By Ted Solis
Appearing Ethnomusicology is the 1st publication to deal solely with developing, educating, and contextualizing educational global tune acting ensembles. contemplating the ambitious theoretical, moral, and sensible matters that confront ethnomusicologists who direct such ensembles, the 16 essays during this quantity speak about difficulties of public functionality and the pragmatics of pedagogy and studying approaches. Their views, drawing upon services in Caribbean steelband, Indian, Balinese, Javanese, Philippine, Mexican, significant and West African, jap, chinese language, heart jap, and Jewish klezmer ensembles, supply a uniquely knowledgeable and many-faceted view of this advanced and swiftly altering panorama. The authors study the artistic and pedagogical negotiations fascinated about intergenerational and intercultural transmission and discover themes akin to reflexivity, illustration, hegemony, and aesthetically made up our minds interplay. appearing Ethnomusicology presents subtle insights into the structuring of ethnomusicologists' careers and methodologies. This ebook bargains an extraordinary wealthy historical past and modern exam of educational international song functionality within the West, specifically within the usa. participants: Gage Averill, Kelly Gross, David Harnish, Mantle Hood, David W. Hughes, Michelle Kisliuk, David Locke, Scott Marcus, Hankus Netsky, Ali Jihad Racy, Anne ok. Rasmussen, Ted Sol?s, Hardja Susilo, Sumarsam, Ricardo D. Trimillos, Roger Vetter, J. Lawrence Witzleben Illustrations:
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Extra info for Performing Ethnomusicology: Teaching and Representation in World Music Ensembles
Trimillos Why should an ethnomusicologist with limited performance skills lead a study group? ” Such a rationale would not be acceptable for choosing the leader of a jazz ensemble or a collegium musicum. Why would it be it acceptable for a non-Western musical tradition? Would a faculty member whose entire orchestral background consisted of playing four semesters in the second violin section and two courses in string technique be entrusted with a university symphony orchestra? The qualiWcations for the ethnomusicologist as performance teacher should be subject to the same queries.
I have described some of the features of the culture carrier as native teacher for the study group. Although the descriptive strokes have been deliberately broad, these features provide a matrix against which the two remaining, “outsider” archetypes can be considered. The Wrst is the ethnomusicologist as ensemble teacher. The Ethnomusicologist Mediating Tradition The ethnomusicologist who is an established performer and the ethnomusicologist who is only knowledgeable about performance may be viewed as belonging to two different categories.
My teacher was Kay Mikami, a kibei 13 who studied in Japan with the Ikuta School master Miyagi Michio. qxd 34 5/11/2004 8:55 AM Page 34 Ricardo D. Trimillos She returned to Honolulu and established a private teaching practice within the local Japanese community. I studied with her only at the university, and not in the traditional diasporic setting, during lessons on weekends at her house. I have taught koto at the University of Hawai’i only, and always as an ensemble class. I established no private studio in the Honolulu community.