow (2012–2013), and a Woodrow Wilson Career Enhancement Fellow (2016–2017). In September 2016, Gonzalez began a one-year artist-in-residence program at Arizona State University in Phoenix.
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The Chan Centre for the Performing Arts is a performing arts centre located at the University of British Columbia. The Centre is used by a variety of UBC departments, including their School of Music. The University of British Columbia offers bachelors, masters, and doctoral degrees in performance, composition, theory, musicology and ethnomusicology. Simon Fraser University in Burnaby offers more interdisciplinary Bachelor and Master of Fine Arts degrees with a music speciality.
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Linda Dégh earned her degree from Péter Pázmány University, in Hungary. After graduating, she began teaching at Eötvös Loránd University in the folklore department. In 1965, she began teaching at the Folklore Institute of Indiana University, Bloomington and by 1982, Dégh had become a Distinguished Professor of Folklore and Ethnomusicology at Indiana University. While teaching, Dégh founded the journal Indiana Folklore in 1968, which she edited until the journal folded.
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His works include a novel, Confession (1964), articles in ethnomusicology journals, the book Roots of Black Music, and numerous articles in The Chronicler, the magazine of the Center for African-American Culture. In his own compositions he combined Ethiopian and Japanese musical ideas. "Koturasia" is one such piece, written for flute, clarinet, violin, and Japanese koto. Among his other musical compositions were "Peace unto Ethiopia" and "The Life of Our Nation".
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Warkov graduated from high school when she was 16 and has three music degrees: a bachelor's degree in music from the University of California, a Fulbright scholar with a master's degree in music from the University of Wales, and also a doctorate in ethnomusicology from Israel with a specialty in Middle Eastern music. She has received many fellowships and awards, including a National Endowment for the Arts grant.
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Nancy grew up in San Antonio and continued her musical education at Northwestern University, where she was introduced to new influences and styles. Intrigued by ethnomusicology, she joined the Paul Winter Consort. Eric grew up in Seattle and attended Western Washington University where he was trained in the Segovian classic guitar tradition. He is a product of influences such as Led Zeppelin, Hawaiian slack-key guitar, Ravi Shankar, and Martin Denny.
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Lovelace was born in Los Angeles and grew up in Whittier, California. She studied theatre at Interlochen Arts Academy. At California Institute of the Arts, she received a BFA, majoring in ethnomusicology, music composition, and writing; she studied composing with James Tenney, Harold Budd, and Leonard Stein. She toured Europe with the mixed media avant-garde group Simultaneous Arts and Company, which specialized in musical installations in art galleries and museums.
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" In The Study of Ethnomusicology: Thirty-One Issues and Concepts, 149-160. Urbana and Chicago: University of Illinois Press. In spite of his optimism, the actualization of this practice has been limited and the degree to which this can solve the insider/outsider dilemma is questionable. He believes that every concept is studied through a personal perspective, but "a comparison of viewpoints may give the broadest possible insight.
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By the 2000s, musicology (which had previously limited its focus almost exclusively to European art music), began to look more like ethnomusicology, with greater awareness of and consideration for sociocultural contexts and practices beyond analysis of art music compositions and biographical studies of major European composers.Shepherd, John. 2003. "Music and Social Categories." In The Cultural Study of Music, ed. M. Clayton, T. Herbert and R. Middleton, 239-248.
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"Engaging Our Data: Questions of Access, Methodology, and Use with Ethnomusicological Field Video." Society for Ethnomusicology Abstracts: 100. Activists and ethnomusicologists working with archives of recorded sound, like Aaron Fox, associate professor at Columbia University, have undertaken recovery and repatriation projects as an attempt at decolonizing the field. Another ethnomusicologist who has developed major music repatriation projects is Diane Thram, who works with the International Library of African Music.
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Issues of ethnicity and music intersect with gender studies in fields like historical musicology, the study of popular music, and ethnomusicology. Indeed, gender can be seen as a symbol of social and political order, and controlling gender boundaries is thus a means of controlling such order. Gender boundaries reveal the most deeply intrinsic forms of domination in a society, that subsequently provide a template for other forms of domination.
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Italian folk music has a deep and complex history.Giurati. This essay provides a thorough review of the history and current state of Italian ethnomusicology. Because national unification came late to the Italian peninsula, the traditional music of its many hundreds of cultures exhibit no homogeneous national character. Rather, each region and community possesses a unique musical tradition that reflects the history, language, and ethnic composition of that particular locale.Sassu.
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The ANU School of Music is a school in the Research School of Humanities and the Arts, which forms part of the College of Arts and Social Sciences of the Australian National University. It consists of four buildings, including the main School of Music building – which contains Llewellyn Hall – and the Peter Karmel Building. The School of Music's teaching encompasses performance tuition, alongside musicianship, musicology, sound recording, and ethnomusicology.
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Sheppard also curated and either published or archived hundreds of documents and audio recordings including Irish ballad sheets and original examples of street literature, a subject on which he was considered an authority.Martin, C. E., A Review of 'The History of Street Literature by Leslie Shepard'. Folklore Forum 9 (2) pp79-80.Online Version at Department of Folklore and Ethnomusicology Indiana UniversityIrish Traditional Music Archive, 2008 Dublin Éire.
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He is well respected throughout Bali and many other countries as an integral component to the recognition, respect, and continuation of the Balinese culture. As an artist and as a visiting scholar, Bandem has taught and performed Balinese dance throughout the world. Bandem's accomplishment and contribution to arts and culture can be grouped into four major domains including achievements in ethnomusicology, educational administration, arts and culture management, and political career.
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Andrew Kaslow attended Columbia University where he earned a B.A., a master's degree (M.A.) in Music and Music Education, and a Doctorate in Anthropology Ph.D.), with a specialization in ethnomusicology, African-American culture, and urban social networks. He also attended the Institut d'Etudes Politiques in Paris. Kaslow studied piano and clarinet in his early years, and later studied saxophone with legendary musicians Jimmy Heath, Eddie Barefield, Lee Konitz, and Eddie Daniels.
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She has collected awards for her classical works from Duke University, NYU, Meet the Composer, among others. She recently completed her doctoral degree in ethnomusicology on Native Classical composition and Indigenous theory. Nurturing future generations, Avery is a professor at Montgomery College. She was awarded the 2012 United States Professor of the Year by the Council for Advancement and Support of Education and the Carnegie Foundation for the Advancement of Teaching.
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In 1964, Ellis began graduate studies in ethnomusicology at the University of California, Los Angeles, where he studied with Indian musician Harihar Rao. Greatly inspired by Rao, Ellis sought to implement odd meters in a Western improvised context and (with Rao) co-authored the 1965 article "An Introduction to Indian Music for the Jazz Musician".Ellis, Don and Harihar Rao. "An Introduction to Indian Music for the Jazz Musician".
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They use the kīrttaṉai form that includes the classical karnatak raga (mode) and tala (rhythmic cycle) designations for each song. Some of these ragas and talas are followed in Church practice, while from the 1940s, other kīrttaṉai were adapted to simpler Western style tunes in major scale that more easily facilitated the accompaniment of organ.Sherinian, Zoe. “Musical Style and the Changing Social Identity of Tamil Christians.” Ethnomusicology, vol.
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Soundscape, was founded as a jazz club in New York City in 1979 by Verna Gillis, a Ph.D. in ethnomusicology. Committed to the ideals of multiculturalism, it aimed to present contemporary music and musicians from diverse cultural backgrounds. It provided one of the first multi-cultural performance spaces in New York City. Live in Soundscape is a 9-CD series on DIW which documents the early years, through 1984.
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Verna Gillis (born 1942) is a free-lance producer who has gained recognition for her work promoting and producing music from various cultural backgrounds. Gillis holds a Ph.D. in ethnomusicology. She was an assistant professor at Brooklyn College from 1974 to 1980 and at Carnegie Mellon University from 1988 to 1990. From 1972 to 1978, Gillis recorded traditional music in Afghanistan, Iran, Kashmir, Haiti, the Dominican Republic, Peru, Surinam, and Ghana.
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Ruff was a faculty member at the Yale School of Music from 1971 until his retirement in 2017, teaching music history, ethnomusicology, and arranging. Ruff's classes at Yale, often with partner Dwike Mitchell, were free-flowing jam sessions: roller-coaster rides through the colors of American Improvisational Music. The duo could play in the style of most notable jazz artists and related styles. They had a large repertoire.
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In 2007 Kyra Gaunt published The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop. Her book was awarded the Alan Merriam prize presented by the society for Ethnomusicology. It was also nominated as a pen/beyond margins book award finalist. It inspired a work by fellow TED Fellow Camille A. Brown, BLACK GIRL: Linguistic Play, which was nominated for a 2016 Bessie Award for Outstanding Production.
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Antoniuk holds a master of music degree from the University of North Texas, where his course work focused on jazz performance and West African ethnomusicology. He began his undergraduate work at Grant MacEwan University in Canada and completed his bachelor's degree at the North Texas. He is a recipient of the Canada Council for the Arts "B Grant," and used it to study with Blue Note recording artist Tim Hagans.
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Tejaswini Niranjana, speaking at a conference. Tejaswini Niranjana (born 26 July 1958) is an Indian professor, cultural theorist, translator and author. She specialises in culture studies, gender studies, translation and ethnomusicology, particularly relating to different forms of Indian music. She has an M.A. in English and Aesthetics from the University of Bombay, an MPhil in Linguistics from the University of Pune and a PhD from the University of California, Los Angeles.
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Inspired by Western academia, he pursued a master's degree in world music from Wesleyan University from 1974 to 1976. He graduated with the thesis "Inner Melody in Javanese Gamelan." He continued teaching and performing at various universities in the United States, and was made an artist-in-residence at Wesleyan in 1976. From 1983 he began working on a Ph.D. from Cornell University in ethnomusicology and Southeast Asian Studies.
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Davis was born Arthur Quentin Davis, Jr. in New Orleans.OffBeat: BackTalk with Quint Davis by David H. Jones He was the first of three children of the family. His father was an architect whose firm designed notable buildings such as Louisiana Superdome and the New Orleans Arena.Nola.com: Jazz Fest's Quint Davis stands at the crossroads of art and commerce by Keith Spera Davis majored in drama and ethnomusicology at Tulane University.
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From 2002 to 2009 he was also Professor at the Musicological Institute of the Saarland University in Saarbrücken, Germany and since 2009 Guest Professor at the Universidad de Ciencias y Artes de Chiapas in Tuxtla Gutiérrez (Mexico). In 2004 he earned his Postdoctoral lecture qualification (Venia legendi/Habilitation) in ethnomusicology and popular music research at the Saarland University (Germany) with a professorial dissertation (Habilitationsschrift) on Marimbas in Latin America.
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Dhol damau or dhol damaun is the term used to collectively refer to two folk instruments of Uttarakhand and lower Himachal Pradesh, the dhol and damau, which are almost always played together on special occasions; though they may be played separately.Andrew Alter: Controlling Time in Epic Performances: An Examination of Mahābhārata Performance in the Central Himalayas and Indonesia. Ethnomusicology Forum, Vol. 20, No. 1 ( 20th Celebratory Edition ) April 2011, pp.
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The M.M. is widely available in performance (sometimes with a specialization in music teaching/pedagogy and/or music literature), composition, conducting, and music education. The music education degree may also be awarded as a more specifically titled Master of Music Education (M.M.Ed.). The master's in music theory, musicology (commonly called "music history"), and ethnomusicology is typically the Master of Arts (M.A.). Nevertheless, some universities in the UK (e.g.
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Izaly Iosifovich Zemtsovsky (; born February 22, 1936 in St Petersburg, Russia) is a Russian-born American ethnomusicologist. He is a Visiting Professor at Stanford University. Zemtsovsky is known in ethnomusicology for his wide range of subjects of study, including the theory of melodic formulas, rhythmic formulas, comparative research of various regions of the world, study of musical universals and the importance of musical data in ethno-genetic reconstructions.
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Zemtsovsky is the author of over 20 books and over 500 articles on numerous European and Asian languages. From 2006, Zemtsovsky is the director (and founder) of Silk Road House, Silk Road House, Berkeley website a non-profit organization focused on the culture of the Silk Road, in Berkeley, California. In 2011 in recognition of his research activity and prolific teaching Zemtsovsky was awarded the Fumio Koizumi Prize for ethnomusicology.
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Turquerie by Maurice Quentin de La Tour. The music in operas that utilized the notion of turquerie was not seriously influenced by Turkish music. Composers in the 18th century were not interested in ethnomusicology, to adopt the style of sound of a particular country or area. The European audiences were not yet ready to accept the unappealing and what they thought of as primitive musical style of the Turkish people.
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In some ways, hip hop is tolerated by the government of Cuba and performers are provided with venues and equipment by the government.Baker G: "Hip Hop Revolucion: Nationalizing Rap in Cuba". Ethnomusicology 49 #3 p. 399. The Cuban rap and hip-hop scene sought out the involvement of the Ministry of Culture in the production and promotion of their music, which would otherwise have been impossible to accomplish.
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Concert in the Mozarteum, Salzburg Musicology as an academic discipline can take a number of different paths, including historical musicology, music literature, ethnomusicology and music theory. Undergraduate music majors generally take courses in all of these areas, while graduate students focus on a particular path. In the liberal arts tradition, musicology is also used to broaden skills of non-musicians by teaching skills such as concentration and listening.
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A typical udu Igbo music (Igbo: Egwu nkwa ndi Igbo) is the music of the Igbo people, who are indigenous to the southeastern part of Nigeria. The Igbo traditionally rely heavily on percussion instruments such as the drum and the gong, which are popular because of their innate ability to provide a diverse array of tempo, sound, and pitch.Ames, David. Ethnomusicology. Igbo and Hausa Musicians: A Comparative Examination. Vol.
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Martin was born and raised in Olympia, Washington. He studied jazz and classical music at Western Washington University before dropping out to play music professionally. He later completed his bachelor's and master's degrees in anthropology, linguistics, and ethnomusicology at the University of New Mexico. Martin joined Skin Yard as a drummer in 1990 and made two albums with the band, 1000 Smiling Knuckles (1991) and Inside the Eye (1993).
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Paul is the oldest of three and was born in Cambridge, MA to Joe and Ann Berliner. Berliner is Professor of Ethnomusicology at the John Hope Franklin Center for International and Interdisciplinary Studies at Duke University. He formerly taught at the School of Music of Northwestern University. He has recorded and produced albums of Shona mbira music, and has been recorded as a performer with the Paul Winter Consort.
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She was one of the founders of the Conference on Chinese Oral and Performing Literature, CHINOPERL. Her work was among the first to take into account the importance of tonal inflections, rhythm, and other traditionally "musical" inflections in the study of oral literature. Pian was a Fellow of the Academia Sinica in Taiwan,. She was named an Honorary Member of the Society for Ethnomusicology, the society's highest honor, in 2004.
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As a music theorist, Morris's work has bridged an important gap between the rigorously academic and the highly experimental. Born in Cheltenham, England in 1943, Morris received his musical education at the Eastman School of Music (B.M. in composition with distinction) and the University of Michigan (M.M. and D.M.A. in composition and ethnomusicology), where he studied composition with John La Montaine, Leslie Bassett, Ross Lee Finney , and Eugene Kurtz.
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Hannan was born in Newcastle, New South Wales. He studied musicology at the University of Sydney where he received his BA in 1972 and his PhD in 1979, followed by a diploma in music composition in 1982. He then spent a year in Los Angeles on a Fulbright scholarship carrying out postdoctoral research on ethnomusicology at UCLA as well as studying composition with Elaine Barkin.Saintilan, Nicole; Schultz, Andrew; Stanhope, Paul (1996).
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The library includes a small space for listening to music from all over the world. The old building has also been renovated and now houses the offices and ethnomusicology workshops. The three buildings in the ensemble - the old museum, the new MEG and a primary school – enclose a small square planted with trees and flowers. The museum is on the Swiss Inventory of Cultural Property of National and Regional Significance.
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Herzog was a member of the Board of Advisers of the Institute of Jazz Studies and was briefly president in 1955. He, along with David P. McAllester, Alan Merriam, Willard Rhodes und Charles Seeger, founded the Society for Ethnomusicology.Society for Ethnomusicology, website After a serious illness in 1950, he had to give up work in 1958, retired in 1962, and lived for the next twenty years in a sanatorium.
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McCollum is especially known for theoretical contributions to the historiography of global music (historical ethnomusicology), and research studies into both the music of Armenia and the music of Japan, particularly Zen Buddhist ritual and shakuhachi flute tradition. As a musicologist, McCollum has contributed extensively to academic journals, encyclopedias, and music reference works, including most recently the Bloomsbury Encyclopedia of Popular Music, the Sage International Encyclopedia of Music and Culture, and the New Grove Dictionary of Musical Instruments. He has also worked as a consultant for the Armenian Library and Museum of America, the Smithsonian Institution, and Folkways Alive! of the Canadian Centre for Ethnomusicology at the University of Alberta. McCollum is the author of Armenian Music: A Comprehensive Bibliography and Discography (Scarecrow Press, 2004)According to Music References Review Quarterly, McCollum’s book Music: A Comprehensive Bibliography and Discography is “the most important English-language resource for Armenian music to date,” and a review in Choice describes it as “exceptionally good on history … well organized and indexed”.
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Reinhard, the son of Mortimer Reinhard and Francine Zakos, grew up in the Midwood section of Brooklyn. He attended John Dewey High School, and earned a Bachelors of Music degree at the North Carolina School of the Arts in Winston-Salem, North Carolina. He earned a Masters of Music degree at the Manhattan School of Music and was offered a fellowship in ethnomusicology at Columbia University. Reinhard later taught at New York University.
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Sean Williams (born 1959, Berkeley, California) is an ethnomusicologist who teaches at The Evergreen State College in Olympia, Washington. Her primary areas of teaching include Irish studies and Asian studies; she leads the Sundanese music ensembles Gamelan Degung Girijaya (Enduring Mountain Gamelan) and Angklung Buncis Sukahejo. She received a BA in classical guitar performance from UC Berkeley in 1981, and an MA (1985) and Ph.D. (1990) in ethnomusicology from the University of Washington (Seattle).
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Cantor Emeritus - Laurence Loeb Cantor Loeb has been in the Cantorate for over 50 years. He was the youngest graduate ever from the Cantor's Institute at the Jewish Theological Seminary in New York. He continued graduate study at the Jewish Theological Seminary in Ethnomusicology and received a Ph.D. in Anthropology from Columbia University. Using his background in Jewish music and anthropology, he studied the music and culture of the Jews of Iran.
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An M.A. in composition (UC Santa Cruz, 1995). In 1999, he earned a Ph.D. in composition with the cognate in ethnomusicology from UCLA. Grasse furthered his gamelan studies and performance in UCLA's Central Javanese gamelan directed by master Balinese musician and dancer Pak Nyoman Wenten. Remaining at UCLA as an instructor from 1999-2005, Grasse taught world music theory, music of Brazil, composition, and western music theory, and sponsored a student capoeira group.
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He also studied ethnomusicology in the Central Asian Republics and researched folk music from Turkmenistan, Kyrgyzstan and Tajikistan. One of his most famed compositions is Полюшко-поле (Polyushko Polye), known as "Meadowland", and also called "Song of the Plains". The primary publishers of Knipper's works are Muzyka, Kompozitor and Le Chant du Monde. Most of his published compositions are currently out of print, and the majority of his output has yet to be published.
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90/4 (1988)Koskoff, Ellen, review of Music, Talent, and Performance, Ethnomusicology vol. 34 (spring 1990) pp. 311-14 Kingsbury has written of the role that personal change can play in the ethnographic approach. He writes, “just as fieldwork is often understood to be a traumatic personal experience, so also… can traumatic experience be retrospectively reconstituted as ‘fieldwork.’” “New Testament Anthropology and the Claim of an Ethnographer’s Voice,” ‘‘Dialectical Anthropology’’ 22: 79-93, 1997 [p.
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Blum’s teaching career began at Western Illinois University (1967–73), followed by an assistant professorship at University of Illinois at Urbana–Champaign until 1977. He then moved to Toronto's York University, where he remained for ten years, founding the MFA program "Music and Contemporary Cultures", the first of its kind Canada. In 1987 he founded the ethnomusicology program at City College of New York Graduate Center, where he worked until his retirement in 2016.
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Following teaching engagements at York University (1975–76) and Queen's University (1976-77), Keillor joined Carleton University in 1977 as the university's first woman professor of music. At Carleton, she has taught courses on the Baroque and Classical periods, Canadian music, ethnomusicology, keyboard performance and keyboard literature. With particular responsibility for Canadian music, she helped launch the university's first courses on Canadian Aboriginal music. In 2005, Carleton named her a Distinguished Research Professor Emerita.
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Kuffner was born and raised in New York City. He attended Franklin D. Roosevelt High School in Hyde Park, New York and briefly studied visual and performing arts at Syracuse University before dropping out and relocating to Brooklyn in 1996. Kuffner is a trained painter and metal sculptor, a former street artist, theatre director, international DJ and music producer. Kuffner studied at the Institut Seni Inodenesia Yogyakarta, where he studied Karawitan and Ethnomusicology.
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John Holmes McDowell (born 25 September 1946) is a Professor in the Department of Folklore and Ethnomusicology at Indiana University Bloomington. He also serves as Director of the Minority Languages and Cultures of Latin America Project at Indiana University. Broadly speaking his work is centered on performance and communication as well as the interplay of creativity and tradition. Geographically most of his fieldwork has been in Mexico, Colombia, Cuba, Ecuador, and Ghana.
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Urbana and Chicago: University of Illinois Press. pp. 133-148 Nettl and other scholars hope to avoid the perception of the "ugly ethnomusicologist," which carries with it the same negative connotations as the "ugly American" traveler. Many scholars, from Ravi Shankar to V. Kofi Agawu, have criticized ethnomusicology for, as Nettl puts it, "dealing with non-European music in a condescending way, treating it as something quaint or exotic."Nettl, Bruno. 2005.
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The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press. P. 144-145 Despite discarding this assumption, Nettl acknowledges that by only interviewing one person, he is relying heavily on that person's ability to articulate a whole society's culture and musical traditions. There are myriad other ethical considerations that arise in the field, and Slobin attempts to summarize and explain some that he's come across or heard about.
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By the late 1980s, the field of ethnomusicology had begun examining popular music and the effect of media on musics around the world. Several definitions of popular music exist but most agree that it is characterized by having widespread appeal. Peter Manuel adds to this definition by distinguishing popular music by its association with different groups of people, performances by musicians not necessarily trained or intellectual, and dispersion through broadcasting and recording.Manuel, Peter. 1988.
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As a result of the above debate and ongoing ones like it, ethnomusicology has yet to establish any standard method or methods of analysis. This is not to say that scholars have not attempted to establish universal or "objective" analytical systems. Bruno Nettl acknowledges the lack of a singular comparative model for ethnomusicological study, but describes methods by Mieczyslaw Kolinski, Béla Bartók, and Erich von Hornbostel as notable attempts to provide such a model.Nettl, Bruno.
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Mark L. Kligman. "The Bible, Prayer, and Maqam: Extra-Musical Associations of Syrian Jews." Ethnomusicology, volume 45, number 3 (Autumn 2001): pages 443–79. Mark L. Kligman. Maqam and Liturgy: Ritual, Music, and Aesthetics of Syrian Jews in Brooklyn. Detroit: Wayne State University Press, 2009. For Parashat Vayikra, Sephardi Jews apply Maqam Rast, the maqam that shows a beginning or an initiation of something, as with this parashah, Jews begin the book of Leviticus.
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Hebert claims that postmodernist discourse no longer offers an adequate explanation for contemporary musical practices, and that most music philosophy suffers from an ethnocentric orientation. Rather, he advocates a global-historical perspective: that humanity has recently exited a period of "digital prehistory" to enter a phase of "data saturation" through ubiquitous mass surveillance,Hebert, David and McCollum, Jonathan (2014). "Philosophy of History and Theory in Historical Ethnomusicology". In J. McCollum and D. G. Hebert, Eds.
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Gian Paolo Mele (Nuoro, June, 10, 1944 – Nuoro, February 15, 2018) was an Italian choral conductor, composer and ethnomusicologist. Already at an early age he was interested in ethnomusicology; he became director of the Coro di Nuoro (Chorus of Nuoro), and he edited the editions of a remarkable record and audiovisual production of Sardinia's folk music. In 2003, he composed the soundtrack of the film Ballo a tre passi by Salvatore Mereu.
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After earning his Bachelor's degree from Wayne State University, he studied Musicology (specializing in Ethnomusicology) at Columbia University in New York City. He went on to earn a Master of Library Science from the University of Minnesota.Obituary from the Star Tribune 1999 During the 1950s and 1960s, Gillis played piano regularly with Doc Evans and can be heard on some Evans albums.cf. Discography of Doc Evans After that, he led the Superior Jazz Band.
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Jane C. Sugarman, "Imagining the Homeland: Poetry, Songs, and the Discourses of Albanian Nationalism", Ethnomusicology, Vol. 43, No. 3 (Autumn, 1999), p. 424 Thimi Mitko, born in 1820 in Korcë (now South Albania) was an important figure of the Albanian national movemento of 19th century. (Ibid., p. 421) Apart from being associated with Muslim Albanians, in some specific works the term Turco-Albanian was used to mention the Labs (),Hamish, Alexander Forbes (2007).
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Bandem is the first Indonesian to accomplish the Ph.D title in ethnomusicology from Wesleyan University, Middletown, Connecticut (1980). As a scholar in the field of world music, Bandem fathoms and advances a school of thought popularly termed as the “bi- musicality” that was initially promoted by Prof. Dr. Mantle Hood. Bandem refers bi-musicality as a conception that music is a universal language and every ethnomusicologist must comprehend more than one genre of world music.
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Casey Neill was born in New Haven, CT in 1971 in a hospital room with "a nurse singing Irish folk songs." His father is Peter Neill. He moved to Olympia, WA in 1989 and graduated from The Evergreen State College with an ethnomusicology education. Neill then developed as an artist in the underground music community of the Pacific Northwest, releasing two early cassette releases and then his first CD, Rifraff, in 1995.
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Moisei Iakovlevich Beregovsky () (18921961) (Yiddish: משה אהרן בערעגאָווסקי \- Moyshe Arn Beregovski -- his Jewish first name has often been rendered as Moshe in English-language publications; surname Beregovski or Beregovskii), was a Soviet-era Jewish folklorist and ethnomusicologist from Ukraine, who published mainly in Russian and Yiddish. He has been called the "foremost ethnomusicologist of Eastern European Jewry".p.253 "A Fresh Look at Beregovski's Folk Music Research" by Mark Slobin. Ethnomusicology, Vol.
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Today Boulton's large collections of traditional music materials are found at several institutions. The Columbia University Center for Ethnomusicology has the Laura Boulton Collection of Traditional Music, with approximately 30,000 field recordings and accompanying documentation, purchased for Columbia in 1964. Boulton served as curator of this collection from 1962 to 1972. Boulton's liturgical music collection is found today at the Harvard University Archive of World Music, part of the Eda Kuhn Loeb Music Library.
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Ecomusicology embraces what is today considered the field of historical musicology, ethnomusicology, and related interdisciplinary fields, which while at the same time may enable specialists within each of these fields to interact with academics in the other fields in their approach, it also provides individuals with flexibility to approach an ecocritical study of music through a variety of disciplines and fields. In October 2012, the first international Ecomusicology-conference took place in New Orleans.
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He studied at the Academy of Music in Ljubljana, under Lucijan Marija Škerjanc, and later graduated in 1947. He was also an editor of symphonic broadcasts and later a chief editor of music on Radiotelevizija Slovenija. From 1968 until 1982 he taught at the Music Academy in Ljubljana at the Institute of Ethnomusicology, as a professor of composition and music theory. At one point Uroš Krek was a president of the Society of Slovenian Composers.
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Prithwindra Mukherjee-Zinal 2011 Prithwindra Mukherjee (Bengali: পৃথ্বীন্দ্রনাথ মুখোপাধ্যায়, born 1936) retired in 2003 from a career as a researcher in the Human and Social Sciences Department (Ethnomusicology) of the French National Centre of Scientific Research in Paris. He is the author of a number of books and other publications on various subjects. He is the recipient of India's highly prestigious award Padma Shri 2020 for his work in the field of literature and education.
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While at UCLA, Mukherjea served as an instructor of Hindustani instrumental music in the newly formed ethnomusicology department, and collaborated closely with Nazir Jairazbhoy in the early days of the program. His students include Peter Manuel, Professor of Music at Hunter College, CUNY, who has acknowledged his debt to Mukherjea in several publications. Mukherjea performances have been limited. His 25-year span as a performing artist saw him play about fifty concerts in all.
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David Evans (born January 22, 1944) Dr. David Evans, Allmusic. Retrieved 24 September 2016 is an American ethnomusicologist and director of the Ethnomusicology/Regional Studies program at the Rudi E. Scheidt School of Music in the University of Memphis, where he has worked since 1978. He was born in Boston, Massachusetts, United States. He studied at UCLA and began making trips to the southern states in the 1960s to research and record blues musicians.
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Cristian Amigo (born 1963) is an American composer, improviser, guitarist, sound designer, and ethnomusicologist. His compositional and performing output includes blues and soul, music for the theater, chamber and orchestral music, opera, avant-jazz and rock music, and art/pop song. He has also recorded solo albums on the innova, Deep Ecology and BA labels. Amigo earned a Ph.D. in Ethnomusicology from UCLA where he focused on the music of Chile, Peru, and Argentina.
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He was Founder Director of University Music Center, Bombay (now, Department of Music, University of Mumbai) and served during 1968 to 1983. He was instrumental in foundation of Archives and Research Center for Ethnomusicology for American Institute of Indian Studies at Pune and worked as Associate Director from 1983 to 1984. Later he was appointed as Deputy Director (Research, Theatre Development and Publications) at National Center for the Performing Arts from 1984 to 93.
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In composition, he is an art graduate of the school of Alireza Mashayekhi. Besides music composing, he improved his knowledge in Iranian music repertoire through Majid Kiani 's lessons, the basics of ethnomusicology through and acquired the techniques of piano playing under the supervision of . He learnt techniques of orchestra conducting from Edo Mičič, Manuchehr Sahbaei and Iradj Sahbaei as well. He graduated from the Faculty of Fine Arts- University of Tehran.
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By 1979, with two record albums (East Side Wedding and Streets of Gold) receiving airplay on listener- sponsored and college radio stations, The Klezmorim had embarked on a rigorous touring schedule, disseminating their groundbreaking conceptSlobin, Mark, review of album East Side Wedding in Ethnomusicology, Bloomington, Indiana, 1978-05, p. 392. and repertoire throughout North America and inspiring a second wave of klezmer bands like Kapelye and the Klezmer Conservatory Band.Birnbaum, Larry. Downbeat, 1983-01, p.
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Apart from his collection of musical instruments, his studies on Arabic or North African music and sound recordings, he helped to revive the Tunisian musical genre known as ma'luf during the 1920s. His lasting contribution to the ethnomusicology of Arabic music, however, was the six-volume "La musique arabe", published in Paris in French and Arabic from 1930 onwards, and re-edited in 2001 with the support of the Institut du Monde Arabe in Paris.
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He presently plays and records with the instrument. The second çeng in Turkey was recently made by Mehmet Soylemez, an instrument maker and master's degree graduate student at Istanbul Technical University, for Şirin Pancaroğlu, the primary harpist of Turkey. She has started to explore this ancient instrument and will soon record with it. In the United States, New England Conservatory of Music ethnomusicology professor Robert Labaree plays and records with the instrument.
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He currently teaches at the Bergen Community College in Paramus, New Jersey and has taught at the Hartt School, the Guitar Study Center of the New School in New York; Sessione Sienese, in Siena, Italy; SASI in Bratislava, Slovakia; and SESC in São Paulo, Brazil. He conducts workshops and lectures on mandolin and acoustic guitar styles, ethnomusicology, world music, and has written for Acoustic Guitar magazine"Letter From Sao Paolo" Acoustic Guitar Magazine, October 1998.
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She attended Mount St Scholastica College (now Benedictine College) in Atchison, Kansas, on a music scholarship, graduating in 1968 with a bachelor's degree in piano, theory, and composition. The following year, she earned a master's degree in musicology from the University of Wisconsin-Madison. In 1974, she was awarded a PhD in ethnomusicology from the University of Wisconsin-Madison; she was the first African American to be awarded that degree in the United States.
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Michael Bakan is a professor of ethnomusicology at Florida State University and director of the Balinese gamelan ensemble Sekaa Gong Hanuman Agung ("Gamelan Club of the Great Hanuman"). He wrote Music of Death and New Creation: Experiences in the World of Balinese Gamelan Beleganjur, a book said to have "elevated gamelan beleganjur to the level of the much better known gong kebyar". Michael is the brother of noted Canadian legal theorist Joel Bakan.
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Warren Smith in October 2005 in Takoma Park, Maryland William Shadrack Cole is an American jazz musician, professor of music, and author. Cole specializes in non-Western wind instruments, including the Ghanaian atenteben, Chinese suona, Korean hojok and piri, South Indian nagaswaram, North Indian shehnai, Tibetan trumpet, and Australian didjeridu. Cole has a Ph.D. in ethnomusicology from Wesleyan University. He has written two books, one on Miles Davis and one on John Coltrane.
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She was the dance reviewer for the Honolulu Star-Bulletin from 1960 to 1963. In 1969, she published one of her best-known works, "An anthropologist looks at ballet as a form of ethnic dance". Kealiinohomoku served on the Board of Directors of Native Americans for Community Action in Flagstaff, Arizona from 1977 to 1982. She was also a member of the Society of Ethnomusicology, where she was co-founder of their Southwestern Chapter.
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During World War II, he worked in the US Army in Military Intelligence. Herzog was a professor of Anthropology at Indiana University Bloomington from 1948 to 1958 where he formally established the Archives of Traditional Music which he had begun collecting in 1936 while he was at Columbia University. Herzog was a North American pioneer in the field of ethnomusicology and posed such radical research questions as: "do animals have music?" (1941).
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Later, scholars turned to Austrian Erich Moritz von Hornbostel, credited with inventing the musical instrument categorization system still used today, and his 1905 article outlining "The Problems of Comparative Musicology."Nettl 180. The word ethnomusicology, though casually used towards the mid-1900s, was not widely used officially. The word first appeared in publication in Jaap Kunst's book, Ethno-musicology; a study of its nature, its problems, methods representative personalities, which wasn’t published in 1955.
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PennBO was unique in that, with the exception of the Tamburitzans at Pittsburgh's Duquesne University, it was the only university-level music ensemble dedicated solely to Eastern European music. Wolownik at Home He later moved to Los Angeles, where he received a master's degree in ethnomusicology from the University of California, Los Angeles. While there, he founded another balalaika group, the Odessa Balalaikas. Later, he founded balalaika groups in Houston and Atlanta.
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A little later, in 1986, he joined the world-famous band Thomas Mapfumo & the Blacks Unlimited. Touring the world for eight years with that band, he was their arranger, mbira player and saxophonist. From 1994 until his death in 2019, Chartwell based himself in Britain where he continued to teach and play mbira. Chartwell had academic qualifications in music, including a degree in Ethnomusicology from SOAS in London where he also taught for many years.
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After attending UCLA as an Ethnomusicology Major and John Bergamo's percussion program at California Institute of the Arts, Eckstine began his music career in Los Angeles as a session musician playing drums for Quincy Jones, Michael McDonald, Eddy Grant, Michael Henderson, James Ingram, and Herbie Hancock, among others. Eckstine is also a founding member of the progressive rock band Soma, featuring guitarist Allan Holdsworth, bassist, Tony Levin, guitarist, David Shawn Waldroop, and keyboardist/composer, Mark Gleed.
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Along with ethnomusicologists Brenda Romero and Paul Humphries, Grasse was a principle presenter for the College Music Society- affiliated Institute for the Pedagogy of World Music Theories held at the University of Colorado, Boulder (2005, 2007, 2010), an institute that grew from their presentations at meetings of the Society for Ethnomusicology. Since 2005, he has been a professor of music at California State University, Dominguez Hills, where he directs the CSUDH Festival of New and Improvised Music.
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The journal was established in 1942 as the Hoosier Folklore Bulletin and continued in 1945 as Hoosier Folklore. It was renamed in 1951 as Midwest Folklore () and continued from 1964 to 1983 under Richard Dorson as the Journal of the Folklore Institute (), obtaining its current name in 1984. Since July 2002, the journal has been published and distributed by the Indiana University Press. The journal is run by the Department of Folklore and Ethnomusicology at Indiana University Bloomington.
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They subsequently arrived in the United States claiming political asylum and settled in Boston. During this turbulent period, she often found solace in music, listening to bootleg recordings in Yemen and taking casual piano lessons from a family friend. In the United States, she sang in several world music choirs and attended high school at Pioneer Valley Performing Arts Charter Public School. She studied ethnomusicology at Wesleyan University, where she wrote her senior thesis on Sudanese Zār music.
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Linda Dégh (18 March 1920 – 19 August 2014) was a folklorist and professor of Folklore & Ethnomusicology at Indiana University, USA. Dégh was born in Budapest, Hungary and is well known as a folklorist for her work with legends, identity, and both rural and urban communities in Europe and North America. In 2004, as professor emerita at Indiana University, she was awarded the AFS Lifetime Scholarly Achievement Award. Dégh also served as president of the American Folklore Society in 1982.
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His wife and daughters continued to run the company in Chennai after his death. He was a collector of rare, antique Indian artwork and instruments including the dilrupa. He was a friend and colleague of the Canadian composer and ethnomusicologist Colin McPhee, and their correspondence on Indian music can be found in the McPhee Collection at the University of California - Los Angeles Ethnomusicology Archive. Ramachandran edited and brought out a magazine "Shilpasree" devoted to Bharatanatyam, Music and fine arts.
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A raga is one of the melodic modes used in Indian classical music. Joep Bor of the Rotterdam Conservatory of Music has defined Raga as "tonal framework for composition and improvisation". Nazir Jairazbhoy, chairman of UCLA's department of ethnomusicology, characterized ragas as separated by scale, line of ascent and descent, transilience, emphasized notes and register, and intonation and ornaments. A raga uses a series of five or more musical notes upon which a melody is constructed.
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Françoise Barrière was born in Paris and studied at the Conservatoire de Versailles and the Conservatoire National Supérieur de Musique in Paris. She continued her studies in ethnomusicology at the Ecole Pratique de Hautes Etudes. Barrière worked at the Service de la Recherche, ORTF, and in 1970 became co-founder and director of the International Institute of Electroacoustic Music of Bourges with Christian Clozier. Barrière was instrumental in organizing the Bourges International Competitions at the Synthese Festival.
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Singing was a link between the church and the Civil Rights Movement. The songs, influenced by gospel, rhythm and blues, and soul music, and which have a hymn-like quality, show a relationship between "secular and spiritual elements" with ornamented, richly harmonized and syncopated part singing.Bradtke, Elaine. "Sing for Freedom: The Story of the Civil Rights Movement through Its Songs by Guy Carawan", Ethnomusicology Vol. 37, No. 3 (Autumn 1993), University of Illinois Press, pp. 452-55.
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During her studies, she continued to play piano for a Black Baptist church choir on Sundays. Burnim went on to complete a master's degree at the University of Wisconsin-Madison, with a thesis on songs in Mende folktales. Burnim was recruited to Indiana University to complete her PhD and to found the university's African Choral Ensemble in 1976. She earned her doctorate in ethnomusicology in 1980, with a dissertation titled The Black Gospel Music Tradition: Symbol of Ethnicity.
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The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press. p. 150 Nettl recalls an angry young man from Nigeria who asked the researcher how he could rationalize the study of other cultures' music. Nettl couldn't come up with an easy answer, and posits that ethnomusicologists need to be careful to respect the cultures they study and avoid treating valuable pieces of culture and music as just one of many artifacts they study.
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Urbana and Chicago: University of Illinois Press. Pp. 302. Once symbolism was at the core of anthropology, scholars sought to examine music "as a symbol or system of signs or symbols," leading to the establishment of the field of musical semiotics. Bruno Nettl discusses various issues relating ethnomusicology to musical semiotics, including the wide variety of culturally dependent, listener- derived meanings attributed to music and the problems of authenticity in assigning meaning to music.Nettl, Bruno. 2005.
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Overall, these three techniques form a scale of progressively more effective control of perceptualization as reliance on the acoustic world increases. In Fales' examinations of these types of timbre manipulation within Inanga and Kubandwa songs, she synthesizes her scientific research on the subjective/objective dichotomy of timbre with culture-specific phenomena, such as the interactions between music (the known world) and spiritual communication (the unknown world).Fales, Cornelia. 2002. "The Paradox of Timbre." Ethnomusicology 46(1): 56-95.
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An Anthology of African Music is a series of recordings of traditional music that was made for the International Music Council by the International Institute for Comparative Music Studies and Documentation (Berlin/Venice) and released on the Musicaphon label by Bärenreiter (Kassel/Basel/London). The series was directed by Paul Collaer.Taking the World for a Spin in Europe: An Insider's Look at the World Music Recording Business, René van Peer, Ethnomusicology 43, #2 (Spring-Summer 1999), pp. 374-384, .
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Traylor formed T Records in 1980 and made Win or Lose (1984), Lines (1988), Out of Time (1991), So Long (1993), Faded Light (1995), The Alex Campbell Tribute Concert (1997). From 1980 to 1992 (whilst continuing as a singer- songwriter, recording/performing artist and working occasionally for the BBC presenting documentary programmes), he earned three academic degrees: a BA from Leeds University, a MA from Lancaster University, and a PhD in ethnomusicology from Queen's University Belfast.
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He is active in the International Council for Traditional Music, serving as a member of the executive board from 1983 to 1993, vice president from 1995 to 1999, and president from 1999-2005. In 2007, he was awarded the Fumio Koizumi Prize for Ethnomusicology. He is best known for his work investigating how local music industries shape music, especially in Big sounds from small peoples: the music industry in small countries, co-written with Roger Wallis.
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He continued to document rural folk music, and during the 1930s made an enormous collection of recordings of the songs and other forms of music of the interior. The recordings were exhaustive, with a selection based on comprehensiveness rather than an aesthetic judgment, and including context, related folktalkes, and other non-musical sound.Luper 47. Andrade's techniques were influential in the development of ethnomusicology in Brazil and predate similar work done elsewhere, including the well-known recordings of Alan Lomax.
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As a freshman in 1958, Dave Fisher, who in high school had sung in a doo-wop group, joined with four other Wesleyan freshman – Bob Burnett, Steve Butts, Chan Daniels, and Steve Trott – to form the Highwaymen.Original Highwayman Begins Final Journey Rowing Boat to Farthest Shore, Sydney Morning Herald, 14 Dec. 2011. Retrieved 14 Dec. 2011. Fisher, who would graduate in 1962 with the university’s first degree in ethnomusicology, was the quintet's arranger and lead singer.
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Meri von KleinSmid was born in Los Angeles, California, and studied choral music, piano, violin and flute as a child. She was educated at the University of Washington and Columbia College Chicago, where she studied music history and ethnomusicology. She lived for a while in Cambridge, England, but later moved to the Seattle/Vancouver area. She has been a member of the experimental musical collective SoniCabal and the Chinese Music Society of North America, among other organizations.
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The Fumio Koizumi Prize () is an international award for achievements in ethnomusicology, presented annually in Tokyo, Japan. The prize is awarded by the Fumio Koizumi (小泉文夫) Trust each April 4, the date of Fumio's birthday. List of publications of Koizumi Fumio The recipient receives an award certificate in addition to prize money. The winners must be present at the ceremony, deliver a prize lecture, and deliver another lecture at another Japanese university of his/her choice.
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170px Crisstopher Rick Chros (James Marsden) is an unemployed entrepreneur, and like Dot Com, attended Wesleyan University. Criss is the third of Liz's romantic interests to share a name with a celebrity (although there is a difference in spelling). He dropped out of law school, but holds a degree in ethnomusicology. He and Liz met somewhere between the end of season five and the beginning of season 6 at Riverside Park after Liz made fun of his turtleneck shirt.
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The novels of Baba Röwşen, Melike Dilaram and others are about the struggle of the representatives of Islam, Ali and his followers - against the "infidels". The peculiarity of the literary form of these novels is the alternation of prose and poetic passages.Janos Sipos, Ethnomusicology Ireland 5, Collecting Folk Music in the Land of the Zemzems: Report on the Turkmen expedition of 2011, pp. 163-170 The surviving oral Turkmen folklore - fairy tales, songs, anecdotes, proverbs, sayings, tongue twisters, etc.
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See also Ethnomusicology Human-focused studies in Ecomusicology are often conducted using similar Field research methods to that of Anthropology or Sociology. This includes conducting interviews, collecting various numerical data, surveys as well as on-site observation.Boyle and Waterman, Performance, 33. These varied methods of data collection are used to make a qualitative analysis of the ways in which sound and music may influence behaviours as well as systems of value and meaning within a particular social context.
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In 1991, Jungr and Parker performed in a Festival of European music in Sudan funded by the British Council. The success of that trip led to them performing and giving workshops in Cameroon, Tanzania, Malawi, and Burma. Jungr wrote about these experiences for the Guardian Diary, Folk Roots, and The Singer, and in 1994 enrolled in a masters program at Goldsmith's College in ethnomusicology for which she received a Distinction. She specialised in the Voice and Singing.
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Shirish Korde (born June 18, 1945), is a composer who was born in Uganda to Indian parents. He is the Chair of the Music Department at the College of the Holy Cross (Worcester, MA) and has previously been on the faculty of the Berklee College of Music, the New England Conservatory, and Brown University. Korde studied jazz and composition at the Berklee College of Music, analysis and composition at the New England Conservatory, and ethnomusicology at Brown University.
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Blum S. and Neuman D. M. "Ethnomusicology and modern music history." University of Illinois Press 1993. Khusrau, a Sufi-poet of the thirteenth century, composed verses about Vasanta: Aaj basant manaalay, suhaagan, Aaj basant manaalay Anjan manjan kar piya mori, lambay neher lagaalay Tu kya sovay neend ki maasi, So jaagay teray bhaag, suhaagun, Aaj basant manaalay. Oonchi naar kay oonchay chitvan, Ayso diyo hai banaaye Shah Amir tuhay dekhan ko, nainon say naina milaaye, Suhaagun, aaj basant manaalay.
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The singers' normal use of the pipe is to play the initial key note or tonic of the piece to be sung. Less frequently the pipe will be used to play the first sung note of the song, especially where the song begins in unison or with a solo. In Ethnomusicology, recording a short beep with pitch pipe in ethnographic recordings can be used in playback to determine the playback speed of the Gramophone record or Phonograph cylinder.
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The ethnographic method is used across a range of different disciplines, primarily by anthropologists but also occasionally by sociologists. Cultural studies, Occupational Therapy, (European) ethnology, sociology, economics, social work, education, design, psychology, computer science, human factors and ergonomics, ethnomusicology, folkloristics, religious studies, geography, history, linguistics, communication studies, performance studies, advertising, accounting research, nursing, urban planning, usability, political science,Schatz, Edward, ed. Political Ethnography: What Immersion Contributes to the Study of Power. University Of Chicago Press. 2009.
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She studied music composition, ethnomusicology, and French literature at the University of Illinois, Champaign-Urbana, where she received her Ph.D. degree. She has been a professor in the Gender and Women's Studies Department at the University of California, Berkeley since 1994 and in the Department of Rhetoric since 1997. She has also taught at Harvard, Smith, Cornell, San Francisco State University, the University of Illinois, Ochanomizu University in Japan, and the National Conservatory of Music in Senegal.
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Important linguistic work was done in the 1970s by Kevin Ford in collaboration with Robert Iddah, a speaker of Lolobi, but most of this remains unpublished (Ford & Iddah 1973, 1987). In recent years, a sketch of phonology and morphosyntax has been prepared at GILLBT by Andy Ring and associates. Some linguistic material can furthermore be found in various publications by Kofi Agawu on Northern Ewe and Akpafu ethnomusicology. Siwu has seven oral and five nasal vowels.
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Ethnomusicology, formerly comparative musicology, is the study of music in its cultural context. It is often considered the anthropology or ethnography of music. Jeff Todd Titon has called it the study of "people making music". Although it is most often concerned with the study of non-Western musics, it also includes the study of Western music from an anthropological or sociological perspective, cultural studies and sociology as well as other disciplines in the social sciences and humanities.
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Horwitz received an A.B. magna cum laude in Ethnomusicology from Wesleyan University in 1977, a M.S. in Computer Science from Cornell University in 1982 and a Ph.D in Computer Science from Cornell University in 1985. She joined the Department of Computer Science at the University of Wisconsin in Madison as an assistant professor in 1985. She was promoted to associate professor in 1991, and to professor in 1996. She was associate chair from 2004 to 2007.
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Students who complete diploma or degree courses are ready to enter the profession of music either as teachers, singers or instrumentalists in Western Classical Music, Jazz Studies or African Music and Dance. Careers open to diplomates and graduates include orchestral playing, opera and oratorio singing, programme compiling for broadcasting networks, librarianship, performance, and education. The wide range of postgraduate programmes offered includes: ethnomusicology; performance studies in Western classical music, African music and jazz; musicology (theory and history); and composition.
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In 1980 Conforth began attending graduate school at Indiana University, where he majored in folklore, ethnomusicology, and American Studies. He married the former Jeanne Harrah and they combined their last names; for the next decade he was known as Bruce Harrah-Conforth. He continued to play music, appearing in a local band called The Extremes. While at Indiana University he worked at the University's Archives of Traditional Music, contributing a number of articles to their newsletter "Resound".
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Other artists are invited to lead classes at the Boxwood Canada and Boxwood Williamsburg festivals. Founded in 1996 by Chris Norman and University of Wyoming professor Rod Garnett,Rod Garnett Professor Ethnomusicology . Retrieved on 31 December 2013 the first festival took place at the University of Wyoming. Originally a music camp for flute players and enthusiasts, the event has grown to be multiple festivals involving players, makers, and enthusiasts of other instrument and art forms, including voice and dance.
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UCLA was also praised for sending its graduate students abroad to be immersed in a culture and its music. The University of Hawaii was well known for its ability to harmonize the relationship between the anthropology and music departments, drawing from both to create well-rounded ethnomusicology courses. Alan Merriam had made significant headway at Indiana University, having been made a Professor of Anthropology in 1962, equipped with skills in African music, music analysis, and Indian music.
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Born to a highly musical household in Missoula, Montana, Merriam began studying piano and clarinet at a young age. His father was the Chairman of the English department at Montana State University, and his mother was a highly skilled cellist. During his younger years, Merriam performed in numerous school bands and local dance orchestras. Merriam studied music at Montana State University (‘47) and began graduate work in anthropology at Northwestern University (’48) where he became acquainted with the anthropologist Melville J. Herskovits, who “stimulated his interest in the study of music as a cultural phenomenon.” Merriam went on to complete a doctorate in anthropology, his dissertation titled “Songs of the Afro-Bahian Cults: An Ethnomusicological Analysis.” This dissertation was significant to the field of Ethnomusicology, because it was the first instance of the word “ethnomusicology” being used as an adverb, marking a shift away from the adverbial usage of the phrase “comparative musicology.”Merriam, A. P. and Wendt, C. C. (1981) A Tribute to Alan P. Merriam. Bloomington, Ind.
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After 1950, scholars sought to define the field more broadly and to eradicate these notions of ethnocentrism inherent to the study of comparative musicology; for example, Polish scholar Mieczyslaw Kolinski proposed that scholars in the field focus on describing and understanding musics within their own contexts. Kolinski also urged the field to move beyond ethnocentrism even as the term ethnomusicology grew in popularity as a replacement for what was once described by comparative musicology. He noted in 1959 that the term ethnomusicology limited the field, both by imposing "foreignness" from a western standpoint and therefore excluding the study of western music with the same attention to cultural context that is given to otherized traditions, and by containing the field within anthropological problems rather than extending musical study to limitless disciplines within the humanities and the social sciences. Throughout critical developmental years in the 1950s and 1960s, ethnomusicologists shaped and legitimized the fledgling field through discussions of the responsibilities of ethnomusicologists and the ethical implications of ethnomusicological study, articulations of ideology, suggestions for practical methods of research and analysis, and definitions of music itself.
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Cover for 1960s reissue Folkways FA 2951 The Anthology has had enormous historical influence. Smith's method of sequencing tracks, along with his inventive liner notes, called attention to the set. This reintroduction of near-forgotten popular styles of rural American music from the selected years to new listeners had impact on American ethnomusicology, and was both directly and indirectly responsible for the aforementioned folk music revival. The music on the compilation provided direct inspiration to much of the emergent folk music revival movement.
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From 1965 to 1967 Subramanian worked as a demonstrator in Chemistry at Madura College. He then returned to Chennai to work as an English lecturer at Vivekananda College from 1970 to 1975. After completing his M.A. in Ethnomusicology at Wesleyan University, he moved back to Chennai for a short period and worked as an assistant professor of Music at SSSS College of Music, Madurai. Before commencing his doctoral studies at Wesleyan University, he worked at the Singapore Indian Fine Arts Society.
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In 1999, he was named Best Tenor Banjo Player by Frets magazine. He has taught ethnomusicology, folklore, and Irish studies at the University of Pennsylvania, Georgetown, Villanova, and New York University. Founded in 2000 by Moloney, the Washington Square Harp and Shamrock Orchestra (WSHSO) is based at New York University and made up of musicians from the city's Irish music community. The WSHSO plays traditional Irish music, with a focus on older tunes, tunes with history, and tunes with interesting stories attached.
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Soghomon Soghomonian, ordained and commonly known as Komitas, (; 22 October 1935) was an Armenian priest, musicologist, composer, arranger, singer, and choirmaster, who is considered the founder of the Armenian national school of music. He is recognized as one of the pioneers of ethnomusicology. Orphaned at a young age, Komitas was taken to Etchmiadzin, Armenia's religious center, where he received education at the Gevorgian Seminary. Following his ordination as vardapet (celibate priest) in 1895, he studied music at the Frederick William University in Berlin.
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He has written and produce songs to promote drug abuse awareness among youth for the United Nations and the American Embassy/Kathmandu. He has lectured at Folklore Society Congress, Kathmandu; St. Lawrence University; Society for Ethnomusicology Colorado; Heidelberg University, Germany and in Italy . With the onset of focal dystonia (a debilitating nerve condition) in 2006, Kishor had to stop giving concerts. In addition to seeking medical attention, he has devised his own therapy and a miniature guitar for shadow practicing.
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Dunaway, How Can I Keep From Singing, p. 32. Frank Damrosch, siding with Constance, fired Charles from Juilliard, see Judith Tick, Ruth Crawford Seeger: a Composer's Search for American Music (Oxford University Press, 1997), pp. 224–25. Beginning in 1936, Charles held various administrative positions in the federal government's Farm Resettlement program, the WPA's Federal Music Project (1938–1940) and the wartime Pan American Union. After World War II, he taught ethnomusicology at the University of California, Berkeley and Yale University.
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Hölljes was born in Nashville and grew up in the San Francisco Bay Area with her two brothers, Ian Hölljes and Eric Hölljes. Their parents instilled in them a love of music, reading, and education. At age 15, Brittany dropped out of high school and enrolled at College of Marin for two years before choosing between studying ethnomusicology at UCLA or religion at University of California, Berkeley. She chose UC Berkeley, where she graduated in 2009 at the age of 19.
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David Garcia was awarded for the book Listening for Africa, which studies the movement between the 1930s and 1950s to relate black music in Cuba and the United States to Africa. This project was special because it relied on archival sources of data, which according to Garcia, is not a traditional practice in ethnomusicology. Naoko Terauchi was also awarded for historical research. Terauchi translated the texts from a Prussian doctor Leopold Müller in order to understand late nineteenth century Japanese court music (gagaku).
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Bruno Nettl, Emeritus Professor of Musicology at Illinois University, defines fieldwork as "direct inspection [of music, culture, etc] at the source", and states that "It is in the importance of fieldwork that anthropology and ethnomusicology are closest: It is a 'hallmark' of both fields, something like a union card". The experience of an ethnomusicologist in the field is his/her data; experience, texts (e.g. tales, myths, proverbs), structures (e.g. social organization), and "imponderabilia of everyday life" all contribute to an ethnomusicologist's study.
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He was president of the Society for Ethnomusicology (1979–81) and served on the board of directors of several other professional associations. He trained several of the well- known Latin Americanist ethnomusicologists active today both in the United States and Latin America, and he researched and published extensively on various aspects of this field. He published two edited volumes, and two books of his own, Music in Latin America: An Introduction (1979), and Heitor Villa- Lobos: The Search for Brazil's Musical Soul (1994).
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Some authors of religious history (Jeanmaire) and ethnomusicology (Gilbert Mullet and Andre Boncourt) became interested in the Aissawa in the 1950s and remain so to this day. It was only after Moroccan (1956) and Algerian (1962) independence that contemporary social scientists began to consider the subject. Many articles (Belhaj, Daoui, Hanai, Nabti and Andezian) and theses (Al Malhouni, Boncourt, Lahlou, El Abar, Sagir Janjar and Nabti) as well as ethnographic movies have studied the ritual practices of Aissawa in Morocco.
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The design was greatly influenced by Eliel Saarinen, who had submitted an earlier scheme. At the top is the 43-ton, 53-bell Baird Carillon. The tower chimes the Westminster Quarters every quarter hour in the key of E-flat. While this building houses a memorial carillon, it is primarily a conventional high- rise, contains classrooms for the University of Michigan's school of music, and houses offices for the department of musicology and ethnomusicology and for the University Musical Society.
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Luis Felipe Ramón y Rivera (August 23, 1913 - October 22, 1993) was a Venezuelan musician, composer and writer. Director of several orchestras and the founder of The National Typical Orchestra, he was also for twenty years the director of the National Institute of Folklore. He founded the International Foundation of Ethnomusicology and Folklore (now Centro de La Diversidad Cultural) in 1988 and donated the bulk of his estate to it when he died. He authored more than 20 works of Venezuelan folklore.
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Driving the development of Indonesia's popular music recording industry is the ongoing adoption and use of sound technologies, particularly from the industrialized nations of the West. Electronic sound technology in Indonesia is relatively new, and it is largely imported. Though much in evidence throughout Indonesia, it is in some ways treated as something foreign, strange, and "outside the system."R. Anderson Sutton, "Interpreting Electronic Sound Technology in the Contemporary Javanese Soundscape," Ethnomusicology 40:2 (Spring – Summer 1996): 265, JSTOR, Online (7 January 2008).
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He developed a unique style based on the rhythms of gagaku (雅楽, literally "elegant music"), the Shinto-influenced classical music performed at the Japanese imperial court. Richmond heard gagaku music on records at U.C.L.A.'s Department of Ethnomusicology. In a 2009 interview with writer Ben Pleasants, Richmond claimed he had written an estimated 8,000-9,000 gagaku poems. Richmond eventually inherited $2 million, which he lived on, eventually spending all the money after a dozen years in which he nursed his heroin addiction.
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Prof. Campbell has also contributed through research and publications to an understanding of children’s musical development, to the establishment of world music pedagogy as a viable method for knowing music from distant or unfamiliar cultures, and to cultural diversity in music education school, community, and university practice. Her ethnographic work has opened up avenues for knowing children’s musically expressive selves (and collective cultures), and her influences are notable on younger scholars working in music education, community music, and applied ethnomusicology.
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He was fired from the post by Kedarman Vyathit in 1966 but was soon reinstated on account of Surya Bikram Gyawali, after which he worked at the academy until 2004. The contributions of Darnal in the field of ethnomusicology are, to say the least, commendable. Moreover, under the guidance of Puskal Budaprithi, he extended his research to include western traditions and instruments. His admirable contributions in the fields of songwriting, music and musical instruments have made him a cultural icon.
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In addition, the museum holds more than 280,000 historical photographs, a substantial archive, more than 125,000 sound recordings, and 20,000 ethnographic films. The collection is organized according to geography as well as methodological approaches. The main divisions are Africa, Oceania, East-and North-Asia, South and Southeast Asia, the Middle East and Central Asia, American ethnology, American archaeology, and ethnomusicology. The museum also houses a specialized reference library of more than 140,000 volumes relating to ethnology, non-European art, and global art.
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Collins obtained his first degree (sociology and archaeology) from the University of Ghana in 1972 and his Doctorate in ethnomusicology at the State University of New York at Buffalo. He has given lectures and workshop in Canada, the US, the UK, Scandinavia, the Netherlands, Germany, France, the Caribbean, Ghana and the Cote d'Ivoire. He has been a resident research-fellow at the North-Western University African Studies Department at Evanston in the US and at Dartmouth Art College in the West of England.
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He composed numerous works and shadow plays for gamelan. Starting around 1959 or 1960, while earning a master's degree in theory and composition at the University of Wisconsin–Madison in Madison, Murphy got interested in gamelan during a survey course which included a section on ethnomusicology. He heard a recording of Javanese gamelan and was hooked. About that time, the head of the economics department, L. Reed Tripp, returned from Java where he had been on a Ford Foundation grant.
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Mantle Hood (June 24, 1918 – July 31, 2005) was an American ethnomusicologist. Among other areas, he specialized in studying gamelan music from Indonesia. Hood pioneered, in the 1950s and 1960s, a new approach to the study of music, and the creation of the first American university program devoted to ethnomusicology, at the University of California, Los Angeles (UCLA). He was known for a suggestion, somewhat novel at the time, that his students learn to play the music they were studying.
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A native from western Massachusetts, Jessy started playing the violin at the age of four. During high school she took a break from the instrument to play guitar in a rock band before deciding to play violin in more contemporary styles. Afterwards she got a degree from the University of California, Los Angeles in ethnomusicology, and joined the Peter Himmelman "Skin" tour, playing violin and singing backup. Upon returning to Los Angeles, Jessy joined the Geraldine Fibbers, with whom she recorded two albums.
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Musicology traditionally is divided in three main branches: historical musicology, systematic musicology and ethnomusicology. Historical musicologists mostly study the history of the so-called Western classical tradition, though the study of music history need not be limited to that. Ethnomusicologists draw from anthropology (particularly field research) to understand how and why people make music. Systematic musicology includes music theory, aesthetics, pedagogy, musical acoustics, the science and technology of musical instruments, and the musical implications of physiology, psychology, sociology, philosophy and computing.
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She felt that there was a gap between history, theory and dance and started doing her own research. She had her rangapravesha in 1956. She has taught in Monfort Rukmani Devi, Maharaja Aagarsen and various other schools in the years 2009 to 2011 and imparted knowledge to the children. Padma holds a bachelor's degree in Music, a master's degree in Ethnomusicology, as well as a PhD in Dance under the guidance of Kuthur Ramakrishnan Srinivasan, noted archaeologist and a Padma Bhushan recipient.
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Areas commonly included under this rubric include history of Zhuang, literature of Zhuang, art of Zhuang, music of Zhuang, language of Zhuang, sociology of Zhuang, political science of Zhuang, economics of Zhuang, folklore of Zhuang, and ethnomusicology of Zhuang. It may be compared to other ethnic groups studies disciplines, such as Tai studies and Yao studies. Zhuang studies is sometimes included within a broader regional area of focus including: "Lingnan studies", "Yue people studies","South Asia studies", or "ASEAN Studies".
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The university operates the Kent State University Press, which is located in the main library building and publishes 30 to 35 titles a year. It is a member of the Association of American University Presses, which includes over 100 university-sponsored scholarly presses. The Press was established in 1965, and initially published literary criticism; in 1972 its publishing program was expanded to include regional studies and ethnomusicology. Further expansion begsn in 1985 when the Press began publishing works related to the American Civil War and Ohio history.
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This French supported production with John Eliot Gardiner, conductor, and his orchestra was directed by Jean Louis Martinoty. Turocy has been decorated as Chevalier in the Ordre des Arts et des Lettres by the French government. In 1973, French dance historian Francine Lancelot (1929–2003) began her formal studies in ethnomusicology which later led her to research French traditional dance forms and eventually Renaissance and Baroque dances. In 1980, at the invitation of the French Minister of Culture, she founded the baroque dance company "Ris et Danceries".
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Feld, Steven. 1984 "Sound Structure as Social Structure." Ethnomusicology 28(3):383-409. Bruno Nettl has noted as recently as 2003 that comparative study seems to have fallen in and out of style, noting that although it can supply conclusions about the organization of musicological data, reflections on history or the nature of music as a cultural artifact, or understanding some universal truth about humanity and its relationship to sound, it also generates a great deal of criticism regarding ethnocentrism and its place in the field.
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Rights surrounding music ownership are thus often left to ethics. The specific issue with copyright and ethnomusicology is that copyright is an American right; however, some ethnomusicologists conduct research in countries that are outside of the United States. For example, Anthony Seeger details his experience while working with the Suyá people of Brazil and the release of their song recordings. The Suyá people have practices and beliefs about inspiration and authorship, where the ownership roots from the animals, spirits, and "owned" by entire communities.
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Ethnomusicology has evolved both in terminology and ideology since its formal inception in the late 19th century. Although practices paralleling ethnomusicological work have been noted throughout colonial history, an Armenian priest known as Komitas Vardapet is considered one of the pioneers to ethnomusicology's rise to prominence in 1896. While studying in Berlin at Frederick William University and attending the International Music Society, Vardapet transcribed over 3000 pieces of music. In his notes, he emphasized cultural and religious elements as well as social aspects of music and poetry.
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Bethel's MA thesis in ethnomusicology, Music in The Bahamas: its Roots, Rhyme and Personality, covered the development of Bahamian music from the slave era to the 20th century, and one chapter of that thesis was expanded into the book Junkanoo: Festival of The Bahamas (Macmillan Caribbean 1992, ). Bethel's children were named Nicolette Bethel and Edward Clement Bethel Junior. He died at the age of 49 from a hereditary kidney illness. His daughter, Nicolette Bethel, has continued his work and expanded Junkanoo: Festival of The Bahamas.
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Duran, Lucy The Jean Jenkins Archive at BBC Radio 3, 27 Nov 2011 In 1954 she joined the staff of the Horniman Museum in South London. During her time at the museum she built up the musical instrument collections from developing countries, conducted important fieldwork in Ethiopia (throughout the 1960s) and created a centre for ethnomusicology. Meanwhile she married her second husband and obtained a British passport in order to avoid being deported to the US for her trade union work. The marriage was dissolved in 1961.
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Richard Michael Moyle (born 1944) is a retired New Zealand academic specialising in ethnomusicology of the Pacific and Australia. He currently splits his time between several Australasian universities. After a PhD from the University of Auckland, spent many years in and around the Pacific recording songs and oral histories from indigenous peoples. He held teaching positions at Indiana University, the University of Hawaii at Manoa and the Australian Institute of Aboriginal and Torres Strait Islander Studies before returning to Auckland to become Director of Pacific Studies.
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Roots of the Balkan is the 15th album by Ensemble Renaissance, released in 2002 on the Classic Produktion Osnabrück label in Germany and Serbia. It is Ensemble's fifth album with early music of Serbia. It is also their most complete and mature work on the theme of early Serbian ethnomusicology. Presented on this album are secular and ritual dances, songs and melodies from the entire territory of Serbia, the oldest being from the time of Nemanjić dynasty, Ottoman period, up to the 19th century.
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Before his death, Robert was playing in support of kirtan wallahs. Robert ÆOLUS Myers held an undergraduate degree in Ethnomusicology from the University of Hawai'i, a master's degree in Counseling Psychology with emphasis in Depth Psychology from Pacifica Graduate Institute, and was an initiate of Sheikh Yakzan Hugo Valdez a student of Pir Vilayat Inayat Khan of the Sufi Order in the West, of Murshid Samuel L. Lewis of Sufi Islamia Ruhaniat Society, and Suleyman Hayati Dede, Sheikh of Konya of the Mevlevi Order.
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According to David Nelson – an Ethnomusicology scholar specializing in Carnatic music, a tala in Indian music covers "the whole subject of musical meter". Indian music is composed and performed in a metrical framework, a structure of beats that is a tala. The tala forms the metrical structure that repeats, in a cyclical harmony, from the start to end of any particular song or dance segment, making it conceptually analogous to meters in Western music. However, talas have certain qualitative features that classical European musical meters do not.
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Systematic musicology is less unified than its sister disciplines historical musicology and ethnomusicology. Its contents and methods are more diverse and tend to be more closely related to parent disciplines, both academic and practical, outside of musicology. The diversity of systematic musicology is to some extent compensated for by interdisciplinary interactions within the system of subdisciplines that make it up. The origins of systematic musicology in Europe can be traced to ancient Greece; philosophers such as Pythagoras, Aristotle, Plato and Aristoxenus asked general questions about music.
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He has composed music for the Ice Capades, commercials, and contributed to numerous hit recordings by Earth, Wind & Fire, Donna Summer, Barbra Streisand, Black Sabbath, Devo, and many others. Currently holding a doctorate in composition and ethnomusicology from the University of Natal in Durban, South Africa, Wyman teaches film scoring at San Jose State University. Since 1988, Wyman and his wife, have pursued studies and projects focusing on the arts in South Africa. They have worked with the University of Natal, the University of Durban-Westville.
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Ecomusicology is an area of study that explores the relationships between music or sound, and the natural environment.Allen and Dawe, Ecomusicologies, 2. It is a study which encompasses a variety of academic disciplines including Musicology, Biology, Ecology and Anthropology. Ecomusicology combines these disciplines to explore how sound is produced by natural environments and, more broadly how cultural values and concerns about nature are expressed through sonic mediums.Margaret Q. Guyette and Jennifer C. Post, “Ecomusicology, Ethnomusicology, and Soundscape Ecology,” in Current Directions in Ecomusicology: Music, Culture, Nature, ed.
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Darnal, devoting himself to ethnomusicology, travelled throughout Nepal, including several districts of the Sudurpashchim Pradesh, looking for traditional musical instruments and folk music. He is believed to have collected over 365 types of instruments, including the Hudka. He is known as the first person to initiate the registration of musical instruments in official records. Heavy monsoon rains in 1968 resulted in the demolition of Darnal’s abode, which further resulted in the burial of his mother and 15 types of musical instruments under the rubble.
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"[ Bahamut - Overview]", Allmusic, accessed February 15, 2008. Tamarkin praised the band for successfully fusing styles as disparate as blues, jazz, calypso, and ska into "music that sounds at once ageless and primeval, authentically indigenous and inexplicably otherworldly, familiar and unlike anything else." He also praised the group for making "listener-friendly music" that doesn't "require a degree in ethnomusicology to enjoy". Pitchfork Media reviewer Joe Tangari gave the album's track "Everybody Loves You", a collaboration with Tuvan throat singers Huun-Huur-Tu, a four- star review.
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After the creation of the collection in the Smithsonian Archives, only two full-time positions were funded. Rinzler recruited Anthony Seeger, well known in the ethnomusicology community as director of the Archives of Traditional Music at Indiana University, as director, and a full-time archivist, Jeff Place. The Smithsonian also stipulated a condition regarding the transfer: if they accepted the label, it would have to support itself through its sales. Seeger and Place had no experience running a record label, but took on the project.
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In the 1970s-1990s, Zemtsovsky was widely regarded as a key figure of Russian (and Soviet) ethnomusicology. As a prolific teacher (for several decades he was a professor at the Leningrad State Institute of Theatre, Music and Cinema), he affected the formation of Russian and other ethnic schools of musicologists in former Soviet Union (including Baltic, Caucasian, and Central Asian republics, from the 1990s – independent states) and countries of the Eastern Europe. He maintains professional contacts with Russia. Zemtsovsky is married to Alma Kunanbaeva, a Kazakh ethnomusicologist.
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Since 2010 he has been chairman of the Academy for Mozart Research at the Mozarteum Foundation Salzburg. Schmid is considered an internationally renowned Mozart expert, but in his work he devotes himself to the entire European musical tradition from ancient music to new music. However, his main focus lies on the music of the First Viennese School, the German Romantic music and the Renaissance music. Further fields of interest of Schmid are besides the general historical musicology especially the musical instrument, the noatation and the Ethnomusicology.
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Paintal was born in New Delhi, India, the daughter of the distinguished Indian scientist Autar Singh Paintal. She trained in both Indian and Western music and studied sitar and tabla as a child and piano and composition in India. Paintal received a master's degree in ethnomusicology before moving to England to study composition at York University and the Royal Northern College of Music in Manchester with Anthony Gilbert. She founded the ensemble ShivaNova in 1988 to unite diverse musical traditions into a global sound.
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This was the beginning of her career as a self-taught ethnomusicologist. Tillery gathered music from small churches, cotton fields and the "freedom music" of her ancestors. She performed research at the Schomberg Center for Research in Black Culture in New York, and was introduced to the ethnomusicology studies of Eileen Southern and Bernice Johnson Reagon. She also wanted to talk to the musicians themselves, so she travelled to the sea islands of South Carolina and Georgia to find performers of traditional Gullah music.
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Mantle Hood explained ethnomusicology as being the "study of music wherever and whenever." While his teacher Jaap Kunst wrote the two volumes of Music in Java without actually playing any of the music, Hood required that his students learn to play the music they were studying. While Hood was not the first ethnomusicologist to attempt learning to perform the music being studied, he gave the approach a name in his 1960 article on bi- musicality. It has been an important ethnomusicological research tool ever since.
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Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists.Patterson, p. 137.Sutton, Brett (January 1982). "Shape-Note Tune Books and Primitive Hymns", Ethnomusicology, 26 (1), pp. 11–26.
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The School of Music has been fully accredited by the National Association of Schools of Music since 1938. The School offers the only comprehensive music program from undergraduate through doctoral study in performance and music education in North Carolina. Entrance to School of Music Building through Peabody Park The current Director of the School of Music is Dennis AsKew. The School of Music is currently divided into 11 areas: Brass & Percussion, Composition, Conducting & Ensembles, Ethnomusicology & Musicology, Jazz, Keyboard, Music Education, Percussion, Strings, Theory, and Woodwinds.
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Hajdu studied at the Franz Liszt Academy of Music in Budapest with Endre Szervánszky and Ferenc Szabó (composition), Erno Szégedi (piano), and Zoltán Kodály (ethnomusicology). As a Kodály disciple, he was involved for two years in research about Gypsy musical culture and published several articles on this subject.Schleifer 2001. After the Hungarian Revolution of 1956, Hajdu escaped to Paris and continued his studies at the Paris Conservatoire with Darius Milhaud (composition) and Olivier Messiaen (philosophy of music), obtaining the 1st prize in the discipline.
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Toivola grew up in Helsinki and attended the Lycée franco-finlandais d'Helsinki, and graduated from its high school in 1994. After that she studied Romance philology and ethnomusicology at the University of Helsinki. She wrote her master's thesis on the ReBirth Brass Band of New Orleans and received a grant for a field trip from the Finnish Cultural Foundation in 2003. The title of the thesis was Feel Like Funkin’ It Up — A Study on the New Orleans Jazz Band called ReBirth Brass Band.
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Mhlanga has produced albums by Thomas Mapfumo, Nigerian King Sunny Adé, and South African Vusi Mahalasela. A former theater director, Mhlanga ran Zimbabwe's Ethnomusicology Trust, where he was in charge of developing national teaching programs for traditional and contemporary Zimbabwean music. He also spent a year in the Netherlands. As the musician-in-residence at the Royal Dutch Conservatory of Music, he taught African guitar courses and recorded albums with bassist Eric van der Westen, one of which also included Malian guitarist and singer Habib Koité.
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After mastering the techniques he learned in school, he developed his own studio, stocking it with an array of vintage sound modules as well as the latest technology. He has worked in the music industry as a sound designer including a position at Oberheim Electronics, a synthesizer manufacturer, and as a recording engineer. Loren received a Bachelor of Science degree in Anthropology and Geography from Cal Poly Pomona and a Master of Arts degree in ethnomusicology from UCLA. His thesis is on the ceremonial gamelan music of Bali called lelambatan.
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Founded in 1981, the CCDR's mission is to promote dance resources, preserve and research dance materials, and foster a dynamic environment for dance events. It provides consultation on dance theory and methods, ethnomusicology, cultural dynamics and ethics. The organization sponsors concerts and visiting artists and lectures. CCDR also maintains a non lending library of over 15,000 shelved items, including artwork, audiovisual materials, books, clippings, monographs, periodicals, costumes, dolls, and musical instruments, as well as the archives of Gertrude Prokosch Kurath, Eleanor King, Joann Kealiinohomoku (in progress), and the Daniel J. Crowley musical instrument collection.
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Archaeoacoustics is the use of acoustical study as a methodological approach within the field of archaeology. Archaeoacoustics examines the acoustics of archaeological sites and artifacts. It is an interdisciplinary field that includes archaeology, ethnomusicology, acoustics and digital modelling, and is part of the wider field of music archaeology, with a particular interest in prehistoric music. Since many cultures explored through archaeology were focused on the oral and therefore the aural, researchers believe that studying the sonic nature of archaeological sites and artifacts may reveal new information on the civilizations scrutinized.
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Henry Kingsbury (born 1943) is a pianist turned ethnomusicologist. He is notable for his book, Music, Talent, and Performance, an ethnographic study of an American conservatory of music.Music, Talent, and Performance: A Conservatory Cultural System, Temple University Press, 1988 This book examines the social and cultural nature of musical talent, understood within the anthropological framework of such theorists as Emile Durkheim, E.E. Evans- Pritchard, and Clifford Geertz. The appearance of Kingsbury’s book in 1988 marked an innovative and significant application of principals of ethnomusicology in the study of Western art music.
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Alpert was born in Los Angeles and adopted at the age of four. While spending time in various foster homes, she began to sing and play the piano. Later in her musical development, she learned to play the guitar and started to write poetry and songs. Alpert was selected as one of the first vocalists and granted a scholarship to complete UCLA's Ethnomusicology Department the four-year jazz music program headed by Kenny Burrell, which granted her the opportunity to study and perform with the likes of Herbie Hancock and Barbara Morrison.
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Willie Anku came from Gbadzeme in the Avatime Traditional Area of the Volta Region of Ghana.Willie Anku Laid To Rest He received his Master of Music Education from the University of Montana, Missoula in 1976; MA and PhD in Ethnomusicology from the University of Pittsburgh in 1986 and 1988 respectively. He was head of the School of Performing Arts at the University of Ghana, Legon until just prior to his death. Professor Anku was involved in a motor accident on 20 January 2010 and died 2 weeks later at the Korle Bu Teaching Hospital.
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Alexander Borodin's second string quartet contains references to folk music, and the slow Nocturne movement of that quartet recalls Middle Eastern modes that were current in the Muslim sections of southern Russia. Edvard Grieg used the musical style of his native Norway in his string quartet in G minor, Op. 27 and his violin sonatas. In Hungary, composers Zoltán Kodály and Béla Bartók pioneered the science of ethnomusicology by performing one of the first comprehensive studies of folk music. Ranging across the Magyar provinces, they transcribed, recorded, and classified tens of thousands of folk melodies.
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In the early 1970s, Palmer became a contributing editor of Rolling Stone. He became the first full-time rock writer for The New York Times a few years later, serving as chief pop music critic at the newspaper from 1976 to 1988. He continued to work as a journalist for film magazines and Rolling Stone; meanwhile, he began teaching courses in ethnomusicology and American music at colleges, including at the University of Mississippi. In the early 1990s, he also began producing blues albums for Fat Possum Records artists, like R. L. Burnside and Junior Kimbrough.
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Edgar is a member of American Musicological Society, the Evangelical Theological Society, the Forum on Music and Christian Scholarship, the American Historical Association and the Society for Ethnomusicology. He is also a Senior Fellow at the Trinity Forum. He is President of the Huguenot Fellowship Director of the Gospel & Culture Project and serves on the Institutional Review Board and the Medical Ethics Committee of the Chestnut Hill Hospital. He is a Fellow at the Wilberforce Forum and at Colson Center, Honors Trustee at the Greenwood School, and Senior Fellow at the Trinity Forum.
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Nick Mulvey, 2011 While studying ethnomusicology at the School of Oriental and African Studies, Mulvey met the other members of Portico Quartet. The band consisted of Cambridge school friend Duncan Bellamy (drums), Jack Wyllie (soprano and tenor saxophone), and Milo Fitzpatrick (double bass). Their debut album Knee-deep in the North Sea, was nominated for the 2008 Mercury Prize alongside Radiohead, Elbow, and Adele. The album's title was mentioned in the closing words to Alt-J's song Dissolve Me. Portico Quartet released their second album Isla on 9 October 2009 through Real World Records.
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In his honor, the American Folklore Society awards the Benjamin A. Botkin Prize to individuals whose work in documenting American folklore has deepened the conversation of the way in which people create an art that reflects their reality and transmits culture and understanding. The American Folklife Center at the Library of Congress runs a series of lectures in his honor where "distinguished experts speaking about their research and current issues and best practices in folklore, folklife, ethnomusicology, and related fields". The lectures are then published by AFC and made available on their website.
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The Melbourne Conservatorium of Music is the music school at the University of Melbourne and part of the Faculty of Fine Arts and Music. It is located near the Melbourne City Centre on the Parkville campus of the University of Melbourne. Degree programs specialising in music performance, composition, musicology, ethnomusicology, conducting, pedagogy and music therapy are taught at the Conservatorium, which also runs an Early Music Studio, and oversees the publishing house Lyrebird Press. It offers graduate programs including certificates and diplomas, and research and coursework awards at the masters and doctoral levels.
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Davies 2003: p. 3 In contrast to Kivy, Davies also places a greater emphasis on the resemblance between music and physical gesture, where Kivy tends to emphasize the resemblance to the expressive vocalisations. Davies was inspired when seeing an advertisement for Hush Puppies shoes, with the thought that we recognize sadness in the face of Basset hounds, despite knowing that they do not feel sad.Davies 2003: p. 2 Davies also maintains a research interest in ethnomusicology, which he studied as an undergraduate,Davies 2003: p. 1 particularly the aesthetics of Balinese music.See, e.g.
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In this staged photograph, Densmore is playing a song on the phonograph, an Edison cylinder recorder, and Mountain Chief is interpreting the recording in Plains Indian Sign Language to Frances Densmore. By 1916, the cylinder recorder was largely abandoned for disks except for Edison which still manufactured cylinders, especially for ethnographers. Edison did however produce a disc phonograph as early as 1913, so the technology used in this photograph was largely outdated. This image depicting Mountain Chief listening to and interpreting a recording has appeared in numerous ethnomusicology and anthropology texts.
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František Bartoš František Bartoš (16 March 1837 - 11 June 1906) was a Moravian ethnomusicologist, folklorist, folksong collector, and dialectologist. He is viewed as the successor of František Sušil, the pioneer of Moravian ethnomusicology. He notably organized the collecting, categorizing and editing of hundreds of Moravian folksongs which were published is a four volume collection along with about 4000 folksongs from other ethnic traditions. The folksongs appear in ethnographic monographs and the work as a whole is viewed as one of the most important folk song collections ever published.
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Eriksen successfully defended his PhD in ethnomusicology at Wesleyan University in May 2015, having received an M.A. in the same discipline from Wesleyan in 1993, and has served as a visiting music professor at Dartmouth College, Amherst College, Hampshire College and the University of Minnesota. He has also taught in Poland and the Czech Republic. Additionally, Eriksen is a collector of variations of folk songs, and has conducted extensive research on traditional Yugoslavian music. Eriksen shared his extensive knowledge of folk music while a consultant for the soundtrack of the film Cold Mountain.
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After a year at the Agusan National High School, she moved to the Philippine High School for the Arts where she majored in Theatre Arts, finishing in 1981. Grace went on to complete a bachelor's degree in Humanities in 1986 and a master's degree in Area Studies focusing on the Philippines in 2004 from the University of the Philippines-Diliman. In 2009, Grace began her doctoral studies in Ethnomusicology at New York University, graduating in 2014. Grace received a second master's degree in Religious and Gender Studies in 2019 from Yale University.
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Mauricio Rodríguez (Mexico, 1976) is a Mexican composer. He holds a Doctor of Musical Arts degree in Composition granted by Stanford University, where he worked with Brian Ferneyhough as advisor. He earned the bachelor's degree in composition and the master's degree in Sonology at the Royal Conservatory of The Hague in the Netherlands, where studied with Clarence Barlow (composition), Konrad Bohemer (electronic music) and Paul Berg (computer programming). He also studied composition, piano and ethnomusicology at the Laboratory of Musical Creation led by Julio Estrada at The National School of Music (UNAM).
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In "The Universal Language." In The Study of Ethnomusicology: Thirty-One Issues and Concepts Bruno Nettl asserts that music is not a universal language and is more of a dialect because of the influence of culture on its creation and interpretation.Nettl shares the belief with his colleagues that trying to find a universal in music is unproductive because there will always be at least one instance proving that there is no musical universals. Nettl asserts that music is not the universal language, but musics are not as mutually unintelligible as languages.
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New York: Oxford UP. Because popular music developed such a dependent relationship with media and the corporations surrounding it, where record sales and profit indirectly shaped musical decisions, the superstar person became an important element of popular music. From the fame and economic success surrounding such superstars, subcultures continued to arise, such as the rock and punk movements, only perpetuated by the corporate machine that also shaped the musical aspect of popular music. Musical interaction through globalization played a huge role in ethnomusicology in the 1990s.Nettl, Bruno. 2005.
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Thus, systematizing fieldwork like one would a scientific field is a futile endeavor. Instead, Rice asserts that any attempt to engage with someone else's musical experience, which cannot be truly understood by anyone except that person, must be confined to individual analysis. Characterizing the musical experience of a whole culture, according to Rice's logic, is not possible. Another argument against the objectivity and standardization of fieldwork comes from Gregory Barz and Tim Cooley in the second chapter of their book, Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology.
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By the early 1960s, a roots revival encouraged more study, especially of northern musical cultures, which many scholars had previously assumed maintained little folk culture. The most prominent scholars of this era included Roberto Leydi, Ottavio Tiby and Leo Levi. During the 1970s, Leydi and Carpitella were appointed to the first two chairs of ethnomusicology at universities, with Carpitella at the University of Rome and Leydi at the University of Bologna. In the 1980s, Italian scholars began focusing less on making recordings, and more on studying and synthesizing the information already collected.
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In 1936, he was in Washington, DC, working as a technical advisor to the Music Unit of the Special Skills Division of the Resettlement Administration (later renamed the Farm Security Administration).Stone, Peter, Sidney and Henry Cowell, Association for Cultural Equity From 1957 to 1961, he taught at the University of California Los Angeles. From 1961 to 1971 he was a research professor at the Institute of Ethnomusicology at UCLA. In 1949–50 he was Visiting Professor of the Theory of Music in the School of Music at Yale University.
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The 1861 article by Jambakur-Orbeliani and the 1864 article by Machabeli are considered as the first published works where some aspect of Georgian folk music were discussed. Earlier works (like the 18th century "Dictionary of Georgian Language" by Sulkhan-Saba Orbeliani, and "Kalmasoba" by Ioane Bagrationi) discussed Georgian church singing traditions only. Dimitri Arakishvili and Zakaria Paliashvili are considered the most influential figures of study of Georgian folk music. Arakishvili published several standard books and articles on Georgian singing traditions, musical instruments, scales, and is widely considered as "founding father" of Georgian ethnomusicology.
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Zoomusicology () is a field of musicology and zoology or more specifically, zoosemiotics. Zoomusicology is the study of the music of animals, or rather the musical aspects of sound or communication produced and received by animals. Zoomusicology as a field dates to François-Bernard Mâche's 1983 book Music, Myth, and Nature, or the Dolphins of Arion (published in English in 1992), and has been developed more recently by scholars such as Dario Martinelli, David Rothenberg, Hollis Taylor, David Teie, and Emily Doolittle. Zoomusicology is a separate field from ethnomusicology, the study of human music.
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He is the creator of The Signature Series, which explores the personalities of the key signatures in western music. He also co-created the successful and award-winning documentary series The Wire, along with Jowi Taylor and Chris Brookes. In 2006, Pietropaolo was the cultural correspondent in both English and French for CBC and Radio-Canada's television coverage of the 2006 Winter Olympics in Torino, Italy. Prior to his career in radio, Pietropaolo studied ethnomusicology at the University of Toronto, and toured extensively in North America in a taiko drumming group led by Kiyoshi Nagata.
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Born on 28 April 1935 in Lagos, Nigeria, Akin Euba studied composition with Arnold Cooke at the Trinity College of Music, London, obtaining the diplomas of fellow of the Trinity College London (Composition) and fellow of the Trinity College London (Piano). He was awarded a Rockefeller Foundation Fellowship in 1962. He received B.A. and M.A. degrees from the University of California, Los Angeles, where he studied with Mantle Hood, Charles Seeger, J. H. Kwabena Nketia, Klaus Wachsmann, and Roy Travis. He held a Ph.D. in ethnomusicology from the University of Ghana, Legon (1974).
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Steve and his bandmates left for Santa Barbara, California after graduating high school to pursue degrees in music. After wavering between different studies within the UCSB Music Department, Steve took his last couple years of college to focus on a degree in ethnomusicology, writing his final thesis on the origin and evolution of Mariachi music from Mexico. Steve was also very active in the Jazz and Middle Eastern Music Ensembles. In the middle of college, Django picked up drummer Dave Brogan during the Summer of 1996, just before folding the project altogether.
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Halpern initiated groundbreaking research for her time, "she began and conducted much of her fieldwork during a period when it was actually illegal for First Nations cultures to be celebrated, much less preserved." It was not until 1947 that Halpern really began to pursue ethnomusicology. When she began this collection process, it was widely thought that "Indians" had no music. "It took six years of intensive contact making before I was successful in convincing the Indians that they should sing for me their old authentic songs," she wrote.
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With the creation in 1919 of an art gallery and music department, the UCLA leadership committed to offer the study of the arts in a liberal arts research university context. The College of Applied Arts was established in 1939 with the inclusion of an art department. In 1960, the college was renamed the College of Fine Arts, which carried departments of art, dance, music, and theater arts. In 1988, several big changes occurred in departments throughout the school: Ethnomusicology and Musicology separated from Music, while Design and Art History separated from Art.
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The outstanding response led to the amplification of studies upon the Indonesian arts and culture particularly in the learning of the music and dance. Consequently, many leading universities in the United States of America, Canada, Japan and Europe sought the inclusion of Indonesian art and culture studies into their curriculum. According to Balungan and Ear Magazine, there are more than 300 active gamelan groups around North America, Europe, Japan and Australia. In 2006, Bandem was awarded the Fumio Koizumi Prize for his dedication and long life achievement in the field of ethnomusicology.
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Dairo's stay at the top in the Nigerian music scene was short lived, by 1964, a new musician; Ebenezer Obey; was gaining ground and by the end of the 1960s, both Obey and King Sunny Adé had emerged as the popular acts of the period. However, Dairo continued with his music, touring Europe and North America in the 1970s and 1980s. He was also involved in a few interest groups dealing with the property rights of musicians. Between 1994 and 1995, he was a member of the Ethnomusicology department at the University of Washington, Seattle.
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Hope graduated from the Zimbabwe College of Music where she studied Ethnomusicology at Zimbabwe College of Music and later had a breakthrough in the music industry in 2008. Hope's music is influenced by African culture, including Francophone and Lusophone Africa. It is important to her to maintain African culture in music, but to also "update it" in order to keep it relevant to her audiences. She is known as "The Princess of Mbira." e was the first winner in the Outstanding Female Musician category for the Zimbabwe National Arts Merit Awards (NAMA) in 2013.
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Wolfe-Simon did her undergraduate studies at Oberlin College and completed a Bachelor of Arts in Biology and Chemistry and a Bachelor of Music in Oboe Performance and Ethnomusicology at the Oberlin Conservatory of Music. She received her Doctor of Philosophy in oceanography from the Institute of Marine and Coastal Sciences at Rutgers University in 2006 with a dissertation titled The Role and Evolution of Superoxide Dismutases in Algae. Later Wolfe-Simon was a NASA research fellow in residence at the US Geological Survey and a member of the NASA Astrobiology Institute.
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She was one of the first writers to recognize and sensitively publish on the richness of Afro-Cuban culture and religion. She made valuable contributions in the areas of literature, anthropology, art, ethnomusicology, and ethnology. In El Monte, Cabrera fully described the major Afro-Cuban religions: Regla de Ocha (commonly known as Santeria) and Ifá, which are both derived from traditional Yoruba religion; and Palo Monte, which originated in Central Africa. Both the literary and anthropological perspectives in Cabrera's work assume that she wrote about mainly oral, practical religions with only an “embryonic” written tradition.
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He was a founding member of Catalyst, a jazz fusion ensemble, in 1970, remaining with them until their breakup. He then moved to Los Angeles, where he became a prolific session musician, playing on albums by Dizzy Gillespie, Horace Silver, and Benny Carter among many others.Allmusic Sherman Ferguson Artist Biography by Jason Ankeny He formed a trio with John Heard and Tom Ranier.The UCLA Herb Alpert School of Music, Department of Ethnomusicology UCLA Obituary: Sherman Ferguson He taught jazz theory at UCLA, UC-Irvine, and Jackson State University.
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This led to work with various dance ensembles in the fields of Balkan, Celtic, Renaissance and Baroque music. At around the same time, MacKenzie worked at maritime museums in Mystic, Ct and South Street, Manhattan, which led to her crewing on sailing ships. She became known as a singer of sea shanties and other work songs, gaining insights regarding the interrelation of movement/work-related music and its organic rhythms. Extending her formal musical studies, MacKenzie attended the New England Conservatory of Music, obtaining a degree in ethnomusicology and music history.
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Lévy was born in Paris, France. After having been a jazz pianist, he studied composition with Gérard Grisey, orchestration with Marc-André Dalbavie and ethnomusicology with Gilles Leothaud at the Conservatoire de Paris from 1996 to 2000. Trained in mathematics and mathematical economics (Master from ENSAE and ENS Ulm Delta, adjunct in mathematics from 1989 to 1992 and researcher from 1992 to 1994), he definitively quited science for music in 1994. In 2001, he went to Berlin on the DAAD Artist program, and in 2002 to the Villa Medici / Academy of France in Rome.
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Arnab Chakrabarty grew up in Mumbai, where his father was a professor of chemistry at the Indian Institute of Technology. His tutelage commenced under the Sarod exponent Brij Narayan, disciple of his father the Sarangi maestro Pandit Ram Narayan and also Ustad Ali Akbar Khan of the Seniya Maihar Gharana. Arnab subsequently trained under Pandit Buddhadev Das Gupta of the Shahjahanpur Gharana. At the age of 18 Arnab received a Ford Foundation scholarship, which led to a dual degree in ethnomusicology and international relations from Hampshire College in 2002.
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Photo of the exterior of the Cuban Rap Agency building in Havana, Cuba. Captured on September 21, 2017. The Cuban Rap Agency (Agencia Cubana de Rap) is an industry subsidized by the Cuban government aimed at aiding Cuban hip hop artists in attaining radio exposure and recording contracts. Founded in 2002, the Cuban Rap Agency seeks out talented Cuban hip hop artists in order to promote hip-hop in Cuba.Baker, G: "La Habana Que No Conoces: Cuban Rap and the Social Construction of Urban Space," "Ethnomusicology Forum," 15(2):224.
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In the narrow sense, musicology is confined to the music history of Western culture. In the intermediate sense, it includes all relevant cultures and a range of musical forms, styles, genres and traditions, but tends to be confined to the humanities - a combination of historical musicology, ethnomusicology, and the humanities of systematic musicology (philosophy, theoretical sociology, aesthetics). In the broad sense, it includes all musically relevant disciplines (both humanities and sciences) and all manifestations of music in all cultures, so it also includes all of systematic musicology (including psychology, biology, and computing).
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Born in Budapest, he studied composition with Zoltán Kodály at the Budapest Academy of Music from 1926-1930. He became interested in folk music and ethnomusicology, working with László Lajtha at the Museum of Ethnography in Budapest and later further studies in Asian folk music in London and Paris (at the Musée de l'Homme). He directed the music section of Hungarian radio in 1947–8, after which he gave his attention to composition. Ránki not only employed authentic folk melodies and musical idioms in his music but also pulled on jazz elements.
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Tsahouridis won the first prize in a Pan-Hellenic Music Competition organized by the Greek Ministry of Education at the Athens Concert Hall (Megaron Mousikis) in 1996. In 1997, he was awarded a scholarship by Panteleimon and Iera Mitropolis Verias, in order to continue his music studies in London. In 2001 Tsahouridis completed his bachelor's degree in Music Studies and his Masters in Ethnomusicology at Goldsmiths College, University of London. In 2003 he was awarded a scholarship by the 'Michael Marks Charitable Trust' for his Doctoral research in the field of Performance Practice.
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He returned to Oxford in 2007, having been at the University of Chicago, where he achieved the rank of Associate Professor of Ethnomusicology in the Department of Music, since 1997 and previously at Queen's University Belfast in Northern Ireland. He served as the Administrative Director of the Middle East Ensemble, Javanese Gamelan and the World Music Concert series during his tenure at the University of Chicago. He also filled the role of Director of the Center for Middle Eastern Studies at the University of Chicago from 2003–2007.
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Jenkins' favorite people are children. She sees them as genuine, down to earth people who should be listened to and recognized as having much to offer. Fellow music educator Patricia Sheehan Campbell lauds her as "a pioneer in her early and continuing realization that children have something to sing about, that the essence of who they are may be expressed through song, and that much of what they need to know of their language, heritage, and current cultural concepts may be communicated to them through song."Patricia Sheehan Campbell, "Recording Reviews," Ethnomusicology, Vol.
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The EVIA Digital Archive Project's central purpose is to create a repository of ethnographic video and a framework of tools and systems to support librarians, archivists, and scholars in ethnographic instruction. EVIA Project specifically focuses on topics such as anthropology, dance ethnology ethnomusicology, and folklore. The primary mission of EVIA Project is preserving ethnographic videos that were created by scholars while conducting their research. The secondary goal is to make the content generated by the project available with descriptive annotations, and ultimately, creating a distinct database for scholars, instructors, and students to refer to.
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Diego Carpitella (Reggio di Calabria, 1924 - Rome, 1990) was an Italian professor of ethnomusicology at D'Annunzio University of Chieti–Pescara and La Sapienza University in Rome. He is considered one of the greatest scholars of Italian folk music and has written and published many essays on the subject. He collaborated with the Centro Nazionale Studi di Musica Popolare from 1952 to 1958, collecting more than 5,000 Italian folk songs. He was also the founding editor of the journal Culture musicali and a co-founder of the cultural magazine Marcatre.
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A folklorist of international renown, she was still actively engaged in writing at the time of her death in 1977. During her lifetime, Maria Leach was a prominent member of the American Folklore Society, for which she served as councilor. She also held memberships in the American Anthropological Association, the American Dialect Society, the Northeast Folklore Society, the Society for Ethnomusicology, the American Indian Ethnohistoric Conference, and the Religious Society of Friends. In Nova Scotia, she was active in the Canadian Folklore Society and the Cape Breton Historical Society.
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His alap was constructed along the lines of a dhrupad alap, and his jod and jhala derived a lot from rudra vina technique. Oddly enough, in spite of being a musical descendant of Masit Sen, he rarely played Masitkhani gats in public, and none of the commercially available examples of his music includes one. He opted to play the faster Rezakhani gats instead, feeling that playing Masitkhani gats to an undiscerning audience would cause them to be devalued.Gerry Farrell The Senia Style of Sitar Playing in Contemporary India, British Journal of Ethnomusicology, Vol.
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Prestel, München 2003. Seite 8. Its highlights include important objects from the Sepik River, Hawaii, the Kingdom of Benin, Cameroon, Congo, Tanzania, China, the Pacific Coast of North America, Mesoamerica, the Andes, as well as one of the first ethnomusicology collections of sound recordings (the Berliner Phonogramm-Archiv) The Ethnological Museum was founded in 1873 and opened its doors in 1886 as the Royal Museum for Ethnology (), but its roots go back to the 17th century Kunstkammer of the rulers of Brandenburg-Prussia.Viola König (Hrsg.): Ethnologisches Museum Berlin.
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Nofinishi Dywili was recognised by the people of her village as a teacher of traditions and customs, she played a significant role in the training of girls and young women to help them prepare for marriage. She shared advice with women at initiation schools and outside of traditional ceremonies. Dywili's musical talents started becoming known to the world in 1981 when Andrew Tracey brought some traditional village musicians including Nofinishi, to perform at the ethnomusicology symposium at Rhodes University. This was her first performance in a South African city.
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The ICTM Study Group on Music Archaeology has been founded in the early 1980s. In 2013, the book series Publications of the ICTM Study Group on Music Archaeology has been launched. The International Study Group on Music Archaeology (ISGMA) has been founded in 1998. The study group is hosted at the Orient Department of the German Archaeological Institute Berlin (DAI, Deutsches Archäologisches Institut, Orient-Abteilung) and the Department for Ethnomusicology at the Ethnological Museum Berlin (Ethnologisches Museum Berlin, SMB SPK, Abteilung Musikethnologie, Medien-Technik und Berliner Phonogramm-Archiv).
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From 2001-2007, he was the Director of the Cultural Heritage Directorate at the Ministry of Tourism, Culture, Youth and Sports. In 2005, he met all the obligations as an expert of ethnomusicology to prepare the file of the Albanian folk iso-polyphony, proclaimed by UNESCO as a “Masterpiece of Oral Heritage of Humanity”. In 2008, he was elected as a member of the Academy of Sciences of the Republic of Albania, in 2013, as a scientific secretary and in 2019 as the Deputy Chairperson of the Academy of Sciences of Albania.
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After recording two albums, Leftwich moved to Chicago to pursue advanced studies in anthropology. However, after a couple of years in Chicago, Leftwich changed directions and moved to Bloomington, Indiana to take courses in Indiana University's Folklore and Ethnomusicology program. In his new home, Leftwich met Linda Higginbotham, an active member of the Bloomington Old-Time Music and Dance Group. After a hiatus from fiddle, Leftwich's return to an active old- time community, and encouragement from Higginbotham, who he taught to play banjo and banjo uke, brought about his permanent return to old-time music.
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He has been touring continuously since the age of 17 and has resided in India, Italy, France, UK and the United States. He was an invited Visiting Professor of Ethnomusicology at the University of California, Los Angeles in 2003 and California State University at Long Beach in 2005. He has lectured at universities around the world, including College of DuPage, UMass Amherst, UC Santa Cruz, Princeton University, Kent State University, Dartington College of Arts in London, Hochschule der Kunste in Berlin and many other prestigious institutions. He has a daughter named Inaya Khan.
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Though the group's material was originally based around the interaction between two acoustic guitars and a cello, the members decided to develop in a more fluid way with each project, and have since eliminated this structure entirely. The group members collaborate with a variety of musicians from disparate musical traditions and assemble different groups for each tour or project. The Ensemble's core members come from diverse musical backgrounds. Erik Hoversten studied ethnomusicology and composition at the University of California, Berkeley, focusing on Javanese, Balinese, Korean, Indian, and Ghanaian traditions.
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He first came to the United States in 1958 on a Fulbright fellowship, studying ethnomusicology at the University of California, Los Angeles from 1958 to 1960, and later teaching there. He returned to India and was Head of the Department of Music at the University of Madras from 1961 to 1965. He settled in the United States in 1966, and also taught at the California Institute of the Arts. Following the earning of his Ph.D. from Wesleyan University in 1975, he taught at that university for many years.
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He was a student of Dr. Arnold Adriaan Bake at the School of Oriental and African Studies of the University of London, receiving his doctorate in 1971. He produced more than 100 publications as well as audio and video productions on both classical and folk music of India. He founded the Archives and Research Centre for Ethnomusicology (ARCE) of the American Institute of Indian Studies in New Delhi. He was married to the ethnomusicologist and singer Dr. Amy Catlin- Jairazbhoy and they both co-owned Apsara Media for Intercultural Education in Van Nuys, California.
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So Crane, Murphy and his wife Pat, and few more people started learning what the children could show them, and it went from there. Shortly after this, Murphy began constructing gamelan instruments and started composing short pieces for gamelan at the same time. The whole story is described in "The Autochthonous American Gamelan", Murphy's thesis written while working towards his PhD in ethnomusicology from Wesleyan University in Connecticut. He named the gamelan "Venerable Sir Voice of Thoom" and invented an entire cosmology and artificial language to go with it (Thoomese).
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Archives’ staff is currently doing research on various subjects, including such topics as ideologies and communities, runic songs, fairy tales, place lore, ethnomusicology, contemporary and children's folklore, and Estonians in Siberia. In recent years research on these topics has been funded through grants of the Estonian Research Council through the projects titled "Creation, Transmission and Interpretation of Folklore: Process and Institutions" (2003−2007), "Folklore and Folklore Collections in Cultural Changes: Ideologies, Adaptation and Application Context (2008−2013) and "Folklore in the Process of Cultural Communication: Ideologies and Communities (2014−2019).
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Susso ended his civil service career in order to resume his traditional role, becoming the chief kora player of The Gambia National Cultural Troupe under the Ministry of Education and Culture. In 1974, he left that position, founding his own cultural organization: The Manding Music and Dance Limited. The new organization sought to conduct research on Manding history, traditions and ethnomusicology, while providing assistance, particularly in business management, for traditional Manding performers. More generally, MMDL sought to revive, preserve and disseminate knowledge and appreciation of traditional Manding musical arts.
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Francis Llewellyn Harrison, better known as "Frank Harrison" or "Frank Ll. Harrison" (29 September 1905 – 29 December 1987) was one of the leading musicologists of his time and a pioneering ethnomusicologist. Initially trained as an organist and composer, he turned to musicology in the early 1950s, first specialising in English and Irish music of the Middle Ages and increasingly turning to ethnomusicological subjects in the course of his career. His Music in Medieval Britain (1958) is still a standard work on the subject, and Time, Place and Music (1973) is a key textbook on ethnomusicology.
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While his early learning in music and inspiration came from his father, Maestro J. T William Joseph, Dr. Williams was selected in 1985 under scholarship to pursue his professional studies of music in Manila, Philippines, where he specialized in conducting, voice, piano, guitar, organ, and ethnomusicology. He has done extensive research on the history, origin, and performance of the sitar. He also had the opportunity to perform with the Philippine Philharmonic Orchestra, the Philippine Madrigal Singers and the Asian Chorale. He has been honored with a Doctorate in Music by the Trinity Open University.
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Most recently Jyoshna's has composed music for the New Zealand feature film Stars in Her Eyes (2016, Dir. by Athina Tsoulis) and completed a new album called Dharma Cakra, Sanskrit songs for Meditation. Jyoshna is presently working as an itinerant lecturer, music teacher and composer at Bethells Beach in Auckland. Her other passion is ethnomusicology and in 2010 she completed her PhD in Music at the School of Oriental and African Studies (SOAS), University of London on "Marai Kirtan and the Performance of Ecstasy in the Purulia District of West Bengal, India".
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Paul Franklin Berliner (born 1946) is an American ethnomusicologist, best known for specializing in African music as well as jazz and other improvisational systems. He is best known for his popular ethnomusicology book on the Zimbabwean mbira, The Soul of Mbira: Music and Traditions of the Shona People of Zimbabwe, for which he received the ASCAP Deems Taylor Award. He also published Thinking in Jazz: The Infinite Art of Improvisation for which he received The Society of Ethnomusicology's Alan Merriam Prize for Outstanding Book in Musicology. Berliner received his Ph.D. from Wesleyan University.
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In fact his compositions for the two genres cross-fertilized each other. For example, he was to recycle his 1953 music for the ballet Shaka, about how the young Siddhartha Gautama eventually became the Buddha, for Kenji Misumi's 1961 film Buddha. Then in 1988 he reworked the film music to create his three-movement symphonic ode Gotama the Buddha. Meanwhile, he had returned to teaching at the Tokyo College of Music, becoming president of the college the following year, and in 1987 retired to become head of the College's ethnomusicology department.
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The melograph was eventually integrated into computerized methodologies, leading to further elaboration and to its application beyond ethnomusicology: e.g. in the study of Hebrew prosody, or in Western music performance studies. Katz & Cohen’s monumental Palestinian Arab Music: Latent and Manifest “Theory” of a Maqām Tradition in Practice (2005)Palestinian Arab Music: Latent and Manifest “Theory” of a Maqām Tradition in Practice, Chicago: University of Chicago Press, 2005 (with Dalia Cohen). is a summary of 40 years of collaborative research into the vocal folk music of the Arabs in Israel.
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The AIIS runs the Archive and Research Center for Ethnomusicology and the Center for Art and Archaeology at Gurgaon, both major research centers with large libraries and archives. A collection of photographs from the AIIS forms the main component of the South Asia Art Archive at the University of Pennsylvania, established in 1979. The only other such collection is the AIIS collection at Gurgaon. The AIIS has partnered with ARTstor to share over 50,000 images of Indian art and architecture from the AIIS photo archive in a Digital Library.
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Renaming his group Spirit of the People, Mujuru recorded his first album in 1981, using only mbira, hand drums, hosho, and singers. He sang about brotherhood and healing, crucial themes during a time when the nation's dominant ethnic groups, the Shona and Ndebele, struggled to work out their differences. Independence and a measure of commercial success brought new possibilities for Mujuru. He helped to found the National Dance Company and became the first African music teacher to teach ethnomusicology at the top western classical tradition Zimbabwe College of Music.
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Music education departments in North American and European universities also support interdisciplinary research in such areas as music psychology, music education historiography, educational ethnomusicology, sociomusicology, and philosophy of education. The study of western art music is increasingly common in music education outside of North America and Europe, including Asian nations such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of outside the Western art music canon, including music of West Africa, of Indonesia (e.g. Gamelan music), Mexico (e.g.
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Lois V Vierk (born August 4, 1951 in Hammond, Indiana) is a post-minimalist or totalist composer who lives in New York City. She received a B.A. degree in piano and ethnomusicology from UCLA in 1974. She then attended Cal Arts, studying composition with Mel Powell, Leonard Stein, and Morton Subotnick, receiving her M.F.A. in 1978. She has conducted extensive study of gagaku music, studying for ten years with Suenobu Togi in Los Angeles, and for two years in Tokyo with Sukeyasu Shiba (the lead ryūteki player in Japan's Imperial Court Orchestra).
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Korphai Ensemble, Korphai or kor phai (, , ) which literally means a 'bunch of bamboo', is an ensemble of traditional Thai percussion music.SGI Quarterly April, 2005 - Arts and Education"Percussion Festival" (Austria) It was established in the 1980s by Anant Narkkong, the present musical director of the ensemble, who is a professor of ethnomusicology and composition at the Faculty of Music, Silpakorn University, ThailandEncuentro Musical Tailandés/"Anant Narkkong" "Meet the Thai Music", Diario Diplomatico Online (Chile), retrieved December 5, 2007 He also airs a radio program of Thai music at the National Broadcasting Services of Thailand.
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The examples are: Distemperament for orchestra (1992); Colors without Rhythm for orchestra (1999); Sujeichon for 4 pianos (2002). Jose Maceda collected audio records materials of traditional music amongst various populations in Philippines, Malaysia and Indonesia, part of these audio archives are deposited in the CNRS – Musée de l’Homme audio archives in France (a digitized version is available online). His entire musical collections were inscribed in the UNESCO Memory of the World Register in 2007, as submitted by the U.P. Center for Ethnomusicology and nominated by the Philippine government.
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Blacking 1973, pp. 16f. His other books include Venda Children's Songs (1967), one of the first ethnomusicological works to focus directly on the interpenetration of music and culture, Anthropology of the Body (London:Academic Press,1977) and A Commonsense View of All Music: reflections on Percy Grainger's contribution to ethnomusicology and music education (Cambridge: Cambridge University Press, 1989). The Callaway Centre in University of Western Australia holds an archive of his field notes and tapes, the John Blacking Collection. He wrote and presented a series, Dancing, for Ulster Television.
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His work catalogue to date comprises more than twenty orchestral works, some of them with soloists, many chamber music works, and one full- length stage work. In addition to his activities as a composer, Fabian Müller was artistic director of the International Music Festival Lenzburgiade in Switzerland from 2009-2013 and he is very interested in ethnomusicology. He spent ten years (1991 to 2002) preparing the publication of the Hanny Christen Collection, a ten-volume anthology of folk music with over 10‘000 tunes from the 19th Century, which initiated a new era for the traditional music of his country.
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Almost all of them are among the finest exponents of Indian classical musicRodriguez, p. 238. – flautist Hariprasad Chaurasia, tabla legend Alla Rakha, the multi-talented T.V. Gopalkrishnan on mridangam and vocals, South Indian violin virtuoso L. Subramaniam, sarangi master Sultan Khan, santoor pioneer Shivkumar Sharma, and Gopal Krishan, credited with the emergence of the vichitra veena in that musical genre. A sitarist and percussion player, Harihar Rao had been a student of Shankar's during the 1950s before winning a Fulbright scholarship and taking a position in the ethnomusicology department of the University of California, Los Angeles (UCLA).Lavezzoli, pp. 294–95.
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Dr. Tamara Bulat was a prominent musicologist, author of several monographs and 300 papers. She is a co-author of The History of Ukrainian Music in 6 volumes. She is well known for her publications on the work of Ukrainian composers Mykola Lysenko and Yakiv Stepovy, dealing with problems of folk and art music, culturology, and ethnomusicology. The World of Mykola Lysenko Dr. Bulat was a Leading Scholar at the M. Ryl’s’ky Institute for Art, Folklore and Ethnology of the Academy of Sciences of Ukraine, worked at the Kyiv Conservatory and at the Institute of Culture (Kyiv).
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A one-story addition was added presumably in the 1920s which was given a Richardsonian Romanesque stone facing, estimated to have been added in the 1950s, that matched the original house. The university's Department of Music moved into the building in 1971 from its previous quarters on the ninth floor of the Cathedral of Learning. The Music Building was renovated in 2003 which included the installation of elevators. It also houses the Music Department Library, a piano lab, the electronic music studio, the ethnomusicology lab, a student/faculty lounge, practice rooms, teaching studios, offices, seminar rooms, and classrooms.
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Ethnochoreology (also dance ethnology, dance anthropology) is the study of dance through the application of a number of disciplines such as anthropology, musicology, ethnomusicology, and ethnography. The word itself is relatively recent and etymologically means “the study of ethnic dance”, though this is not exclusive of research on more formalized dance forms, such as classical ballet, for example. Thus, ethnochoreology reflects the relatively recent attempt to apply academic thought to why people dance and what it means. Ethnochoreology is not just the study or cataloguing of the thousands of external forms of dances—the dance moves, music, costumes, etc.
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Stanton Davis, Jr. (born November 10, 1945, New Orleans) is an American jazz trumpeter and educator. Davis studied at the Berklee College of Music (1967–69) and the New England Conservatory (1969–73), and served as program director for MIT's radio station from 1968-74. He received his master's in ethnomusicology from Wesleyan University in 1983. He initially played locally in the Boston area, and then with George Russell, Mercer Ellington, Lester Bowie, Charlie Haden, George Gruntz, Jim Pepper, Bob Stewart, Muhal Richard Abrams, Sam Rivers, Gil Evans, Webster Lewis, Jaki Byard, Max Roach, and James Moody.
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The study of their culture by anthropologists and linguists proved significant in developing the fields of social anthropology and ethnomusicology. The Toda traditionally live in settlements called ', consisting of three to seven small thatched houses, constructed in the shape of half-barrels and located across the slopes of the pasture, on which they keep domestic buffalo. Their economy was pastoral, based on the buffalo, whose dairy products they traded with neighbouring peoples of the Nilgiri Hills. Toda religion features the sacred buffalo; consequently, rituals are performed for all dairy activities as well as for the ordination of dairymen-priests.
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Janet Sabas-Aracama, or Jai, earned her Bachelor’s and master's degree in Music at the University of the Philippines College of Music in choral conducting, voice and ethnomusicology. Her mentors were Dean Rey T. Paguio in conducting, Josie Bailen, Fides Asensio and Elmo Makil in Voice. She is now a permanent faculty member of the University of the Philippines and Chair of the Conducting Department. In November 26, 1999, she was elected and appointed by the University to be the choir's Artistic Director and Conductor filling in the shoes of the late Dean Rey T. Paguio.
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At the University of Texas he served on doctoral committees, served as faculty at conferences, lectured periodically at the School of Architecture, served on CAPO (Committee for the Advocacy of Pipe Organs) and also on the Advisory Board of the Center for Sacred Music. He has had a lifelong interest in ethnomusicology, particularly in the study of music as a lens into a culture. He interviewed and photographed hundreds of people in such diverse cultures as the former East Germany, Germany, Poland, Latvia, Lithuania, Estonia, Belarus, Russia, Egypt, Kenya, India, Australia, the UK, Mexico, Brazil and Chile.
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In these accounts of the nature of ethnomusicology, it seems to be closely related to a science. Because of that, one might argue that a standardized, agreed-upon field method would be beneficial to ethnomusicologists. Despite that apparent viewpoint, Merriam conclusively claims that there should be a combination of a standardized, scientific approach and a more free-form analytical approach because the most fruitful work he has done has come from combining those two rather than separating them, as was the trend among his contemporaries. Even Merriam's once progressive notion of a balanced approach came into question as time passed.
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Rice uses the philosophical attitudes that Martin Heidegger, Hans-Georg Gadamer, and Paul Ricoeur take towards objectivity and subjectivity to state that human perception of the world is inherently subjective because the only way in which humans can interpret what goes on around them is through symbols. Human preconceptions of those symbols will always influence the ways in which an individual might process the world around them. Applying that theory to music and ethnomusicology, Rice brings back the terms of musicology and musical experience. Because one's experience of music is simply an interpretation of preconceived symbols, one cannot claim musical experience as factual.
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Bruno Nettl (14 March 1930 – 15 January 2020) was an ethnomusicologist and musicologist. Bruno Nettl was born in Prague, Czechoslovakia in 1930, moved to United States in 1939, studied at Indiana University with George Herzog and the University of Michigan, and taught from 1964 at the University of Illinois, where he eventually was named Professor Emeritus of Music and Anthropology. He continued to teach part-time until his death. Active principally in the field of ethnomusicology, he did field research with Native American peoples (1960s and 1980s, see Blackfoot music), in Iran (1966, 1968–69, 1972, 1974), and in South India (1981–2).
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His fieldwork was primarily collaborative, leading to such joint projects as Songs and Stories from Uganda, a book he created with the Uganda dance ethnographer Moses Serwadda. Pantaleoni taught Western and non-Western music for more than 20 years at State University of New York at Oneonta, where the Hewitt Pantaleoni Memorial Concert Series continues to this day. The Mid-Atlantic Chapter for the Society of Ethnomusicology (MACSEM), of which Pantaleoni was one of the first members, awards the Hewitt Pantaleoni Prize each year to the student who delivers the best paper at the chapter's annual meeting.Profile, webdb.iu.
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Wong has taught as a Professor of Music at the University of California, Riverside since 1996. She has served as President of the Society for Ethnomusicology, and also founded the Committee on the Status of Women with Elizabeth Tolbert in 1996. Wong is also the president of the Board of Directors for the Alliance for California Traditional Arts. She is committed to her public sector work, and has served on the advisory council for the Smithsonian Center for Folklife and Cultural Heritage since 2011. Wong's focus is on Asian American issues and activities; she has addressed these issues in curriculum and students’ needs.
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Retrieved September 2, 2014.Wesleyan University: M.A. Theses in Ethnomusicology and Composition. Web. Retrieved September 2, 2014. There he studied with John Cage, Alvin Lucier, Ken McIntyre, Clifford Thornton, Daoud Haroon, Dick Griffin, and Sam Rivers, among others. After leaving Wesleyan, Zummo moved to New York City, where he continued trombone studies with Carmine Caruso and Roswell Rudd and sought out the influences of James Fulkerson and Stuart Dempster. In New York City, Zummo developed extended techniques for the trombone and other instruments and created many works, including several with his wife, then-choreographer and dancer Stephanie Woodard.
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Don Robertson (born 1942) is an American composer. Don Robertson was born in 1942 in Denver, Colorado, and began studying music with conductor and pianist Antonia Brico at age 3. He attended Colorado University, the Juilliard School of Music, and the Institute of Ethnomusicology at UCLA, and has studied composition privately with composer Morton Feldman, counterpoint with Leonard Stein, tabla with Swapan Chaudhuri and Shankar Ghosh, and ragas with David Trasoff. As one of the first wave of U.S. students of North Indian classical music, he wrote the first instruction book for tabla, published by Peer- Southern International in 1968.
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Her research focuses on material culture and the visual and performing arts in their cultural contexts, including traditional social and political structures and modern cultural identity. Kaeppler attended the University of Wisconsin–Milwaukee, and received her Masters and PhD from the University of Hawaii. In the 1970s, she was an anthropologist at the Bishop Museum in Honolulu, Hawaii. She has taught anthropology, ethnomusicology, anthropology of dance, and art history at the University of Hawaii; the University of Maryland, College Park; the Queen's University in Belfast, Northern Ireland; Johns Hopkins University; and the University of California, Los Angeles.
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Kom's songs frequently take the form of fantastic narratives (The Stranger, Barbarians, Nonfiction, Grave Situation Pt. 1). Other subject matter has included the minutiae of the social gladhanding of historical conferences (Berlin Conference, Bretton Woods); failure and amateurism (Give Up, Amateur Rappers, Professional Rappers); and nostalgia and pop music (Nostalgia, Men Without Hats, Grown-Ups). In 2011, Kom and Sharratt co-founded the Lawnya Vawnya festival in St. John's, Newfoundland, an independent music and arts festival. Kom completed a PhD in ethnomusicology at Memorial University in Newfoundland where he studied the political economy of DIY music.
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In 1984 he was instrumental in organizing the conference "Problems of Folk Polyphony". This conference became the beginning of the series of biannual international conferences (1984, 1986, 1988, 1998, 2000) and symposia (2002, 2004, 2006, 2010, 2012, 2014, 2016, 2018) on traditional polyphony, and led to establishing the International Research Centre for Traditional Polyphony at Tbilisi State Conservatory in 2003. In 2009, in recognition of "his contribution to systematic analysis of folk polyphonies of the world, proposing a new model for the origins of traditional choral singing in a broad context of human evolution" Jordania was awarded the Fumio Koizumi Prize for ethnomusicology.
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He was also an ethnomusicologist and a teacher. He greatly influenced the development of western music in Turkey and helped to establish several new music conservatories, and was also a member of the National Education Council and the board of the Turkish Radio and Television Corporation. Starting in 1972, he taught composition and ethnomusicology at the Istanbul Municipal Conservatory (renamed "Turkish Music State Conservatory" in 1986) until his death in 1991. Following his death, the Ahmet Adnan Saygun Center for Music Research at Bilkent University in Ankara, Turkey, was founded where his original manuscripts and archives are also kept.
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De Angulo was particularly interested in the semantics of grammatical systems of the tribes he studied, but he was also a skilled phonetician and a pioneer in the study of North American ethnomusicology, particularly in his recordings of native music. Much of his fieldwork was funded in part through A.L. Kroeber, head of Berkeley's Department of Anthropology, which published some of it and archives some of his notes. De Angulo corresponded with Franz Boas, Alfred L. Kroeber, and Edward Sapir, and received considerable support for his fieldwork from Boas's Committee on Research in American Native Languages.Leeds-Hurwitz, W. (1985).
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Andrea Rocca (born 9 June 1969, Rome) is an Italian musician, guitarist and film composer. Rocca moved to London in 1988 where he trained with John White and graduated in ethnomusicology at the School of Oriental and African Studies in 1997. He studied classical guitar as a child but eventually lost interest and by his late teens was planning to become a reporter and war photographer. Discovering the electric guitar reignited his interest in music and he was soon composing and recording pieces inspired by musicians including Frank Zappa, Bill Harkleroad, Marc Moreland and Derek Bailey.
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He also performed at Brooklyn Academy of Music, New York in 1989, earning him admiration from the American audience. Khan, throughout his career, had great understanding with many south Asian singers such as Alam Lohar, Noor Jehan, A. R. Rahman, Asha Bhosle, Javed Akhtar, and the Lata Mangeshkar. In the 1992 to 1993 academic year, Khan was a Visiting Artist in the Ethnomusicology department at the University of Washington, Seattle, Washington, United States. In 1988, Khan teamed up with Peter Gabriel on the soundtrack to The Last Temptation of Christ, which led to Khan being signed to Gabriel's Real World label.
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Atherton (nee Jones) attended Sir John Deane's Grammar School in Northwich, England (1962–65). Following arrival in Australia he attended Matraville High (1965–66) then Randwick Boys High (1967), completing his matriculation via the School of Correspondence Studies while working as an office boy at the Boral Oil Refinery, Matraville. Atherton studied at the University of NSW, achieving a Bachelor of Arts with Honours (1973) followed by a Master of Arts with Honours in 1977. He studied music at the University of Sydney (1977-77) and the University of New England (1986-7), majoring in ethnomusicology.
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Zemtsovsky proposed the notions of "melosphere", "Homo musicus", and proposed a new scholarly discipline, ethnogeomusicology, and a new research approach, known as "historical morphology of the folk song". Zemtsovsky has been a lifelong advocate of Russian Soviet musicologist Boris Asafiev's "intonation theory" and contributed to its use at European and American universities. He has lived in the US since 1994, teaching first at UCLA, then at the University of Wisconsin at Madison, Wisconsin, Berkeley, and now at Stanford University. Zemtsovsky graduated from Leningrad Conservatory with degrees in ethnomusicology and composition, and graduated Leningrad University as a folklorist and linguist.
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In the Weekly Maqam, Sephardi Jews each week base the songs of the services on the content of that week's parashah. For Parashah Yitro, Sephardi Jews apply Maqam Hoseni, the maqam that expresses beauty, which is especially appropriate in this parashah because it is the parashah where the Israelites receive the Ten Commandments.See Mark L. Kligman, "The Bible, Prayer, and Maqam: Extra-Musical Associations of Syrian Jews," Ethnomusicology, volume 45 (number 3) (Autumn 2001): pages 443–479; Mark L. Kligman, Maqam and Liturgy: Ritual, Music, and Aesthetics of Syrian Jews in Brooklyn (Detroit: Wayne State University Press, 2009).
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Field recording of natural sounds, also called phonography (a term chosen to illustrate its similarities to photography), was originally developed as a documentary adjunct to research work in the field, and foley work for film. With the introduction of high-quality, portable recording equipment, it has subsequently become an evocative artform in itself. In the 1970s, both processed and natural phonographic recordings, (pioneered by Irv Teibel's Environments series), became popular. "Field recordings" may also refer to simple monaural or stereo recordings taken of musicians in familiar and casual surroundings, such as the ethnomusicology recordings pioneered by John Lomax, Nonesuch Records, and Vanguard Records.
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In 1951, Harrison took the degrees of Master of Arts (M.A.) and Doctor of Music (DMus) at Jesus College, Oxford, and became lecturer (1952), senior lecturer (1956), and reader in the history of music (1962–70) there. In 1965, he was elected Fellow the British Academy and Senior Research Fellow at Oxford. From 1970 to 1980, Harrison was Professor of Ethnomusicology at the University of Amsterdam, the Netherlands, retiring to part-time teaching in 1976. He also held Visiting Professorships in musicology at Yale University (1958–9), Princeton University (spring 1961 and 1968–9), and Dartmouth College (winter 1968 and spring 1972).
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From 1982 until 1984, Heaney was an artist-in- residence at the University of Washington in Seattle, and previously had taught at Wesleyan University in Middletown, Conn. The Joe Heaney Collection of the University of Washington Ethnomusicology Archives was established after Heaney's death in 1984. The Féile Chomórtha Joe Éinniú (Joe Heaney Commemorative Festival) is held every year in Carna. An Irish-language biography of him has been written by Liam Mac Con Iomaire, and a biography that discusses his work in the larger context of Ireland and the United States was published in 2011 by Sean Williams and Lillis Ó Laoire.
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"Midsummer Night Symphonies", Southern California Federal Music Project, WPA, ca. 1937 The Federal Music Project (FMP), part of the Federal government of the United States New Deal program Federal Project Number One, employed musicians, conductors and composers during the Great Depression. In addition to performing thousands of concerts, offering music classes, organizing the Composers Forum Laboratory, hosting music festivals and creating 34 new orchestras, employees of the FMP researched American traditional music and folk songs, a practice now called ethnomusicology. In the latter domain the Federal Music Project did notable studies on cowboy, Creole, and what was then termed Negro music.
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"Amazing Grace" is emblematic of several kinds of folk music styles, often used as the standard example to illustrate such musical techniques as lining out and call and response, that have been practised in both black and white folk music.Tallmadge, William (May 1961). "Dr. Watts and Mahalia Jackson: The Development, Decline, and Survival of a Folk Style in America", Ethnomusicology, 5 (2), pp. 95–99. Mahalia Jackson's 1947 version received significant radio airplay, and as her popularity grew throughout the 1950s and 1960s, she often sang it at public events such as concerts at Carnegie Hall.
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Hugo Zemp (born 14 May 1937, Basle, Switzerland) is a Swiss-French ethnomusicologist.Hugo Zemp Biography - DiscogsThe Center for Ethnomusicology at Columbia University: A Conversation With Hugo Zemp A prolific recorder of ethnic music and a writer on the subject, he has also shot a number of films about music of various regions, including 1988 film Voix de tête, voix de poitrine and 2002 film An African Brass Band filmed by him in Ivory Coast in 2002. His wide musical expertise includes music notably in Africa, Oceania and Switzerland. He also had particular interest in yodeling and lullabies.
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Anderson was born in Sydney and attended an Anglican church from birth. In the early-mid 1980s Anderson studied ethnomusicology at the University of Sydney with an interest in researching traditional Aboriginal songs. In 1986, he moved to the Northern Territory for 14 months to research the songs of Central Arnhem Land, during which time he was adopted by a Rembarrnga clan and he worked with musicians who had become Christians through a revival on Elcho Island in 1979. This led Anderson to study theology in order to be involved in the growth and development of the Aboriginal church.
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He and fellow musician Tardy would play in one of Rashied Ali's last bands. James has recorded in several genres and is a three-time grammy nominee for albums with Antonio Hart ("Here I Stand"), Abbey Lincoln ("Wholly Earth"), and Russell Gunn ("Ethnomusicology Vol. I").Anne Legrand, James Hurt, le vampire de New York, Citizen Jazz, March 19, 2011 The Pi Recordings Release of "Juncture", a hybrid project that paired music compositions with pulp fiction, features a composition written by James entitled "Greed". His own first album was "Dark Grooves – Mystical Rhythms" on Blue Note Records in 1999.
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Formally Pygmy music consists of at most only four parts, and can be described as an, "ostinato with variations," or similar to a passacaglia, in that it is cyclical. In fact it is based on repetition of periods of equal length, which each singer divides using different rhythmic figures specific to different repertoires and songs. This interesting case of ethnomusicology and ethnomathematics creates a detailed surface and endless variations of not only the same period repeated, but the same piece of music. As in some Balinese gamelan these patterns are based on a super-pattern which is never heard.
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The founding of the Society for Ethnomusicology was not the first attempt at an organization focusing on the music of the world. Before the work of SEM’s founders in the 1950s, several efforts in Europe had taken place through the work of dozens of musicologists and those who would eventually be considered ethnomusicologists, including Frances Densmore, Helen Heffron Roberts, and George Herzog. These and other scholars found inspiration in Viennese Guido Adler and Englishman Alexander Ellis, who both produced articles in 1885 discussing “ethnological studies” of music and the equal treatment of every society’s music.Nettl 181.
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Jovanović was born on 27 September 1964 in Belgrade, Serbia. Upon graduating from Mokranjac secondary music school, she enrolled in the Ethnomusicology Department of the Belgrade University Faculty of Music. She graduated in 1991 with the subject "Old wedding songs and customs in Gornja Jasenica - Wedding model, its Forms and Development". Jovanović acquired her master's degree in 2001 with the thesis entitled "Vocal Heritage of the Serbis in Upper Banat Region in Romania in the Light of Authochthonous and Adopted Music Practices", and her Ph.D. degree in 2010 with the thesis "Vocal Tradition of Jasenica Region in the Light of Ethnogenetic Processes".
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The UCLA Bruin Marching Band was the 1993 recipient of the Sudler Trophy, presented by the John Philip Sousa Foundation in recognition of the Band's tradition of excellence and innovation. The band became part of the UCLA Herb Alpert School of Music in 2007 when the departments of Music, Ethnomusicology and Musicology were combined. Musician and recording executive Herb Alpert gave $30 million to UCLA in November 2007, the single largest individual gift to music higher education in the western United States. Lee retired from UCLA in 2012, and Dr. Travis Cross was appointed the new Wind Ensemble conductor in 2013.
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Over the years the Italianate building has served as a dormitory, the university president's residence, the school's library, the faculty club, offices, a meeting space, and a restaurant and pub. As of autumn 2015, the building is used as classroom, office, and performance space by the musicology and ethnomusicology department in the School of Music and Dance. In October of 2018, it was announced that the University would be looking to build a new 60,000-square-foot classroom and faculty office building, and was exploring various sites on campus. One was the site of the Collier House, located on the corner of University Street and 13th Avenue.
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Gertrude Prokosch Kurath (1903–1992) was an American dancer, researcher, author, and ethnomusicologist. She researched and wrote extensively on the study of dance, co-authoring several books and writing hundreds of articles. Her main areas of interest were ethnomusicology and dance ethnology, with some of her best known works being "Panorama of Dance Ethnology" in Current Anthropology (1960), the book Music and dance of the Tewa Pueblos co-written with Antonio Garcia (1970), and Iroquois Music and Dance: ceremonial arts of two Seneca Longhouses (1964), in the Smithsonian Institution Bureau of American Ethnology bulletin. She made substantial contributions to the study of Amerindian dance, and to dance theory.
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200px Awarded a scholarship to the Berklee College of Music, he studied piano and arranging there with Dean Earl and Dick Wright. Mitchell continued his education at the New England Conservatory of Music, studying under Jaki Byard (who became a close friend and musical associate), George Russell and Gunther Schuller, and received a Master's Degree in composition. Subsequently, on a scholarship to the Bennington College Summer Program, he worked with Mr. Byard, Avery Collor, Ken McIntyre, Ernie Wilkins and Beaver Harris. Mitchell also studied music marketing at New York University, as well as ethnomusicology, music of the Middle East and of India at Hunter College.
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Blum received a bachelor's degree from Oberlin College in 1964,and then a PhD in music at the University of Illinois at Urbana–Champaign. As a PhD student, Blum worked with music scholars including Alexander Ringer, Charles Hamm, and Bruno Nettl. His first publications were co-authored with Nettl, a pioneering historical musicologist and ethnomusicologist,, Retrieved February 11, 2014 and supervising his dissertation, Musics in Contact: The Cultivation of Oral Repertoires in Meshed Iran, University of Illinois at Urbana–Champaign, 1972. Blum was to later co- edit the 1991 festschrift for Nettl, Ethnomusicology and Modern Music History, along with former Nettl students Philip Bohlman and Daniel M. Neuman.
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In 1990 she moved to Yorkshire to take up the post of senior lecturer in Multicultural Music at the University of Leeds, later being appointed senior teaching fellow and lecturer on the BA (Hons.) Popular Music Studies degree course at Bretton Hall. She was awarded a master of music degree in ethnomusicology from the School of Oriental and African Studies, London University, in 1995, with a dissertation based on research into "Culture, identity and the music of Notting Hill carnival". In 2006, she completed her doctorate at the Centre for Cultural Studies in the University of Leeds, with a thesis regarding "Caribbean consciousness, identity, and representation".
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The work of scholars in sociomusicology is often similar to ethnomusicology in terms of its exploration of the sociocultural context of music; however, sociomusicology maintains less of an emphasis on ethnic and national identity and is not limited to ethnographic methods. Rather, sociomusicologists use a wide range of research methods and take a strong interest in observable behavior and musical interactions within the constraints of social structure. Sociomusicologists are more likely than ethnomusicologists to make use of surveys and economic data, for example, and tend to focus on musical practices in contemporary industrialized societies. For instance, proposed the hypothesis of "Biliterate and Trimusical" in Hong Kong sociomusicology.
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After completing his education in aerospace engineering at Iowa State University, Hall received his Bachelor of Music degree from William Paterson College in Wayne, New Jersey and his master's degree in Composition and Arranging from DePaul University in Chicago, Illinois. He is presently a distinguished Special Trustees Fellow pursuing his Doctorate in Ethnomusicology at the University of Chicago. As a jazz drummer, Hall is primarily influenced by the work of Art Blakey, Elvin Jones, ‘Philly’ Joe Jones, Max Roach, and Roy Haynes, with whom he shares a birth date. He is also directly influenced by the work of Jeff ‘Tain’ Watts, Ralph Peterson, Jr., and Kenny Washington, among many others.
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Treatment of Alzheimer's was historically centered around a biomedical, classically mechanistic model of the disease, but doctors have increasingly taken on a "person-centered" approach, a model through which multiple academic disciplines can contribute to an increased quality of life. Biology, psychology, spirituality, sociology, and most recently, ethnomusicology have all been combined to find the most effective, integrative, complementary, and native interventions for dementia. Carol Prickett provides an overview of the current state of research into music therapy for dementia:Prickett, Carol A., and Randall S. Moore. "The use of music to aid memory of Alzheimer's patients." Journal of Music Therapy 28.2 (1991): 101-110.
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Bernard Woma (18 December 1966 - 27 April 2018) was a well-known gyile player from Upper West Ghana who spent many years teaching the instrument and introducing it to audiences around the world. Woma earned two master's degrees in African Studies and Ethnomusicology at Indiana University.Indiana.edu: Im Memoriam: Bernard WomaHerald Times: Obituary: Bernard Woma, 51 He was xylophonist and lead drummer of the National Dance Company of Ghana and of Saakumu Dance Troupe. He performed with New York Philharmonic, South Dakota Symphony Orchestra, the Minnesota Orchestra and the Albany Symphony Orchestra as well as Berliner Symphoniker in Berlin, Germany, and KwaZulu Natal Symphony Orchestra in Durban, South Africa.
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Georgia has been known among ethnomusicologists as the country with extremely rich traditions of vocal polyphony since the 1920s. Study of vocal polyphony has been one of the central issues for Georgian ethnomusicology from the second half of the 19th century. In 1972 Union of Composers of Soviet Union organized the conference dedicated to traditional polyphony in Georgia (this was the very first conference in the world, fully dedicated to traditional polyphony). The ongoing series of biannual conferences dedicated to the problems of traditional polyphony, with the wide participation of the experts from Soviet Union, Europe and America, were organized in 1984, 1986 and 1988.
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He had an important influence on his students Wolfgang Köhler and Kurt Koffka who were instrumental in the founding of Gestalt psychology as well as Kurt Lewin, who was also a part of the Gestalt group and was key in the establishment of experimental social psychology in America. Stumpf is considered one of the pioneers of comparative musicology and ethnomusicology, as documented in his study of the origins of human musical cognition The Origins of Music (1911). He held positions in the philosophy departments at the Universities of Göttingen, Würzburg, Prague, Munich and Halle, before obtaining a professorship at the University of Berlin.Stanford Encyclopedia of Philosophy.
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M. Brocken, The British Folk Revival 1944-2002 (Ashgate, Aldershot, 2003), p. 64. This movement was evident first in the USA where George Korson followed John Lomax's collection of the work songs of Cowboys with investigations of coal miner's songs, particularly from the Appalachians, from 1927.B. Nettl and P. Vilas Bohlman, Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology (Chicago: University of Chicago Press, 1991), p. 117. Despite reservations about these songs, whose authors were often known and so they did not fit into the mould of traditional music, after World War II folklorists largely accepted this music as folk song.
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Prof. Dr. I Made Bandem (also known as "the Joe Papp of Bali") is a Balinese dancer, artist, author, and educator. Bandem studied Balinese dance from a very early age, and was performing Baris and other dances by the age of ten. One of the first Balinese dancers to study in the United States, Bandem earned his master's degree in dance from UCLA, and his PhD in ethnomusicology from Wesleyan University. Bandem's academic career includes sixteen years as the director of the Indonesian College of the Arts in Denpasar, and was also the Rector(President) of Indonesia's oldest cultural institution, the Institut Seni Indonesia - Jogjakarta (Indonesian Institute of The Arts - Jogjakarta).
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These early experiences helped form his unusually eclectic musical outlook, exemplified by his famous statement "I want to live in the whole world of music."Quoted in Nicholls (1991), p. 134. He went on to investigate Indian classical music and, in the late 1920s, began teaching a course, "Music of the World's Peoples," at the New School for Social Research in New York and elsewhere—Harrison's tutelage under Cowell would begin when he enrolled in a version of the course in San Francisco. In 1931 a Guggenheim fellowship enabled Cowell to go to Berlin to study comparative musicology (the predecessor to ethnomusicology) with Erich von Hornbostel.
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Subsequently, he studied musicology and ethnomusicology at the University of Vienna, where he received a Ph.D. in 1991 with a dissertation titled "Die Auswirkungen der Volksliedforschung auf das kompositorische Schaffen von Béla Bartók". In 1969 in Seoul, together with Isang Yun, Nam June Paik, and Sukhi Kang, he helped organize the "Biennale for Contemporary Music", where new Western music was performed for the first time in Korea (Stockhausen, Pierre Boulez, Herbert Eimert, John Cage, Roman Haubenstock-Ramati, etc.). His compositions have won many important prizes, including the Korean National Prize for Composition (1980), First Prize of the Korean Information Ministry (1964), and the Kompositionspreis des Grazer Musikprotokolls (1973 and 1975).
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Kelly Armor studied composition at Yale University with David Hicks and Martin Bresnick, and flute performance with Thomas Nyfenger. For 2½ years she lived with native families in Kenya and Tanzania,Musical Diversity Makes Its Way to Westminster College (2001) Westminster College News Release became fluent in Swahili, and collected Pagan, Islamic, and Christian traditional songs, learning to play indigenous flutes and hand percussion instruments. She received a B.A. in Intercultural Studies and Ethnomusicology from the Friends World Program of Long Island University in 1988. She has given workshops and lectures on East African music and culture for the Library of Congress, the National Flute Association, and at Chautauqua Institution.
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Morgan started studying the Performing Arts: Music; Dance; Experimental Theater; Ethnomusicology; Philosophy of Aesthetics; and Eastern Religion at The Evergreen State College in Olympia, Washington in 1973. During his education he attended the legendary Creative Music Studio in Woodstock, NY, and studied under Karl Berger, Don Cherry, and Oliver Lake as part of his external studies program. Moreover, in 1976 he created his first compositional work for music and dance – Distress Mistress, and performed his first ensemble work, The Delirium Dimension. In 1977 he created his first multi-media interdisciplinary work – Galactic Visions, a composition for music, dance, slide projectors, costumes, and light design.
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Sean-nós song is a sean-nós activity, which also includes sean-nós dance. These forms of Irish dance and song have been documented by scholars of ethnomusicology, musicology, linguistics and other fields, such as Hugh Shields, Tom Munnelly, Fintan Vallely, and Lillis Ó Laoire. The practice of sean-nós dance, sean-nós song, lilting (also known as "mouth music"), and "the bones" (a simple percussion instrument convenient to carry in a pocket) has existed for centuries. It might be interpreted as a minimalist means that helped preserve a musical and dance heritage at a time when musical instruments were too expensive for most peasants.
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Hasan M. El-Shamy (born 1938) is a Professor of Folklore (Folkloristics) in the Department of Folklore and Ethnomusicology, the Department of Near Eastern Languages and Cultures, and the African Studies Program at Indiana University. He received a B.A. with Honors in Arabic and Islamic Studies from Ain-Shams University in Cairo, Egypt in 1959. He then completed an Intensive Graduate Program in Psychology and Education from Ain-Shams (Heliopolis) University in 1959-1960. Later he received an M.A. in Folklore from Indiana University in 1964, as well as a Ph.D. in Folklore with Interdisciplinary training in Folklore, Psychology, and Anthropology from Indiana University in 1967.
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Blount first received widespread recognition within the old-time community in 2016, when his band The Moose Whisperers won the traditional band contest at the Appalachian String Band Music Festival in Clifftop, WV. In mid-2017, Blount graduated from Hamilton College with a B.A. in ethnomusicology, released his debut EP, Reparations, with fiddler Tatiana Hargreaves, and began to tour in earnest. The Moose Whisperers put out their self-titled album in early 2018 and embarked on a release tour in Scandinavia. Upon returning, Blount and Hargreaves opened several shows for Rhiannon Giddens. Blount and fiddler Libby Weitnauer formed the duo Tui on a tour of Australia in late 2018.
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The swara concept is found in Chapter 28 of the ancient Natya Shastra, estimated to have been completed between 200 BCE to 200 CE. It calls the unit of tonal measurement or audible unit as Śhruti, with verse 28.21 introducing the musical scale as follows,Nazir Ali Jairazbhoy (1985), Harmonic Implications of Consonance and Dissonance in Ancient Indian Music, Pacific Review of Ethnomusicology 2:28–51. Citation on pp. 28–31. These seven swaras are shared by both major raga systems of Indian classical music, that is the North Indian (Hindustani) and South Indian (Carnatic). In the general sense swara means tone, and applies to chanting and singing.
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Uzeyir Hajibeyov was born in Shusha in the Shusha Governorate of the Russian Empire, which is now part of Azerbaijan. His father, Abdul Huseyn Hajibeyov, was the secretary to Khurshidbanu Natavan for many years, and his mother, Shirin, grew up in the Natavan household.Abasova, L. V. et al. (eds.) (1992) Istoria azerbaijanskoi muziki Maarif, Baku, pp. 85-86, in Russian Growing up, Hajibeyov was strongly influenced by Natavan's work.Naroditskaya, Inna (2000) "Azerbaijanian Female Musicians: Women's Voices Defying and Defining the Culture" Ethnomusicology 44(2): pp. 234-256, p.242 Shusha, often dubbed as the cradle of Azerbaijani music and culture, had a reputation for its musical heritage.
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Musicians and dancer, Muromachi period Traditional Japanese music or —meaning literally (home) country music, as opposed to or Western music—is the folk or traditional music of Japan. Japan's Ministry of Education classifies Hōgaku as a category separate from other traditional forms of music, such as Gagaku (court music) or Shōmyō (Buddhist chanting), but most ethnomusicologists view Hōgaku, in a broad sense, as the form from which the others were derived. Outside of ethnomusicology, however, Hōgaku usually refers to Japanese music from around the 17th to the mid-19th century. Within this framework, there are three types of traditional music in Japan: theatrical, court music (called gagaku), and instrumental.
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The Belfast Harp Festival, called by contemporary writers "The Belfast Harpers Assembly",Sara C. Lanier, «"It is new-strung and shan't be heard": nationalism and memory in the Irish harp tradition». in: British Journal of Ethnomusicology; Vol. 8, 1999 11–14 July 1792, was a three-day event organised by Dr. James McDonnell, Robert Bradshaw and Henry Joy, (proprietor of the Belfast News-Letter and uncle to Henry Joy McCracken), a six-year lapse from the last Granard harp festival. Edward Bunting (classically trained assistant to organist William Ware), aged 19, was commissioned to take down the airs, which formed the major part of his Collection, published in 1796.
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He was graduated for composition at the Faculty of Music, at the Academy of Arts, in Tirana, in 1987, at the class of Prof. Kozma Lara. After working for three years as the artistic director at “Shtëpia e Kulturës” (“House of Culture”), in his hometown, Përmet, in 1991, he was appointed as a professor of the Albanian Music Folklore at the Faculty of Music, at the Academy of Arts, in Tirana, and then as a professor of Composition. It is here where he presents his PhD dissertation in 1994, in the field of ethnomusicology with the study: “Structure and Semantics in the Instrumental Folk Music of Southern Albania”.
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In the Weekly Maqam, Sephardic Jews each week base the songs of the services on the content of that week's parashah. For Parashat Mishpatim, Sephardic Jews apply Maqam Saba, the maqam that symbolizes the covenant between man and God. By performing mitzvot and following commandments, one obeys God's covenant, and therefore in this parashah, with its multitude of mitzvot and commandments, Sephardi Jews apply Maqam Saba.See Mark L. Kligman, "The Bible, Prayer, and Maqam: Extra-Musical Associations of Syrian Jews," Ethnomusicology, volume 45 (number 3) (Autumn 2001): pages 443–479; Mark L. Kligman, Maqam and Liturgy: Ritual, Music, and Aesthetics of Syrian Jews in Brooklyn (Wayne State University Press, 2009).
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Toussaint has used this book as auxiliary material in introductory computer programming courses, to provide programming tasks for the students. It is accessible to readers without much background in mathematics or music theory, and Setheres writes that it "would make a great introduction to ideas from mathematics and computer science for the musically inspired student". Reviewer Russell Jay Hendel suggests that, as well as being read for pleasure, it could be a textbook for an advanced elective for a mathematics student, or a general education course in mathematics for non- mathematicians. Professionals in ethnomusicology, music history, the psychology of music, music theory, and musical composition may also find it of interest.
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Born in Adelaide on November 24, 1940, Margaret Kartomi studied at the University of Adelaide, and then got her doctorate in musicology in Berlin, from the Humboldt University. She started at Monash University in 1969, where she had a research fellowship (1969), then a lectureship (1979), and a readership (1976); she became a professor in 1989. At Monash, she founded the Sumatra Music Archive, the Asian Music Archive, and the Australian Archive of Jewish Music. She is on the editorial board of the Ethnomusicology Monograph Series of the University of Chicago Press, and of the Music, Dance and Theatre Iconography series of the Hollizer Wissenschaftsverlag.
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He wrote his Ph.D. dissertation on pathet, translated as the modal system of Central Javanese music. He proposed that the contours of the balungan (nuclear theme) melody are the primary determinants of Javanese musical modes. The dissertation, The Nuclear Theme as a Determinant of Patet in Javanese Music was published in 1954. After completing his doctoral work in 1954, Hood spent two years in Indonesia doing field research funded by a Ford Foundation fellowship. He joined the faculty at UCLA where he established the first gamelan performance program in the United States in 1958. He also founded the Institute for Ethnomusicology at UCLA in 1960.
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He has written a book on the anthropology of music and contributed to periodicals such as Contemporary Music Review, Musicworks, Musica/Realta, and Resonance on music and technology, ethnomusicology, improvisation and other topics. In 2016 his book Music and the Myth of Wholeness – Toward a New Aesthetic Paradigm was published by MIT Press. Hodgkinson appeared in Nicolas Humbert and Werner Penzel's 1990 documentary film on Fred Frith, Step Across the Border, rehearsing with Frith at Hodgkinson's home in Brixton, London in December 1988. Tim Hodgkinson's first solo album was Splutter in 1986, consisting of improvisations on alto and baritone saxophones and clarinet, sometimes accompanied by electronics, sometimes multi-tracked.
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While the majority of music psychology research has focused on music in a Western context, the field has expanded along with ethnomusicology to examine how the perception and practice of music differs between cultures. It has also emerged into the public sphere. In recent years several bestselling popular science books have helped bring the field into public discussion, notably Daniel Levitin's This Is Your Brain On Music (2006) and The World in Six Songs (2008), Oliver Sacks' Musicophilia (2007), and Gary Marcus' Guitar Zero (2012). In addition, the controversial "Mozart effect" sparked lengthy debate among researchers, educators, politicians, and the public regarding the relationship between classical music listening, education, and intelligence.
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Curtis also began to study the music of African tribes and in 1920 published Songs and Tales from the Dark Continent, in which she notated the written example of what is known as the standard pattern in ethnomusicology, and triple-pulse son clave in Afro-Latin music (1920: 98). In 1917 she had married artist Paul Burlin; they moved to France, where she died in a traffic accident in 1921. Her published work often did not appear in “scholarly journals” of anthropology or folklore. For example, Curtis was published in the Southern Workman, The Craftsman, and The Outlook, as well as in general musical publications such as Musical America.
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In 2015, Verdin contributed a short essay and a page design to the book "Seismographic Sounds – Visions of a New World", a collection of essays on global music, and ethnomusicology published by Bern-based Swiss publisher, Norient Books. The following year, he worked on "How To Read El Pato Pascual," a book and exhibit are based around reach and influence of Disney is also examined in a series of commissioned essays drawing on cultural studies, historical research and postcolonial theory for the MAK Schindler House in West Hollywood, also a part of Pacific Standard Time LA/LA. The book was published by Black Dog Publishing.
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MacLennan began his professional music career at 16 completing session work for Grammy Award-winning mixer Tom Weir. His first album, Suspicious Love (2006) was recorded at Weir's Studio City Sound in Studio City, CA. MacLennan also secured television work with 20th Century Fox Television and the Disney Channel during his teen years. MacLennan earned a bachelor's degree in Ethnomusicology from University of California, Los Angeles (UCLA) with emphasis in jazz guitar in 2010. His mentors include: Carl Verheyen, Tim Pierce, Kenny Burrell, Jimmy Wyble, Tamir Hendelman, Ron Anthony and Wolf Marshall, the author of Hal Leonard’s Wolf Marshall Guitar Method and Power Studies.
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A University of the West Indies graduate, and alumnus of Queen's Royal College, Ray Holman was a teacher of Spanish and History at Fatima College, and has taught pan in many higher education institutions in the United States of America. He has conducted workshops at West Virginia University and was a Commissioned Composer in the California State University Summer Arts Program. He regularly attends the bi-annual steelband tuning and arranging workshop at Humboldt State University in Arcata, California, and has done presentations at meetings of the Percussive Arts Society. During 1998-2000 he was a distinguished Visiting Artist in the Ethnomusicology Program at the University of Washington, Seattle.
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The Department for Ethnomusicology continued to collect music, with a focus on traditional music, from all areas of the world, so that by its 100th anniversary it claimed to house an estimated 150,000 recordings Archive listing (misdirected link) An international conference called "100 Years Berlin Phonogramm-Archive: Retrospective, Perspective and Interdisciplinary Approaches of the Sound Archives of the World" was held from September 27 to October 1, 2000, at the Ethnological Museum of Berlin. Today, the Ethnomusicological Museum forms part of the Musikethnologie department of the Ethnological Museum of Berlin of the Berlin State Museums (Staatliche Museen zu Berlin), under the Prussian Cultural Heritage Foundation.
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The Suyá people use music in myth telling, speech making, and singing. For example, they teach boys, as part of their initiation, how to sing certain songs; the boys learn and practice the songs under adult supervision in a special forest camp a short distance from their village. Although music is used by all members of the tribe, some forms are only used by adults, and some are further restricted to political and ceremonial leaders. The Suyá people have only recently come to the notice of ethnomusicology, through the work of Anthony Seeger, who has collected most of the available written knowledge of the Suyá Indians.
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Bajakian received a Bachelor of Music degree from the University of Massachusetts Amherst, where he studied under Yusef Lateef, a master's degree in Music Education from Teachers College, Columbia University, and a Master of Music degree in Music Composition from the University of British Columbia, where he studied electronic music under Keith Hamel.About Aram Bajakian, accessed June 11, 2016 Marc Ribot introduced Bajakian to John Zorn, who released Bajakian's first album on Tzadik Records.Guitarist Aram Bajakian steps out of the shadows, The Georgia Straight, accessed June 11, 2018 Bajakian moved with his family to Vancouver in 2013 so that his wife could pursue a degree in ethnomusicology at the University of British Columbia.
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Davis traveled extensively around Europe after World War II and moved to Paris in 1962. He held a Ph.D in Ethnomusicology from Wesleyan University and was a professor of music and director of jazz studies at the University of Pittsburgh from 1969, an academic program that he helped initiate. He was also founder and director of the University of Pittsburgh Annual Jazz Seminar and Concert, the first academic jazz event of its kind in the United States. He also helped to found the university's William Robinson Recording Studio as well as establish the International Academy of Jazz Hall of Fame located in the school's William Pitt Union and the University of Pittsburgh-Sonny Rollins International Jazz Archives.
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In later years he held a residency, playing shows and selling his LPs and cassette tapes released on his own label, Brandie Records, at Tom Flynn's Plantation Restaurant in Stone Mountain, Georgia. Jay's song repertoire included field songs, Stephen Foster songs, Pentecostal hymns and minstrel tunes. He performed original material that was mostly secular, and subjects ranged from politics, relationships, drugs, war, the bible, the 1969 moon landing, ethnomusicology, Southern culture and depression. Common instruments on Jay's recordings include harmonica, drum kit, a six-string banjo (that Jay claimed was made in 1748), and the "bones", which were chicken and cow bones that had been bleached in the sun and used to create percussion.
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Ethnomusicologist Frances Densmore recording Blackfoot chief Mountain Chief for the Bureau of American Ethnology (1916) In the West, much of the history of music that is taught deals with the Western civilization's art music, which is known as classical music. The history of music in non-Western cultures ("world music" or the field of "ethnomusicology"), which typically covers music from Africa and Asia is also taught in Western universities. This includes the documented classical traditions of Asian countries outside the influence of Western Europe, as well as the folk or indigenous music of various other cultures. Popular or folk styles of music in non-Western countries varied widely from culture to culture, and from period to period.
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In addition to his TV appearances and radio broadcasts, Kishor has also appeared as a soloist with the Long Island Youth Orchestra of New York. Kishor has been an executive member of the state-run Radio Nepal, and has taught at Tribhuvan University and Malpi International College (affiliated with the University of Mississippi, USA) in Kathmandu. During his recent residency in the UK, he taught at various schools for the Harrow Council, London. As the founder and president of the Classical Guitar Society of Nepal, he organized the first Ethnomusicology Seminar and International Guitar Festivals in Nepal that were attended by luthiers, scholars and guitarists from Germany, Japan, USA, Finland, Liechtenstein and Thailand.
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Born Sherilyn Bailey in Seattle in 1955, in the 80s she changed her name to Xenobia for the warrior queen of ancient Palmyra"The Supernaturalist – Xenobia Bailey and How She Got That Way" article by Jen Graves, in The Stranger, November 2011 and made her way to New York City. She began her professional life as a costume designer for the now defunct Black Arts/West and earned a BFA in Industrial Design from the Pratt Institute in Brooklyn in 1977. Affirmative action took her to the University of Washington where, she says, "the whole world opened up to me." She discovered ethnomusicology, the study of music and culture from around the world.
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Adams began his foray into the arts by making stringed musical instruments such as guitars, banjos, basses, and dulcimers after he was introduced to the craft as an ethnomusicology student under Dr. Joel Maring at Southern Illinois University Carbondale. Adams has been commissioned to build instruments by Daryl Hall, members of Stevie Wonder's band as well as other well known musicians. He has twelve albums out in multiple genres and can be heard on Siriusxm music, Music Choice, Apple Music, Spotify and Pandora Radio where he has over 101 million streams. In May 2016 his most recent album, Imaginings, won Best Contemporary Instrumental Album of the year at the Zone Music Reporter Awards in New Orleans.
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Musical acoustics or music acoustics is a multidisciplinary field that combines knowledge from physics, psychophysics, organology (classification of the instruments), physiology, music theory, ethnomusicology, signal processing and instrument building, among other disciplines. As a branch of acoustics, it is concerned with researching and describing the physics of music – how sounds are employed to make music. Examples of areas of study are the function of musical instruments, the human voice (the physics of speech and singing), computer analysis of melody, and in the clinical use of music in music therapy. The pioneer of music acoustics was Hermann von Helmholtz, a German polymath of the 19th century who was an influential physician, physicist , physiologist, musician, mathematician and philosopher.
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The creative and interdisciplinary ethnomusicologists of today are consistently delving into new realms of ethnomusicology that could have never been predicted 30 years ago, much less incorporated into a wholistic definition of the field. Bonnie McConnell published a paper in 2017 about musical participation and health education in the Gambia (McConnell 2017). Participatory health programs are found to be more effective, and musical performances increase audience participation, such as at polio immunization events. The singers sang, "Eh yo, polio ka naa ali ye ala nyaato kuntu" (Eh, polio is coming, let's stop its progress), and members of the crowd were inspired to dance along and donate money in the name of public health.
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Kathleen Van Buren conducted fieldwork in Nairobi and Sheffield with the purpose of enacting positive change in the context of HIV and AIDS in each environment. Van Buren speaks about utilizing music as an agent of social change; in Nairobi, she witnessed individuals and organizing drawing upon music and the arts to promote social change within their respective communities. In Sheffield, Van Buren offered a new class on "Music and Health" at the University of Sheffield as well as World AIDS Day event with the theme "Hope through the Arts". After the conclusion of these events, Van Buren published her findings and offered a to- do list for the ethnomusicology of HIV and AIDS.
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This was the very first time that a Greek traditional instrument interpreted classical music. The lyra he used to play the suites, it is a special four-string instrument (a low C string has been added) that was designed and built just for this purpose.Dissertation from School of Arts, Histories and Cultures in Faculty of Humanities of University of Manchester: Ways Of Understanding - Ethnomusicology and Cretan Lyra The concerts of Yiorgos Kaloudis feature an extensive use of live loop recording and a combination of elements from classical, ambient, jazz and world music. In July 2017 he re-opened the ancient theatre of Aptera, in Crete, that after almost 1700 years was hosting its first event.
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David G. Hebert (; born 1972) is a musicologist and comparative educationist, employed as Professor of Music at Western Norway University of Applied Sciences (Bergen, Norway), where he leads the Grieg Academy Music Education (GAME) research group. He has contributed to the fields of music education, ethnomusicology, sociomusicology, comparative education, and East Asian Studies. From 2018, he is manager of the Nordic Network for Music Education, a multinational state-funded organization that sponsors intensive Master courses and exchange of university music lecturers and students across Northern Europe. He is also a Visiting Professor in Sweden with the Malmo Academy of Music at Lund University, and an Honorary Professor with the Education University of Hong Kong.
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Katherine Johanna Hagedorn (October 16, 1961 – November 12, 2013) was an ethnomusicologist, born in Summit, New Jersey to a white family, who became a traditional Cuban drummer and Santeria priestess. She spent her career as a Professor of Music at Pomona College in Claremont, California, where she directed the Ethnomusicology Program, served as co-coordinator of the Gender & Women’s Studies Program, and became an associate dean. She also served as a "scholar-in-residence at Harvard University’s Center for the Study of World Religions and as a visiting professor at the University of California, Santa Barbara." Trained in languages and classical piano at Tufts University, Hagedorn earned an M.A. in Soviet Studies at Johns Hopkins University.
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He was the Andrew Mellon Professor of Music at the University of Pittsburgh between 1993 and 2011 and until his death, was the Andrew W. Mellon Professor, Emeritus in music; the founder and director of the Centre for Intercultural Music Arts, London (founded in 1989), and director emeritus of the Centre for Intercultural Musicology at Churchill College, University of Cambridge. Euba's scholarly interests included the musicology and ethnomusicology of modern interculturalism. He organized regular symposia on music in Africa and the Diaspora at Churchill College, Cambridge as well as the Central Conservatory of Music in Beijing. These events featured such notable composers and scholars as J. H. Kwabena Nketia and Halim El-Dabh.
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Sigbjørn Apeland Sigbjørn Apeland in Aarhus, Denmark (2013) Apeland is a graduate in performing Church music at the Rogaland Musikkonservatorium (1988) and ethnomusicology from University of Bergen (1998), before he as fellow at Griegakademiet completed his Dr. art. with the thesis Kyrkjemusikkdiskursen: Musikklivet i Den norske kyrkja som diskursiv praksis (Church music discourse: The music scene in the Norwegian church as discursive practice, 2005). Apeland contributes on numerous album releases by Nils Økland (1995–), Reidun Horvei (1998), Ingeleiv Kvammen and Olav Kvammen (2000), Åsne Valland Nordli (2001), Marylands (2001), and Agnes Buen Garnås (2002). For the Vossajazz he released the album Fryd (1998), in collaboration with Berit Opheim (vocals), Bjørn Kjellemyr (bass), Einar Mjølsnes (Hardingfele) and Per Jørgensen (trumpet).
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He can be heard playing congas on Eumir Deodato's 1970s space-funk hit "Also sprach Zarathustra" on the album Prelude. Moreira has played with many of the greatest names in jazz including Cannonball Adderley, Lee Morgan, Paul Desmond, Dave Holland, Jack DeJohnette, John McLaughlin, Keith Jarrett, Al Di Meola, Zakir Hussain, George Duke and Mickey Hart. In addition to jazz concerts and recordings, he has composed and contributed music to film and television (including scores for Apocalypse Now and Last Tango in Paris), played at the re-opening of the Library of Alexandria, Egypt (along with fellow professor of ethnomusicology Halim El- DabhSeachrist, Denise A. (2003). The Musical World of Halim El-Dabh.
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El- Shamy taught as an Assistant Professor of Sociology and Anthropology for a year (1967–1968) at Morehead State University before becoming the Director of the Archives at the Folklore Center of the Ministry of Culture in Cairo, Egypt a role that he held from 1967-1972. During this period he was also an Assistant Professor of Sociology and Anthropology at The American University in Cairo. In 1972 he returned to Indiana University as a member of the faculty in the Folklore Institute (presently known as the Department of Folklore and Ethnomusicology). He has held numerous roles at Indiana University, including service as the Director of Graduate Studies for the Folklore program.
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In 1990, he moved to Honolulu, Hawaii with his wife, Chizuko Endo, and two sons, to pursue graduate studies in Ethnomusicology at UH. While there, the university asked him to teach, and Endo began teaching taiko classes through the non-credit program at UH. The program quickly grew, and soon was too large of a capacity for UH to handle. In 1994, Kenny and Chizuko moved the classes to the chapel on the site of Kapiolani Community College and started the Taiko Center of the Pacific (TCP), which offers classes to people of all ages and abilities."Taiko Center of the Pacific." Kenny Endo – Taiko Artist » Taiko Center of the Pacific. Web.
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In this play he has shown how darkness is the essence of life and the ever-increasing gap between what we aspire for and what we achieve.Narratives of Regional Identity: Revisiting Modern Oriya Theatre from 1880-1980 - Sharmila Chhotaray -Archives and Research Centre for Ethnomusicology, American Institute of Indian Studies, 22, Sector-32, Institutional Area, Gurgaon Similarly, in Samrat (Emperor) in 1972, an adaptation of Albert Camus' Caligula, Das analyses the mental state of present-day man through the emperor's personality. Paapi and Brutte were adaptations of Bernard Shaw's Devil's Disciple and On the rock, respectively. Other prominent plays include Mahamaya Opera (1999), Om Sri Sri Prajapateya Namah, Mukha, Sei Ten Jon and Nua Janha.
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Glassie received his B.A. from Tulane University in 1964, his M.A. from the Cooperstown Graduate Program of the State University of New York in 1965, and his Ph.D from the University of Pennsylvania in 1969. After serving as the State Folklorist of Pennsylvania and teaching at the Capitol Campus of Pennsylvania State University, Glassie began teaching in the Folklore Institute at Indiana University in 1970. In 1976, he became the chairman of the Department of Folklore and Folklife at the University of Pennsylvania. In 1988, he returned as a College Professor to Indiana University, where he had appointments in Folklore and Ethnomusicology, American Studies, Central Eurasian Studies, Near Eastern Languages and Cultures, and India Studies.
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Boas advised her that as pioneer in the relatively new field of ethnomusicology she would have little competition. By the time she received her 1919 M.A. degree in anthropology, her blended fields of interest were beginning to evidence themselves in her publications. She reviewed H. E. Krehbiel's book Afro-American Folksongs in 1917 for the Journal of American Folklore; and in 1918 with co-author Herman K. Haeberlin, published Some Songs of the Puget sound Salish in the Journal of American Folklore. During 1919 she did two reviews, Nabaloi Songs by C. R. Moss and A. L. Kroeber For American Anthropoligist and Teton Sioux Music by Frances Densmore for the Journal of American Folklore.
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While there he studied classical guitar under Bruce Holzman. After earning an Associate of Arts diploma from FSU, Amigo moved to Miami and actively performed in recording sessions and original and cover bands while attending music classes at University of Miami. His first recording session at age 17 was the top 40 Narada Michael Walden- produced "We Don't Have To Take Our Clothes Off" by Jermaine Stewart. He moved Los Angeles to pursue music and a university education and earned a Bachelor of Arts degree in political science from California State University, Northridge, and both a Master of Arts and Doctor of Philosophy in Ethnomusicology from the University of California, Los Angeles.
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Before being wound up. Shed Music, the publishing company assigned all its rights to Roskilly's newly-incorporated Pro-Active Audio Ltd in UK. Shed Studios was a pioneer in the development of the music industry in Zimbabwe, taking its place on the Zimbabwe Music Industry Association board, Ethnomusicology, 2002; 46 (2)and as chair of the Production House Association of Zimbabwe. From 1975 to 2000, its activities saw substantial competition from many other music studios and production houses, of which none survived. As an independent production company it was an essential tool for emerging bands in the 80s and 90s, where contractual relationships with the record companies was considered to be not an option.
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It is of such profundity as to assure very great benefit to future generations as well as to all research in the field.” :—Joseph Malovany :Professor of Liturgical Music, Yeshiva University, NY, NY “It is highly unlikely that anything will ever compete with this pioneering masterpiece, because no one will again benefit from the personal access Kalib has had to the last great practitioners of a weekday hazzanic tradition that is possibly on the verge of disappearing forever.” :—Laurence D. Loeb :Professor of Ethnomusicology and Middle East Ethnology, University of Utah In partnership with his daughter, Ruth Eisenberg, Kalib created the Jewish Music Heritage Project in support of The Musical Tradition of The Eastern European Synagogue (2005).
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On a grant from the Memorial Foundation for Jewish Culture he researched Jewish oriental music and wrote a series of original pieces based on ethnic sources mostly taken from the ethnomusicology collection of Professor Uri Sharvit, Bar Ilan University(1978–79). From 1980 to 1987 he devoted himself to education, creating the concept of instrumental music and publishing a 10 volume Youth Band series of arrangements at Yeshivat B'nai Akiva, Beer-Sheva where he initiated and directed a band program for seven years. Simultaneously he served as director of the Conservatory in the development town of Yeroham. Since 1988 he serves as music critic for "The Jerusalem Post" where he has written numerous articles and reviews.
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From May 8–19, 2006, Garcia was Artist-in-Residence with his group Flamenco Flow at the State Theater, New Brunswick, New Jersey. This led him and Julie to change the nature of their work: incorporating community work, children's workshops and free performances in areas where people can't attend the main paid shows due to geographical or financial constraints. He has added an educational element to his body of work, teaching residencies at firstly the Dhow Countries Music Academy in Zanzibar, sponsored by the Spanish Embassy, with additional support from SWISS and the Serena Hotel group. More recently in 2017 he taught a residency in the Department of Ethnomusicology at the University of Washington in Seattle.
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Born in 1948 to Norman parents, he studied literature and also taught. He worked as a phonothécaire at the department of ethnomusicology at the musée de l'homme, and became enammored of traditional music, particularly French. He became involved in the Folk Revival of the 1960s, and joined the first French folk-club, Le Bourdon ("the drone"), and traveled to collect music in Quebec and Ireland in 1969 and 1970, as well as in Vosges from 1970-1972.Liner notes to L'épinette des Vosges, 1974 From 1975 to 1983, he was the executive producer and director of the collection of the label Chant du Monde, where he also worked to develop the Anthologie de la musique traditionnelle française.
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Busse Berger was the 1991 recipient of the American Musicological Society's Alfred Einstein Award for best article by a young scholar. In 1997-98 she was a Guggenheim Fellow, In 2001-02 she was a fellow at the National Endowment for Humanities, the Stanford Humanities Center. In 2006, her book, Medieval Music and the Art of Memory was awarded the ASCAP Deems Taylor Award, and the Wallace Berry Award from the Society of Music Theory. In 2014, Busse Berger was a Colin Slim Award recipient for best article by a senior scholar from the American Musicological Society, as well as the Bruno Nettl Prize from the Society of Ethnomusicology, for her work on music in African missions.
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Stratos recorded many records, and toured festivals in Italy, France, Portugal, Switzerland, Netherlands, Cuba, and the United States with Area, as well as a solo artist and in collaboration with other artists. He worked with Mogol, Lucio Battisti, Gianni Sassi, Gianni Emilio Simonetti, Juan Hidalgo, Walter Marchetti, John Cage, Tran Quang Hai, Merce Cunningham, Jasper Johns, Andy Warhol, Grete Sultan, Paul Zukofsky, Nanni Balestrini, Claude Royet-Journoud, and Antonio Porta. He studied ethnomusicology, vocal extensions, Asian music chant, compared musicology, the problem of ethnic vocality, psychoanalysis, the relationship between spoken language and the psyche, the limits of the spoken language. He was able to reach 7,000 Hz, and to perform diplophony, triplophony, and also quadrophony.
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Anuradha was born in Chennai to playback singer Renuka Devi and Meenakshi Sundaram Mohan. She did her schooling (I and II standards) in Coimbatore at the St. Francis Anglo-Indian Girls School, and later at the Padma Seshadri Bala Bhavan, Chennai. She has a B.A and M.A in music from Queen Mary's College in Madras University and secured the university gold medal in both the courses. She was given a fellowship to do her Master of Arts degree in Ethnomusicology from Wesleyan University, Connecticut, US. She was trained by many esteemed gurus like Thanjavur S. Kalyanaraman, Sangeetha Kalanidhi T. Brinda and T. Viswanathan in Carnatic music and has had intensive training under Pandit Mannikbua Thakurdas for Hindustani classical music.
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London: Scarecrow Press, 1978. Following graduation, he was appointed Director of Zoology at the Provincial Museum of Entre Ríos, in Paraná. Ambrosetti's reputation in his field was first earned with his publication of studies on the ethnomusicology and cemeteries of the native peoples of Misiones Province, in 1893-95, and with The Megaliths of Tafí del Valle (1896). He collaborated with a number of local scientific institutions in subsequent years, including work for his alma mater's School of Philosophy and Letters, the Argentine Geographic Institute, the La Plata Museum, the Bernardino Rivadavia Natural Sciences Museum (where he collaborated with Ameghino), and the Buenos Aires Zoo (likewise led by a former teacher, Eduardo Ladislao Holmberg).
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Moniek Darge & Godfried-Willem Raes after performing the Threepenny Opera in 2015 Darge was born in Bruges and studied violin and music theory at the Music Conservatory of Bruges, painting at the Royal Academy of Fine Arts in Ghent and art history, philosophy and anthropology at Ghent University. She taught courses on 20th century art history, audio art, non-western art studies and introduction to ethnomusicology as an assistant professor at the Hogeschool Gent, retiring in 2012. She has performed around the world with the Logos Ensemble, with Godfried-Willem Raes in the Logos Duo and with the M&M; (Man and Machine) robot ensemble. She was a founding member of Logos Women.
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After teaching for a year at Mills College, Boyden joined the faculty at the University of California, Berkeley in 1939; he taught at UC Berkeley until 1975 as assistant professor (1943-9), associate professor (1949–55), full professor (1955-75), and also served as chairman of the music department (1955–61). Boyden played an important role in the development of the UC Berkeley music department in his position as chair. He was instrumental not only in building up the musicology department, but also in promoting the ethnomusicology, composition, and performance sectors. Boyden was twice president of the American Musicological Society (1954–56, 1960–62), and a member of the executive board in 1958, 1966, and 1978-79.
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In fall 2013, The Beautiful Music All Around Us received the ASCAP Deems Taylor Award, and also the Association for Recorded Sound Collections (ARSC) 2013 Award, for Best History in the category of Folk, Ethnic, or World Music. This 504 page study grew out of his 1997 Rounder collection, A Treasury of Library of Congress Field Recordings. In turn, that album gave rise to his folksong commentaries that have aired on National Public Radio’s Morning Edition and All Things Considered. Recognition for The Beautiful Music All Around Us has continued, and in November 2016, Wade became the first-ever individual to receive the Judith McCulloh Public Sector Award from the Society for Ethnomusicology.
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Sam-Ang Sam (Khmer: សំ សំអាង Saṃ Saṃqāṅ) is an Cambodian-American ethnomusicologist and 1994 recipient of a MacArthur Fellowship and a National Endowment for the Arts Fellowship (as part of the Apsara Ensemble) in 1998. Sam-Ang Sam and his wife Chan Moly Sam spent "more than two decades" (as of 1993) "performing, teaching, researching, and documenting" their native country's music and dances. Having studied in Cambodia, they were in the Philippines when the Khmer Rouge took over Cambodia in 1975, and escaped the genocide that killed an estimated 90 percent of the country's musicians. He and his wife moved to the United States, and Sam-Ang got his doctorate in ethnomusicology in 1998 from Wesleyan University.
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Cultural variation refers to the rich diversity in social practices that different cultures exhibit around the world. Cuisine and art all change from one culture to the next, but so do gender roles, economic systems, and social hierarchy among any number of other humanly organised behaviours. Cultural variation can be studied across cultures (for example, a cross-cultural study of ritual in Indonesia and Brazil) or across generations (for example, a comparison of Generation X and Generation Y) and is often a subject studied by anthropologists, sociologists and cultural theorists with subspecialties in the fields of economic anthropology, ethnomusicology, health sociology etc. In recent years, cultural variation has become a rich source of study in neuroanthropology, cultural neuroscience, and social neuroscience.
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In September 2000, he established the Institute for Research and Archiving of Music - IRAM which was the leading international institution for the archiving of Balkan cultural heritage. IRAM is the founder of the Student Internet Radio (existing since 2003) and an organizer of 16 international conferences taking place in Macedonia, UK, the Netherlands and Switzerland (Contemporary trends in musicology and ethnomusicology, Reflections on Macedonian Music, Cultural Policy and Music Education etc.). On October 15, 2012, Dr. Buzarovski established the Buzarovski Archive - BuzAr, a digital collection of video, audio, photos, books, papers, scores and other artifacts related to Balkan Cultures and Traditions. The collection is based on Dimitrije Buzarovski's musical scores, performances, video and audio recordings, digitising of cultural heritage, and musicological and ethnomusicological works.
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Working closely with Professor Helen Phelan, his second wife, he established the Irish World Academy in 22 years (1994–2016) from a zero base to some 300 students across c.20 highly innovative postgraduate and undergraduate degree programmes. Graduates from the Academy have come from in excess of 50 countries across programmes offered in Music Therapy, Contemporary Dance Performance, Irish Traditional Dance Performance, Community Music, Festive Arts, Irish Traditional Music Performance, Classical String Performance, Ethnomusicology, Ethnochoreology, Ritual Chant and Song, and others - several the first of their kind in the world. In 1995 he was central to the relocation and professionalisation of the Irish Chamber Orchestra from their Dublin Base to the Irish World Academy on the University of Limerick campus.
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The Master of Arts degree, which takes one to two years to complete and often requires a thesis, is typically awarded to students studying musicology, music history, music theory or ethnomusicology. The PhD, which is required for students who want to work as university professors in musicology, music history, or music theory, takes three to five years of study after the master's degree, during which time the student will complete advanced courses and undertake research for a dissertation. The DMA is a relatively new degree that was created to provide a credential for professional performers or composers that want to work as university professors in musical performance or composition. The DMA takes three to five years after a master's degree, and includes advanced courses, projects, and performances.
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Son of music producer and folklorist Kenneth S. Goldstein, Jah Levi was born in Philadelphia. His formal education includes a Bachelor of Arts in ethnomusicology with a minor in Black studies from Bard College at Simon's Rock and a Master's degree in luthiery from the Roberto-Venn School. He studied world music with international masters and teachers, beginning with guitar lessons as a child in the 1960s from the legendary Reverend Gary Davis, whose music his father produced. While his primary instrument is the bass, he trained in the use of over 200 instruments and maintains a vast collection of rare instruments, following in his family lineage as an archivist, producer, and promoter of traditional music from around the world.
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Since the field of musicology has tended to emphasize historiographic and analytical/critical rather than sociological approaches to research, sociomusicology is still regarded as somewhat outside the mainstream of musicology. Yet, with the increased popularity of ethnomusicology in recent decades (with which the field shares many similarities), as well as the development and mainstreaming of "New Musicology" (coinciding with the emergence of interdisciplinary cultural studies in academia), sociomusicology is increasingly coming into its own as a fully established field. The values and meanings associated with music are collectively constructed by both music listeners and performers. When listening to a piece, they reflect upon their own values and use the music to make connections between their own experiences and what the piece is perceived as communicating.
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In 2014 COPILOT was commissioned to oversee music production on Visa's "Samba of the World", a digital campaign for the 2014 FIFA World Cup. Made in collaboration with AKQA, this interactive music video experience allowed fans to listen and watch 32 different musical arrangements and films, based on 32 different countries, in real time. Each of the 32 competing countries in the World Cup were represented by an arrangement of Carlinhos Brown's 2005 hit single "Maria Caipirnha (Samba da Bahia)" and adapted in collaboration with local composers, bands, and musicians. COPILOT's initial research focused on the ethnomusicology of each country, detailing both the local popular musical genres in 2014, as well as the historical folk instrumentation unique to its citizens.
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He explores further intricacies within the insider/outsider dichotomy by deconstructing the very notion of insider, contemplating what geographic, social, and economic factors distinguish them from outsiders. He notes that scholars of "more industrialized African and Asian nations" see themselves as outsiders in regards to rural societies and communities. Even though these individuals are in the minority, and ethnomusicology and its scholarship is generally written from a western perspective, Nettl disputes the notion of the native as the perpetual other and the outsider as the westerner by default. Timothy Rice is another author who discusses the insider/outsider debate in detail but through the lens of his own fieldwork in Bulgaria and his experience as an outsider trying to learn Bulgarian music.
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While there is not a single, authoritative definition for ethnomusicology, a number of constants appear in the definitions employed by leading scholars in the field. It is agreed upon that ethnomusicologists look at music from beyond a purely sonic and historical perspective, and look instead at music within culture, music as culture, and music as a reflection of culture. In addition, many ethnomusicological studies share common methodological approaches encapsulated in ethnographic fieldwork, often conducting primary fieldwork among those who make the music, learning languages and the music itself, and taking on the role of a participant observer in learning to perform in a musical tradition, a practice Mantle Hood termed "bi-musicality". Musical fieldworkers often also collect recordings and contextual information about the music of interest.
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In his 2005 paper "Come Back and See Me Next Tuesday," Nettl asks whether ethnomusicologists can, or even should practice a unified field methodology as opposed to each scholar developing their own individual approach. As Nettl explains, ethnomusicology is a field heavily relies on both the collection of data and the development of strong personal relationships, which often cannot be quantified by statistical data. He summarizes Bronisław Malinowski's classification of anthropological data (or, as Nettl applies it, ethnomusicological data) by outlining it as three types of information: 1) texts, 2) structures, and 3) the non-ponderable aspects of everyday life. The third type of information, Nettl claims is the most important because it captures the ambiguity of experience that cannot be captured well through writing.
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Flexibility primers can take different forms, including metaphors, images, and music and other media, which is how the flexibility hypothesis falls within the realm of medical ethnomusicology. Music is often used to prime the patients to represent, elicity, and enact cognitive and emotional flexibility in rituals of healing. Within this practice, to truly reach the patient, it is imperative to identify psychological processes and cultural forms that facilitate and evoke cognitive and emotional flexibility to understand the cultural specificity and potential efficacy of a particular set of primers. For example, when choosing music for this ritual, it might be in one's best interest to use cultural context to match the patient with a primer that they will be particularly receptive to, through language, style, etc.
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Born in a house with no running water in Accra, Ghana in 1975, Derrick Ashong is the son of a pediatrician. He attended school in Brooklyn, Saudi Arabia, Qatar and Voorhees, New Jersey before attending Harvard University in 1997 where he studied Afro-American studies and was awarded the Hoopes Prize for his senior thesis. After being naturalized as an American citizen, he returned to Harvard through a Paul & Daisy Soros Fellowship for New Americans, and studied for a PhD in Ethnomusicology and Afro-American studies, until Dave Stewart of Eurythmics fame invited him to come work at his entertainment company, Weapons of Mass Entertainment. Ashong was a founding member of the Harvard Black Alumni Society and founded the Black Men's Forum.
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World Pacific released Raga Rock on June 10, 1966 with the catalog number WPS-1846. The album's liner notes were supplied by KHJ disc jockey Don Steele, who wrote: "Here it is at last, the first popular LP to really feature the sound of the sitar." In his review for the Los Angeles Times, Pete Johnson said of Raga Rock: "Hardly ethnomusicology material, but it all swings and the album is one of those rare records in which material of other groups is treated in an original way." High Fidelitys reviewer found the mix of Rao's sitar with guitar, organ and a jazz rhythm section "an interesting novelty" but said that the material did not allow the combination's potential to be fully realized.
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He has been a Visiting Professor at many universities – particularly Montreal, UCLA, Vancouver, M.I.T., Cambridge (U.K.), Tel-Aviv, Bar-Ilan, Haifa, Basel, Zurich, Siena, and Venice, and his work has inspired contemporary composers2 such as Luciano Berio (Coro), György Ligeti, Steve Reich, Fabien Lévy and Fabian Panisello. Simha Arom is Research Director Emeritus at the CNRS, a founding member of the Société française d'ethnomusicologie, the Société française d'analyse musicale, the European Society for the Cognitive Sciences of Music (ESCOM) and the European Seminar in Ethnomusicology; he is also a member of the Société française de musicologie and the Board of directors of The Universe of Music project (UNESCO). His sound archives were deposited in 2011 at the sound library of the Bibliothèque nationale de France.
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Bermel earned his B.A. at Yale University and later studied at the University of Michigan, Ann Arbor with William Bolcom and William Albright. University of Michigan list of recipients of Paul Boylan alumni award He also studied with Louis Andriessen in Amsterdam and Henri Dutilleux at Tanglewood. Later, his interest in a wide range of musical cultures sent him to Jerusalem to study ethnomusicology with André Hajdu, Bulgaria to investigate Thracian folk style with Nikola Iliev, Brazil to learn caxixi with Julio Góes, and to Ghana to study Lobi xylophone with Ngmen Baaru. Derek Bermel website bio Bermel's output includes pieces for a variety of performing forces, including solo vocal songs, pieces for large and small chamber ensembles, and fourteen orchestral works.
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Beattie for the next 4 years. Parallel with this, he changed his major to Linguistics, and began to study French, Spanish, Chinese, and Japanese languages. It was in this way he got his key insights about developmental linguistics, and became curious about the potential of learning music as if it were a native language. He eventually took so many music courses that he ended up earning a double degree in Music and Linguistics from SIU. Combining his two passions, he was able to enter the nationally recognized Ethnomusicology program at UCLA, win a two-year Organization of American States Fellowship to study abroad in Brazil to do his Master's thesis research, and then returned to get his Master’s in Musicology from UCLA in 1990.
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He was distinguished by a longstanding interest in popular antiquities. Along with Alexander Haggerty Krappe, he was the first scholarly translator of the folktales collected by the Brothers Grimm into English. But he was also developing a theoretical and methodological framework for his eclectic interests. David Bynum, in his history of English studies at Harvard, affirms Magoun's importance as a link between the pioneering work of George Lyman Kittredge in folklore and ethnomusicology (as they related to literary history) and the work of Milman Parry; Magoun took inspiration from Parry and Lord's field observation of the oral poetry of the guslars of Serbia (which they had compared to the Homeric poems), and extended their methods to the study of Anglo-Saxon poetry.
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Although little of his music was published even in his native Haiti during his life, after his death his family collected his manuscripts and had them printed privately. A collection of his pieces was published in Port-au-Prince in 1955, entitled simply, Musique de Ludovic Lamothe. In 2001, a CD recording of Lamothe was published on the IFA Music Records label, released in 2001 featuring some of his pieces, the Ballade in A Minor, Danza No. 1 (La Habanera), Evocation, and Danse Espagnole No. 4, performed by Latino-Caribbean pianist, Charles P. Phillips. In 2006, a book entitled Vodou Nation: Haitian Art Music and Cultural Nationalism by the Chicago Studies in Ethnomusicology cited numerous examples of Lamothe's compositions to illustrate his cultural contribution to Vodou music.
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" – Boston Globe "Her clear mezzo–soprano sounds perpetually optimistic, and so do the syncopated electric guitar parts she picks and plucks through the sparsely arranged but fully realized songs. A degree in ethnomusicology, and African undercurrents, separate her from more rhythmically earth–bound folk–rockers." – Jon Pareles, New York Times for We Will Become Like Birds (2005) "Her voice slips into the territory of Florence Welch and Elena Tonra with its depth and texture, but stands alone in its complete clarity, a dinner bell ringing through a drafty home until the whole place is warm. She is, more simply, the kind of artist who will give you a varied, confetti–colored pocketful of secrets in return for a smile and some applause.
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Later, he studied Ethnomusicology with Johanna Spector at the Jewish Theological Seminary, NYC (1973–75), taking courses in Anthropology, and the Middle East at Columbia University, sociology and psychology of education at Hunter College, contemporary literature and ideas in literature at Queens College (1965, 71, 74). He received a Doctorate of Musical Arts from the University of Colorado, Bouilder, 1989, where he worked with William Kearns (American Music), Richard Toensing (Atonal music), Luis Gonzalez and Charles Eakin(composition) and Karl Kroeger(bibliography) writing dissertations on "Indeterminacy and Improvisation" and "Henrich Schutz: Psalm Settings". He participated in masterclasses at the Vienna Music Seminar in conducting with Erwin Acel (summer, 1997 & 98), and at Pro Mundo Uno, Tivoli with Kurt Redel (summer, 1997)., Israel Music Institute, Max Stern.
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Caporaletti's articles are also listed in Comparative Musicology website, an online bibliografical database Caporaletti is the founder of the Ring Shout journal a scientific journal on African-American music. He is the director, along with Fabiano Araujo Costa and Laurent Cugny of the Revue du jazz et des musiques audiotactiles, edited by the IREMUS centre, Sorbonne University, Paris, France; of the collana Grooves - Edizioni di Musiche Audiotattili, published by the Italian editor LIM, Libreria Musicale Italiana, based in Lucca; and of collana Musicologie e Culture, published by the Italian editor Aracne based in Rome. Caporaletti obtained the National Scientific Habilitation in Italy as Full Professor in Ethnomusicology. He teaches General Musicology and Transcultural Musicology at the University of Macerata in Italy.
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In 1970, he returned to the US to study Ethnomusicology at Wesleyan University; while there he founded the World Band (one of the first inter-cultural improvisatory ensembles) with the master musicians teaching in that program. In 1976 and 1977, another Fulbright fellowship allowed Teitelbaum to travel to Japan, where he studied gagaku (learning hichiriki from Masataro Togi, the chief court musician of Japan's Imperial Household music department), as well as shakuhachi with Katsuya Yokoyama. Teitelbaum also collaborated with Anthony Braxton, Nam June Paik, Joan Jonas, Andrew Cyrille, Leroy Jenkins, Steve Lacy, Alvin Lucier, and David Behrman, among many others. Teitelbaum lived in upstate New York and taught at Bard College beginning in 1988, also serving as the director of that college's Electronic Music Studio.
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In recent times, hip hop music appears to be holding sway with the electronic media in Nigeria with massive airplays. Nonetheless, Sunny Adé's musical output has continued to inspire a vast generation of other Nigerian musicians, who believe in the big band musical set up which Sunny Adé and late Fela Kuti are noted for.Juju: A Social History and Ethnography of an African Popular Music by Christopher Alan Waterman (Chicago Studies in Ethnomusicology) The musician Lagbaja is one of the many musicians whom Sunny Adé's music has inspired. In 2008, his contributions to world music was recognised; as he was given an award for his outstanding contribution to world music at the International Reggae and World Music Awards held at the Apollo Theater in Harlem, New York.
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From 2005 he is associated teacher of ethnomusicology at Bucharest University. One year later, in 2006, he started doing shows for the public national radio and the public national television, for which he was awarded with national and international prizes in journalism. In 2007 he received the great prize of the Romanian Association of Television Professionals (APTR), in 2009 the prize for cultural journalism awarded by Radio Romania, and in 2009 he was nominated at the International Shanghai Film and Television Festival. Grigore Leșe is the first Romanian musician that brought with him on the stage traditional artists from other cultures and countries such as Iran, Syria and Pakistan, with the purpose of demonstrating the relationship between old music in Romania and the East.
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Donald Knight Wilgus (1 December 1918 – 25 December 1989) was an American folksong scholar and academic. He was Professor of Music and English at University of California, Los Angeles from 1963 until his death in 1989, where together with Wayland D. Hand he established the discipline of Folklore Studies The Ethnomusicology Archive at UCLA includes the D.K. Wilgus Collection, his collection of 3,000 field recordings and 8,000 commercial recordings of folk music. Wilgus was born on 1 December 1918 at West Mansfield, Logan County, Ohio and attended East High School (Columbus, Ohio) and obtained his B.A., M.A. and Ph.D. degrees at Ohio State University. He worked as an administrator at Purdue University (1941–1942) and served in the U.S. Army 1942–1945.
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Pandit Suman Ghosh combines academics and performance with ease. He has done research in ethnomusicology funded by many European and American organizations and has given several lectures on the complex art of the Indian Classical Music System. He was the only music scholar from India to have been invited to present his research at the conference organized by International Association of Sound and Audiovisual Archives (IASA) in Vienna, Austria in 1999, in celebration of 100 years of Sound Archiving. In addition to being a performer, Pandit Ghosh has a vision to spread not only this art in its purest form, but also other aspects of the Indian Culture, traditions and ethos as well, making it accessible to all, far and beyond the Indian Sub- Continent.
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The project was initiated in September 1900 by the psychology professor Carl Stumpf, after the visit to Germany of a music theater group from Siam, which Stumpf recorded on Edison cylinders with the assistance of the Berlin physician Otto Abraham. The archive's first director was Erich von Hornbostel, serving from 1905 to 1933. Its recordings, which comprise Edison cylinders and 78-rpm records of the traditional musics of the world, were first used for studies in comparative musicology, and now used for studies in ethnomusicology. The archive comprises approximately 350 collections, containing music from Africa (30%), North America (20%), Asia (20%), Australia and Oceania (12%), and Europe (10.4%), as well as multiregional collections (7.4%), which contain material from several continents.
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Fredric Lieberman (1940 - died May 4, 2013) was an American ethnomusicologist, composer, music professor, and author. As a faculty member at the University of California at Santa Cruz, he was affiliated with the Music Department (including the undergraduate degree programs, the master's program in ethnomusicology, and the Ph.D. program in cross-cultural musicology). UCSC is where he became known for teaching and studying the Grateful Dead. He was perhaps best known for his role as the key contact between the University of California at Santa Cruz and The Grateful Dead, in finding a home for the band's archives at the university's McHenry Library and for his collaboration with Grateful Dead drummer Mickey Hart on three of Hart's books: Planet Drum, Drumming at the Edge of Magic, and Spirit Into Sound.
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In 1979, Mitchell became Associate Professor in the Department of Music and Black Studies at Ohio State University. Among numerous teaching positions, Mitchell served for five years as Director of the Jazz Studies Department and Jazz Society at Northeastern University in Boston, and as personal substitute for Archie Shepp at the University of Massachusetts in Amherst. Along with traditional instruction, Mitchell conducted seminars, lectures and workshops on jazz, ethnomusicology, and black music history at institutions such as Harvard University, Temple University, Community College of Philadelphia, Northeastern University, College of New Rochelle, University of New Mexico, State University of New York, NYU, Fordham University, and the University of Nairobi. He was an active participant in conferences and panel discussions held throughout the country on jazz, black music and social betterment.
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In this chapter, entitled "Confronting the Field(Note): In and Out of the Field," they claim that a researcher's field work will always be personal because a field researcher in ethnomusicology, unlike a field researcher in a hard science, is inherently a participant in the group they are researching just by being there. To illustrate the disparity between those subjective, participatory experiences that ethnomusicological fieldworkers have and what typically gets published as ethnomusicological literature, Barz and Cooley point out the difference between field research and field notes. While field research attempts to find the reality, field notes document a reality. The issue, according to Barz and Cooley, is that field notes, which capture the personal experience of the researcher, are often omitted from whatever final writing that researcher publishes.
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Seeger's analysis exemplifies the inherent complexity of ethical practices in ethnomusicological fieldwork, implicating the importance for the continual development of effective fieldwork in the study of ethnomusicology. In recent decades, ethnomusicologists have paid greater attention to ensuring that their fieldwork is both ethically conducted and provides a holistic sense of the community or culture under study. As the demographic makeup of ethnomusicologists conducting research grows more diverse, the field has placed a renewed emphasis on a respectful approach to fieldwork that avoids stereotyping or assumptions about a particular culture. Rather than using European music as a baseline against which music from all other cultures is compared, researchers in the field often aim to place the music of a certain society in the context only of the culture under study, without comparing it to European models.
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He graduated from the Moscow Conservatory under supervision of professor Leo A. Mazel and pursued his postdoctoral studies at the Moscow State Institute of Art Studies where his academic adviser was ethnomusicologist professor Viktor M. Beliaev. He earned his Kandidat degree (equivalent to Ph.D. in the USA) and Doctor of Sciences degree in Ethnomusicology from the Moscow State Institute of Art Studies. Eduard Alekseyev is the author of more than 100 publications in Russian, including such monographs as A study of the origins of modality with regard to Yakut folk songs (1976), The nature of pitch in primitive singing (1986), Folklore in the context of modern culture (1988), and The notation of folk music: Theory and practice (1990).Translation of the article from the encyclopaedia of the Moscow conservatory Moskovskaja konservatorija. Biograficheskij jenciklopedicheskij slovar’.
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Ahmet Adnan Saygun, one of the most prominent composers and musicologists of Turkey who is also known as the composer of first Turkish opera, Özsoy had a close relationship with Prof. İhsan Doğramacı who is regarded as one of the most important philanthropists promoting music in Turkey Gülsin Onay and a leading figure for Turkish educational and health system as founder of two foremost universities of Turkey, Hacettepe and Bilkent Universities. Saygun had dedicated his two works to Doğramacı who pioneered the foundation of ethnomusicology departments at Turkish conservatoires for which Saygun had asked for many years.Kahramankaptan- OperaTürkiye Upon this and the establishment of Bilkent University Faculty of Music and Performing Arts which was seem as a promising and encouraging music school by Saygun, he left his estatew and works to Bilkent University.
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He is survived by his sister, Rosemary. During his lifetime he published a number of books of his own, and was a contributor in numerous articles in journals such as Music in Education, Tempo, The Musical Times, Music and Letters, and Musical America. He lectured in many educational institutions in the United Kingdom, Norway, and the United States, contributed with papers to organisations such as the Composers' Guild of Great Britain (1984), the Association of Improvising Musicians (1985), Music Educators National Conference (Hartford, Connecticut, 1985; Washington DC, 1989) and the Society for Ethnomusicology (Cambridge, Massachusetts, 1988). Small took part in the series Sounds Different, broadcast by BBC-TV2 (July 1982), and wrote This Is Who We Are, a three-programme broadcast on BBC Radio 3 (March 1988) about Afro-American music.
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Hosea (painting from Siena's Duomo) In the Weekly Maqam, Sephardi Jews each week base the songs of the services on the content of that week's parashah. For Parashat Bemidbar, Sephardi Jews apply Maqam Rast, the maqam that shows a beginning or an initiation of something, because the parashah initiates the Book of Numbers. In the common case where this parashah precedes the holiday of Shavuot, then the maqam that is applied is Hoseni, the maqam that symbolizes the beauty of receiving the Torah.See Mark L. Kligman, "The Bible, Prayer, and Maqam: Extra-Musical Associations of Syrian Jews," Ethnomusicology, volume 45 (number 3) (Autumn 2001): pages 443–479; Mark L. Kligman, Maqam and Liturgy: Ritual, Music, and Aesthetics of Syrian Jews in Brooklyn (Detroit: Wayne State University Press, 2009).
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Taras Filenko (Ukrainian: Тарас Філенко) (born 1 October 1958) is an ethnomusicologist, lecturer, and concert pianist most renowned for his research and proliferation of Ukrainian music history of 19th and early 20th centuries. Dr. Filenko’s findings are presented in his Ph.D. dissertation from the Tchaikovsky National Music Academy of Ukraine (1989), his second Ph.D. in Ethnomusicology from University of Pittsburgh (1998),University of Pittsburgh, Office of University Registrar and The World of Mykola Lysenko book in English (2000)The World of Mykola Lysenko: Ethnic Identity, Music, and Politics in Nineteenth-Century Ukraine. and Ukrainian (2009). As a two-time recipient of the Fulbright Scholarship, Dr. Filenko has conducted lectures and developed courses at academic institutions throughout Europe and North America focused on the classical and ethnic musical culture of Eastern Europe.
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Convergent disciplines of neuroanthropology, ethnomusicology, electroencephalography (EEG), neurotheology and cognitive neuroscience, amongst others, are conducting research into the trance induction of altered states of consciousness resulting from neuron entrainment with the driving of sensory modalities, for example polyharmonics, multiphonics, and percussive polyrhythms through the channel of the auditory and kinesthetic modality. Neuroanthropology and cognitive neuroscience are conducting research into the trance induction of altered states of consciousness (possibly engendering higher consciousness) resulting from neuron firing entrainment with these polyharmonics and multiphonics. Related research has been conducted into neural entraining with percussive polyrhythms. The timbre of traditional singing bowls and their polyrhythms and multiphonics are considered meditative and calming, and the harmony inducing effects of this tool to potentially alter consciousness are being explored by scientists, medical professionals and therapists.
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Khan learnt music from his father, Ashiq Ali Khan, who had learned sitar from the 19th century player Barkatullah Khan, a descendant of Masit Sen of Delhi, the inventor of the Masitkhani gat (the major style of slow musical composition in sitar playing)Allyn Miner, Sitar and Sarod in the 18th and 19th Century, 1993 His name became synonymous with the Senia styleGerry Farrell The Senia Style of Sitar Playing in Contemporary India, British Journal of Ethnomusicology, Vol. 11, No. 2. (2002) although he may actually have practised an even more austere style than his predecessors in the gharana.Allyn Miner, Sitar and Sarod in the 18th and 19th Century, 1993 He eschewed much of the ornamentation of modern sitar technique (such as murki and zamzama), and embraced a clean, pure sound.
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An honors English major at the University of Toronto from 1962–1965, Kirshenblatt-Gimblett graduated from the University of California, Berkeley, with an A.B. and M.A. in English literature in 1966 and 1967 respectively. She received her PhD in 1972 from Indiana University, Bloomington, where she studied folklore, anthropology, ethnomusicology, sociolinguistics, and material culture under esteemed folklorist Richard Dorson. She has held faculty appointments at the University of Texas at Austin (English Literature and Anthropology), Columbia University (Linguistics and Yiddish Studies), University of Pennsylvania (Folklore and Folklife), and New York University (Performance Studies) since 1981. She is Professor Emerita of Performance Studies and distinguished University Professor Emerita (an honor conferred in 2002) at the Tisch School of the Arts, New York University, where she chaired her department for more than a decade.
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Ruth Katz (née Torgovnik) was born in Germany and immigrated to Israel/Palestine in 1934 with her family, settling in Tel Aviv. After graduating from the Herzliya gymnasium, military service in the Israel Defence Forces, and a short period at the Israel Ministry of Defence, she was sent to New York (1950) by the Jewish Agency's Youth department, as an emissary to the Inter-collegiate Zionist Federation of America. In New York she attended Columbia University (BA 1954, MA 1956, PhD 1963, all summa cum laude). Returning to Israel with her husband (1956), she taught at the Oranim teachers' college and began research in ethnomusicology. In 1963, she was among the founders of the department of musicology at the Hebrew University of Jerusalem, where she taught until her retirement in 1995,.
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The Jews from Algiers have maintained the texts and melodies that arrived in Algiers during the period of the Ribash and the Rashbatz until the present day. According to the tradition, these are the original melodies that arrived from Catalonia with the two great Rabbis.In the synagogues where minhag ha-mequbalim was imposed, they also maintained the melodies and nusach of piyyutim, although they were told outside the tefillah (amidah) and the blessings of the Shema reading, as is nowadays accustomed to the minhag of the Sephardim. In 2000, the annual Ethnomusicology Workshop was held,The workshop was organized by the faculty of music of the University of Bar-Illan with the collaboration of the phonotheque of the National Library of Israel and the Jewish Music Research Center of the Hebrew University of Jerusalem.
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The Smithsonian Center for Folklife and Cultural Heritage began the mission of recording, archiving, and distributing the world's music in 1987, the year it acquired Folkways Records and its archive of 2,168 album titles. The Center maintains the original catalog in print, along with some 300 titles, newly recorded or re-released from the archive. In February 2005, Smithsonian Global Sound was created to digitize this vast collection of recordings and make it available in new media. It now offers nearly the entire Folkways and Smithsonian Folkways Recordings catalogues and the collections of two regional archives: the Archives and Research Centre for Ethnomusicology (ARCE), founded in 1982 to preserve collections of Indian music and oral traditions in New Delhi, India and the International Library of African Music (ILAM), established in Grahamstown, South Africa in 1954 as a repository of African music.
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Present-day ethnomusicologists, such as Margaret Kartomi and Terry Ellingson, suggest that, in keeping with the spirit of the original Hornbostel Sachs classification scheme, if one categorizes instruments by what first produces the initial sound in the instrument, that only subcategory 53 should remain in the electrophones category. Thus, it has been more recently proposed, for example, that the pipe organ (even if it uses electric key action to control solenoid valves) remain in the aerophones category, and that the electric guitar remain in the chordophones category, and so on. Thus, in present-day ethnomusicology, an electrophone is considered to be only musical instruments which produce sound primarily by electrical means. It is usually considered to constitute one of five main categories in the Hornbostel-Sachs scheme of musical instrument classification, despite not being in the original scheme published in 1914.
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Even though musical traditions in the Arab world have been handed down orally, Arab scholars like Al-Kindi, Abulfaraj or Al-Farabi and later Safi al-Din published treatises on Arabic music since at least the 9th century AD. In 1932, the first Congress of Arab Music was held in Cairo, where scholarship about the past, present and future of Arabic music was presented both from Western as well as Arab experts. The results were later documented, both in writing as well as in the form of audio recordings.See the discography and literature on Cairo Congress of Arab Music. Research on Arabic music is a focus of departments of ethnomusicology at universities worldwide, and the global interest in World Music has led to a growing number of studies and re-issues of historic recordings by indepentent researchers or private companies.
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He highlights, upstream, the rooting of this corpus in the other musical traditions of the world, especially oriental (and, probably, the ancient celtic music; Downstream, its importance as a breeding ground for European music, both scholarly and - in part - folkloric. This truly traditional approach illuminates Latin liturgical chant in its true light and allows the rediscovering, as far as possible, of its authentic interpretation (cf rhythm) before the year 1000, which is very different from the style instituted in the Nineteenth by the Benedictines of the Abbaye Saint-Pierre de Solesmes. Nevertheless, it benefits from the careful study of neumes by Dom and his pupils ("Gregorian semiotics", musical palaeography). It is a comparativism tributary to ethnomusicology, insofar as it relates to each other the writings of the Middle Ages (noted manuscripts, treaties) and the traditions currently alive.
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She has served on the national boards of both T'ruah: The Rabbinic Call for Human Rights and the National Havurah Committee. In 2012, Weiss, who wrote her doctoral dissertation about Yiddish musical cinema of the early 20th century, earned her PhD in comparative literature and cultural studies at the University of Minnesota, where she had previously earned her MA with a minor concentration in Music Studies. During her years in Minnesota, Weiss founded and helped lead an independent Jewish community, the Uptown Havurah. A Fulbright ethnomusicology research fellow in Berlin (2006–2007), Weiss has presented at multiple conferences and written on the origins of klezmer music and its shifting cultural reception; some of Weiss' studies on this theme can be found in her chapter "Klezmer in the New Germany: History, Identity, and Memory" in Three-Way Street: Jews, Germans, and the Transnational.
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James K. Makubuya (born in Gayaza, Wakiso District, Uganda) is a Ugandan-born ethnomusicologist, instrumentalist, singer, dancer, and choreographer. He plays several traditional instruments from various parts of Uganda, including the endongo (8-string bowl lyre) and adungu (9-string bow harp), endingidi (1-string tube fiddle), amadinda (12-slab log xylophone), akogo (lamellaphone), and engoma (drums). Makubuya was born in the town of Gayaza (located 30 km from Kampala, near Lake Victoria, in the Buganda region of Uganda), and is a member of the Baganda ethnic group. He holds a B.A. in music and English literature from Makerere University in Kampala, Uganda (1980); a Master of Music degree in Western music and music education from Catholic University of America in Washington D.C. (1988), and a Ph.D. in ethnomusicology from the University of California, Los Angeles (1995).
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He made a brief appearance in the Alan Parker-directed motion picture Fame and scored two children's operas for the Metropolitan Opera Guild's In School project. As an undergraduate at Columbia University (1981–1985), he grew more interested in minimalism, microtonality, and non-western music, and he completed a master's degree in ethnomusicology at Columbia in 1990. In the 1990s, he returned to writing extensively for the voice, setting poems by E. E. Cummings, Margaret Atwood, William Butler Yeats, and Kenneth Patchen. In 1998 he began working with Italian painter and performance artist Lucio Pozzi on MACHUNAS, an evening-length performance oratorio based on the life of Fluxus-founder George Maciunas which they completed in 2002. In 2005, MACHUNAS was staged at the Museum of Contemporary Art in Vilnius, Lithuania,Robert Gable,Machunas (2005) by Frank Oteri, June 2006; accessed February 7, 2018.
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Putting her ethnomusicological research to work in educational settings, Tillery was a visiting scholar and taught classes at Stanford University in 2009, as well as at Williams College. In 2011, Tillery was a research assistant at Indiana University Bloomington, as well as a member of the National Advisory Board for the Archives of African American Music & Culture in the Department of Folklore and Ethnomusicology at IU. She and fellow musician Teresa Trull were guest lecturers at a San Francisco State University class on women's music taught by Angela Davis. In June 2003, Tillery gave the keynote speech at the Phenomenon of Singing International Symposium IV, in Newfoundland, Canada titled "The Voice as an Instrument of Peace and Motivating Force for Justice". Tillery was a presenter at the November 2009 "Reclaiming the Right to Rock Conference" at Indiana University.
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In addition to many findings concerning the particular tradition and its methodological and analytical sophistication, the book engages fundamental questions of ethnomusicology and general anthropology concerning the meaning of modal frameworks, the combination of text and music appearing as a-priori fusions, the dynamic between continuity and change in living oral traditions and the role of the individual creative artist therein, or how to assess authenticity. Katz's other ethnomusicological research addressed inter alia the music of the Samaritans (1974), in which she identified a case of "oral group notation"' and a connection to the medieval Christian Neannoe-Ninnua, showing that both are rooted in earlier Hebrew traditions.“On ‘Nonsense’ Syllables as Oral Group Notation: Evidence for Werner’s Neannoe-Ninnua Theory“, Musical Quarterly, LX, 1974. “The Reliability of Oral Transmission: The Case of Samaritan Music”, Yuval III, 1974.
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Grasse's ethnomusicology research and publications focus on music from Minas Gerais, Brazil, and includes articles examining regional Afro-Brazilian music traditions. Since the early 1990s, Grasse has pursued fieldwork investigations and archival research in and around Belo Horizonte, Brazil. There, he has interviewed members of the Clube da Esquina (the Corner Club) music collective based around Milton Nascimento, luthiers producing the guitar-like viola (Brazilian ten-string guitar), and studied the Afro-Brazilian genre of Congado, among other topics. Grasse is author of the 331/3 Brazil book Lo Borges' and Milton Nascimento's Corner Club, examining the 1972 album Clube da Esquina. His assistance in archival research at São Paulo’s Oneyda Alvarenga municipal recording archive in Brazil is acknowledged in the liner notes of two CD recordings published by Smithsonian Folkways Recordings: The Discoteca Collection: Missão de Pesquisas Folclóricas, and L. H. Corrêa de Azevedo: Music of Ceará and Minas Gerais.
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The complex is also home to an impressive library which in 1991 included more than 60,000 documents of books, scores, monographs, periodicals, and recordings in various media formats. The CMQQ has a strong commitment to performance, and in addition to holding public concerts at the Grand Théâtre they also perform regularly at the nearby Salle Louis-Fréchette and Salle Octave-Crémazie performance halls, the Chapelle historique du Bon-Pasteur museum, and the Institut canadien de Québec. Both students and faculty regularly present public recitals in these venues, in addition to the many public concerts given by the school's orchestra, chamber orchestra, jazz band, wind ensemble, opera program, choirs, and other performance groups. The school offers courses in well over 50 areas of study, ranging from early music performance studies to electroacoustic music techniques, to chamber music, to ethnomusicology, and opera and jazz studies among many others.
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Casa Na Bolom ("House of the Jaguar") does advocacy work for the Lacandón, sponsors research on their history and culture, returns to them copies of photographs and other cultural documentation done by scholars over the years, and addresses environmental threats to the Lacandon Jungle, such as deforestation. Among its many projects, Casa Na Bolom has collaborated with a group of Swedish ethnomusicology students who recorded traditional Lacandón songs. A publication of those recordings in CD form is now planned. Several linguists and anthropologists have done extensive studies of Lacandon language and culture, including Phillip Baer, a missionary linguist with Summer Institute of Linguistics who lived among the Lacandon for more than 50 years, Roberto Bruce an American linguist who devoted his life to studying Lacandon language and culture, and Christian Rätsch who spent three years living with the Lacandon while studying their spells and incantations.
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The Pasatono Orquesta began as simply Pasatono, founded by Rubén Luengas, his wife Patricia Garcia and Edgar Serralde as a trio in 1998. The three were ethnomusicology students at the Escuela Nacional de Música in Mexico City, with the aim of being researchers, not performers. Here Luengas noticed that the school taught various traditional music styles, but nothing from the state of Oaxaca, so the three friends started playing the music they grew up with in Oaxaca, finding it a respite from the hustle and bustle of Mexico City. Ten years later, they reorganized and added new members and instruments from the original three (violin, bajo quinto and cántaro), changing the name to Pasatono Orquesta, adding a full traditional orchestra of rural Oaxaca. Their first album was Yaa Sii, which means “happy music,” and since then, they have been discovered and promoted by Oaxacan artist Lila Downs.
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Art History and Musicology entered the umbrella of the Humanities division of the college while Design and Ethnomusicology remained in Fine Arts. UCLA Herb Alpert School of Music logo Then in 1991, the College of Fine Arts was disestablished, giving rise to two separate schools: the School of the Arts and the School of Theater, Film and Television. With the conjoining of architecture to the School of Fine Arts in UCLA's Professional School Restructuring Initiative in 1994, the school was then renamed the School of the Arts and Architecture. In 2014, a proposal was made for the creation of a School of Music for the college. The new school, called the Herb Alpert School of Music, created in 2016, would join the trio of “independence but complementary arts-centered” schools: the current School of Theater, Film, Television, a redefined School of the Arts and Architecture, and the new School of Music.
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Although author Charles Keil admits that "there are as many styles of polka as there are polka localities",Keil, Charles, Deeper Polka, Ethnomusicology Forum 14.1 (2005): 118-120 he and his wife have divided American polka music into three major genres: # Slavic, with its subgenres, Polish-American, Czech- American, and Slovenian-American # Germanic, with its subgenres, German- American # Southwestern, with its subgenres, Mexican-American and Papago- PimaKeil Charles, Polka Happiness, Philadelphia, PA: Temple University Press, 1992. The two Slavic genres are found in eastern and midwestern America, the Germanic genres in midwestern and western America, and the Southwestern genres in southwestern America. The different genres are united by the characteristic 2/4 time signature that exists in all polkas as well as by instruments and lyrics that are similar throughout all styles. Polka bands across all genres typically include an accordion or concertina, wind instruments, and drums.
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85 The first instrument he learned to play as a child was the ukulele; the second was the mandolin, which remained his favorite instrument throughout his life and figures in several of his scores. Sur's family moved to the mainland United States in 1951 and eventually settled in Los Angeles. He studied ethnomusicology for a year at UCLA as an undergraduate before transferring to Berkeley and studying with Andrew Imbrie, Seymour Shifrin, and Colin McPhee, who taught him Balinese composition techniques.Dyer (18 March 1990) Following post-graduate work at Princeton with Roger Sessions and Earl Kim, he spent four years in Korea (1964–68) doing research on Korean court music. On his return from Korea, he continued his post-graduate studies at Harvard University where he received a PhD in composition in 1972 with The Sleepwalker's Ballad, "an accompanied recitative for soprano and chamber ensemble".
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Sakar Khan, who is credited with getting the Rajasthani kamancha noticed at the world stage, is reported to have made innovations to the instrument, originally a rabab look alike stringed instrument composed of a goat skin covered body and three or four main and fourteen sympathetic strings by adding to the number of sympathetic strings to enhance the emotional appeal of the instrument. His renditions of Bhairavi raga and Kalyani raga have been stored in the ethnomusicology archives of Smithsonian Folkways, the record label of the Smithsonian Institution. His performance at The Manganiyar Seduction, was as a guest of honour at the Purana Qila in Delhi in November 2010, following which the organisers, Amarrass Records, made analogue field recordings of the maestro at his home in Hamira, Rajasthan, released as At Home: Sakar Khan (Amarrass Records) in September 2012. This remains the only album released by Sakar Khan.
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John Blacking was born in Guildford, Surrey, and was educated at Salisbury Cathedral School and at King's College, Cambridge, where he was a pupil of the illustrious anthropologist, Meyer Fortes. After serving with the British Army in Malaysia, he was employed by Hugh Tracey in the International Library of African Music (ILAM) and further studied music and culture of the Venda people in South Africa in the 1950s and 1960s. In 1965 he was awarded a Ph.D. (D Litt, rather) from the University of the Witwatersrand for his work on Venda children's songs, and in the same year he was made Professor and Head of the Department of Social Anthropology. In the field of ethnomusicology, Blacking is known for his early and energetic advocacy of an anthropological perspective in the study of music (others are David McAllester [1916–2006] and Alan Merriam [1923–1980]).
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Kishor Gurung comes from a musical family; the first instrument he played was the tabla drums. When he decided to learn the guitar he faced the difficulty of inaccessibility to printed music, recordings and accredited teachers in his homeland Nepal, but he eventually won a full scholarship to study guitar at the San Francisco Conservatory of Music, where he studied with Larry Almeida, George Sakallariou and David Tanenbaum and participated in Master Classes conducted by such distinguished international guitarists as Michael Lorimor (USA), Julian Bream (UK), Manuel Barrueco (Cuba), David Russell (Scotland), Jose Tomas (Spain), Abel Carlevaro (Paraguay). He pursued then an MA degree in ethnomusicology at the University of Hawaii as an East- West Centre grantee, following which he has participated in international music seminars and performed in Asia and Europe with favourable press reviews. Kishor is the first Nepali to obtain music degrees from the accredited institutions of the West.
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Her second book, Interstitial Soundings: Philosophical Reflections on Improvisation, Practice, and Self-Making (2015), which is largely a collection of essays, continues the theme of resistance but is concerned with how social, political, and cultural discourses and practices shape musical subjectivities, musical content, and musical practices. Because Nielsen's work is interdisciplinary and explores a wide range of cultural, ethical, sociopolitical, and hermeneutical issues, her work has been appropriated by scholars in multiple disciplines including not only philosophy but also sociology, psychology, theology, postcolonial studies, ethnomusicology, critical race theory, literary theory, and political theory. For example, in her review of Nielsen's book, Foucault, Douglass, Fanon, and Scotus in Dialogue, Dr. Renee Harrison, describes Nielsen's work as "a significant interdisciplinary contribution to the fields of philosophy, religion, history, and African American studies." Her current research (from 2014–present) concentrates on Hans-Georg Gadamer’s hermeneutical philosophy with a special interest in his hermeneutical aesthetics and reflections on the ontology of art as a communicative and communal event.
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He cites another attempt made by Morris Friedrich, an anthropologist, to classify field data into fourteen different categories in order to demonstrate the complexity that information gathered through fieldwork contains. There are a myriad of factors, many of which exist beyond the researcher's comprehension, that prevent a precise and accurate representation of what one has experienced in the field. As Nettl notices, there is a current trend in ethnomusicology to no longer even attempt to capture a whole system or culture, but to focus on a very specific niche and try to explain it thoroughly. Nettl's question, however, still remains: should there be a uniform method for going about this type of fieldwork? Alan Merriam addresses issues that he found with ethnomusicological fieldwork in the third chapter of his 1964 book, The Anthropology of Music. One of his most pressing concerns is that, as of 1964 when he was writing, there had been insufficient discussion among ethnomusicologists about how to conduct proper fieldwork.
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Rosie Kay first worked as a dancer outside of the UK before founding Rosie Kay Dance Company in 2004. In 2013, Kay became Leverhulme Artist in Residence at the University of Oxford, using the archive of the Pitts Rivers Museum to create Sluts of Possession with Brazilian dance artist Guilherme Miotto. She worked with the director of The Institute of Social and Cultural Anthropology, Professor Stanley Ulijaszek, research partner Dr Karin Eli, Dr Noel Lobley (Head of Ethnomusicology), Dr Christopher Morton (Head of Film and Photography at the Pitt Rivers) and Dr Clare Harris to develop the piece. Performed by Kay and Miotto, Sluts of Possession featured at Dance Base at Edinburgh Festival Fringe, honing in on trance-like states and tribal ritual. In 2014 producer James Preston joined Rosie Kay Dance Company as executive director, with the pair first meeting at the Edinburgh Festival Fringe whilst Kay was performing her piece The Wild Party in 2006.
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In 1966, with pop acts such as the Beatles, the Byrds and the Rolling Stones incorporating Indian musical influences into their work, resulting in the rise of the raga rock phenomenon, World Pacific decided to create a Folkswingers album dedicated to the new trend. The featured performer, on sitar, was Harihar Rao, who was director of Indian studies at UCLA's Department of Ethnomusicology, and a pioneer in fusing Indian music and jazz through his work with Don Ellis in the Hindustani Jazz Sextet. In addition to being a protégé of Ravi Shankar since the late 1940s, Rao had recently taught Brian Jones the fundamentals of sitar playing before Jones recorded his sitar part for the Rolling Stones' raga-rock hit "Paint It Black". The Folkswingers' ensemble included jazz guitarists Herb Ellis and Dennis Budimir, the last of whom, like Rao and producer Richard Bock, had collaborated on Shankar's Indo-jazz projects such as Improvisations.
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Rubin studied with Richard Stoltzman and Kalmen Opperman, attended the California Institute of the Arts and received a BFA from the State University of New York at Purchase. Rubin holds a Ph.D. in ethnomusicology from City University London for his pioneering work on improvisation and ornamentation in klezmer clarinet music. He is currently Assistant Professor and Director of Music Performance at the University of Virginia’s McIntire Department of Music, and has taught at Cornell, Syracuse University, Ithaca College, and Humboldt University in Berlin. In addition to appearances with traditional performers such as the Epstein Brothers, Moshe “Moussa” Berlin, Seymour Rexsite and Miriam Kressyn, Leon Schwartz, Sid Beckerman, Pete Sokolow, Danny Rubinstein, Ben Bazyler, and Leopold Kozlowski, he leads the international Joel Rubin Ensemble (also known as the Joel Rubin Jewish Music Ensemble, US/Hungary/Italy) and was the founder and clarinetist of some of the most internationally respected klezmer ensembles, including the pioneering revival group Brave Old World.
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As a student of Darius Milhaud at the Conservatoire de Paris, Manfred Kelkel "always felt a sincere admiration and almost filial recognition for his former teacher, even if, aesthetically speaking, he followed a divergent path.". From 1969 onwards, the composer resumed his university studies, obtaining a doctoral degree and a State doctorate of music and musicology, "with works that have since become authoritative in their fields", from his study À la recherche de la musique polynésienne traditionnelle, in ethnomusicology, to State doctorate on lyrical music at the beginning of the 20th century (Naturalisme, vérisme et réalisme dans l'opéra). His postgraduate thesis, dedicated to the Russian composer Alexander Scriabin (Scriabine, sa vie, l'ésotérisme et le langage musical dans son œuvre), is a defining moment in his career. In his memories, Jacques Viret evokes a man "of perfect simplicity, modesty and affability", making him meet Marina Scriabin, daughter of the composer of the Mysterium, of which the Acte préalable presents a twelve-tone tuning which carried him with enthusiasm.
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In the United States he has appeared under the auspices of the American Society for Aesthetics; College Music Society; Ford, Morse, Rockefeller, and Rothschild Foundations; International Association for Semiotics; League of Composers; Music Educators National Conference; Music Teachers National Association; Society of Composers; Society for Ethnomusicology; and Society for Music Theory; as well as in universities throughout North America. Performers of Robert Cogan's works include the conductors Tamara Brooks, Lorna Cooke deVaron, John Heiss, Jacques-Louis Monod, Fredrick Prausnitz, Gunther Schuller, and Leopold Stokowski; the Cleveland Orchestra, Hamburg Radio, and RIAS Berlin orchestras; pianists Geoffrey Burleson, Marilyn Crispell, David Del Tredici, David Hagan, Robert Henry, and Ellen Polansky; instrumentalists Esther Lamneck, Alexei Ludewig, and Stephanie Key; and singers Jan De Gaetani, Elizabeth Keusch, Joan Heller, Jane Bryden, and Maria Tegzes. His music appears on the Delos, Golden Crest, Leo, Music and Arts, Neuma, and Spectrum recording labels. Robert Cogan resides in Cambridge, Massachusetts with his partner, composer and theorist Pozzi Escot.
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A drastic change in Allami’s musical career was precipitated by the invasion of Iraq in 2003. Despite never having been to Iraq himself (he would later describe it as "a land I had never seen, air I have never breathed, people I hardly knew") Allami found that the invasion forced him to reappraise and revive his own cultural roots. Pained and shaken by events ("Iraq burned and I couldn't do a single thing about it") he opted to demonstrate solidarity by making a serious attempt to take up oud playing and began studies with the London-based Iraqi 'ud maestro Ehsan Emam. In March 2004 Allami bought his own oud and decided to dedicate his life to the instrument and to its music, quitting Art of Burning Water in order to do so. In addition to his studies with Emam, Allami took an Ethnomusicology course at the University of London’s School of Oriental and African Studies (SOAS), graduating in 2008 with a BA Honours degree.
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His subject matter has included Mexican corridos and narcocorridos, hitchhiking, the blues musician Robert Johnson and, in How the Beatles Destroyed Rock 'n' Roll, American popular music for roughly the first three-quarters of the 20th century. He co-authored Dave Van Ronk's posthumously published memoir, The Mayor of MacDougal Street (the main inspiration for the Coen Brothers movie Inside Llewyn Davis), wrote the Grammy-winning liner notes for The Arhoolie Records 40th Anniversary Box: The Journey of Chris Strachwitz, made an instructional DVD for guitarists on the music of Joseph Spence (part of a series issued by Stefan Grossman), and has curated and/or written liner notes for numerous CD compilations and re- releases. After teaching on and off in the musicology department of the University of California Los Angeles for several years, he moved back to the Boston area and got a doctorate in ethnomusicology and sociolinguistics from Tufts University. He now lives in Philadelphia with his wife, ceramic artist Sandrine Sheon.
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"Weissman, 117 Considered to be a scholar of blues music, his studies of ethnomusicology at the University of Massachusetts Amherst would come to introduce him further to the folk music of the Caribbean and West Africa. Over time he incorporated more and more African roots music into his musical palette, embracing elements of reggae, calypso, jazz, zydeco, R&B;, gospel music, and the country blues—each of which having "served as the foundation of his unique sound." According to The Rough Guide to Rock, "It has been said that Taj Mahal was one of the first major artists, if not the very first one, to pursue the possibilities of world music. Even the blues he was playing in the early 70s – Recycling The Blues & Other Related Stuff (1972), Mo' Roots (1974) – showed an aptitude for spicing the mix with flavours that always kept him a yard or so distant from being an out-and-out blues performer.
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John La Barbera is a musical composer, arranger and plays guitar and mandolin. La Barbera has performed at concert halls and music festivals, including the Montreal Jazz Festival, Carnegie Hall, the Felt Forum, Alice Tully Hall, Guggenheim Museum, Metropolitan Museum of Art, Smithsonian Institution, UCLA, Field Museum in Chicago, Philadelphia Museum of Art, San Francisco World Music Festival, Central Park Summer Stage and at the Nikon at Jones Beach Theater. He has toured tours throughout Eastern Europe, Italy, France, Germany, Belgium, Switzerland and in Brazil, where he was sponsored by the Centro Cultural Banco do Brasil, Brasil Festeiro and Serviço Social do Comércio, in São Paulo. La Barbera holds a M.M. from William Paterson University and a B.M. from the University of Hartford Hartt School, and graduate courses at Hunter College (NYC) in ethnomusicology, Villa Schifanoia (Rosary College), in Florence, Italy and at the Accademia Chigiana in Siena, Italy, the film music seminar with Ennio Morricone.
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The college awards bachelor of music, master of music, doctor of philosophy, and doctor of musical arts degrees and non-degree graduate artist certificates. Concentrations include performance, music composition, music education, music history, music theory, ethnomusicology, and jazz studies. Its size, its array of disciplines organized across eight academic divisions, its six research centers, its six major ensemble areas that produce over 70 ensembles, and the number of degrees offered — from bachelor's degrees to doctorates to artist certificates — allows the college the achieve the type of critical mass to be highly comprehensive (wide and deep) and prolific in academics, research, and performance, from big to small to standard to experimental to esoteric. In performance, the public review of the college's total work is presented through over 1,000 student and faculty concerts, annually, which include fully mounted opera, grand chorus, symphonic orchestra, early music, chamber music, jazz, orchestra, winds, experimental music, intermedia, and ethno music.
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Taught by Henk Badings, Olivier Messiaen and others, and in his youth influenced by Béla Bartók, De Leeuw was a teacher at the University of Amsterdam and later professor of composition and electronic music at the Sweelinck Conservatory in Amsterdam from 1959 to 1986, at which institute he served as director from 1971–73. For his notable students, "When I was quite young I once accidentally tuned in on a radio broadcast from an Arabian station. I was thunderstruck: I became deeply aware that there were other people living on this earth, living in thoroughly different conditions, having other thoughts and feelings" (Ton de Leeuw, 1978). He studied ethnomusicology with Jaap Kunst between 1950 and 1954 [Author], [Title], Baker's Biographical Dictionary of Music and Musicians, seventh edition, edited by Nicolas Slonimsky (New York: Schirmer Books; London: Collier Macmillan, 1984) and the encounter with the Dagar brothers and Drupad on his first visit to India in 1961 deepened a lifelong interest in "transculturation".
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See Ann M. Pescatello, Charles Seeger: A Life in American Music (University of Pittsburgh, 1992), pp. 4–5. Seeger's father, the Harvard-trained composer and musicologist Charles Louis Seeger, Jr., was born in Mexico City, Mexico, to American parents. Charles established the first musicology curriculum in the U.S. at the University of California, Berkeley in 1913, helped found the American Musicological Society, and was a key founder of the academic discipline of ethnomusicology. Pete's mother, Constance de Clyver Seeger (née Edson), raised in Tunisia and trained at the Paris Conservatory of Music, was a concert violinist and later a teacher at the Juilliard School.Dunaway (2008), p. 20. Peter Seeger (on father's lap) with his father and mother, Charles and Constance Seeger and brothers on a camping trip (23 May 1921) In 1912, his father Charles Seeger was hired to establish the music department at the University of California, Berkeley, but was forced to resign in 1918 because of his outspoken pacifism during World War I.According to Dunaway, the British-born president of the university "all but fired" Charles Seeger (How Can I Keep From Singing, p. 26).
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Campbell is the author of Songs in Their Heads (2010, 2nd edition), Musician and Teacher: Orientation to Music Education (2008), Tunes and Grooves in Music Education (2008), Teaching Music Globally (2004) (and co- editor of Oxford’s Global Music Series), Lessons from the World (1991/2001), Music in Cultural Context (1996), a musical parenting manual called I Can Play It (2015), co-author of Music in Childhood (2013, 4th edition) and Free to Be Musical: Group Improvisation in Music (2010). She is co-editor of Multicultural Perspectives in Music Education (3rd edition, 2010), The Oxford Handbook on Children’s Musical Cultures (2013), and Music for Elementary Classroom Teachers (2016). Recent chapters on world music pedagogy, music and social justice, applied ethnomusicology, and community music, have appeared in collected essays and handbooks. Prof. Campbell has given numerous named lectures as well as clinical presentations throughout North America, in much of Europe and Asia, in Australia, New Zealand, and parts of South America and South Africa on traditional songs and singing styles, the pedagogy of world music, children’s musical cultures, and curricular traditions and transformations in universities and schools.
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