Ethnomusicology and Music Education Research Papers

2018. « Mongol dakhi khöömiin övluulelt » (La transmission du khöömii en Mongolie), Chinggis Khaan Sudlal 27, Ulaanbaatar : Université Chinggis Khaan, p. 141-146.

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- by ALESSANDRA ROMANO and +1
  Nicola Demonte
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- 7
  Music, Music and Language, Music and Emotions, Memoir and Autobiography

Este capítulo de libro forma parte de la publicación "Educación musical superior. Reflexiones, aportaciones y actualidades en investigación" coordinado por Raúl Capistrán y editado por la Universidad Autónoma de Aguascalientes. El texto... more

У студији су размотрене околности у којима су градња и свирање на кавалу актуелизоване у Србији (у Београду) пред сам крај ХХ века: рад црквеног византијског хора "Свети Јован Дамаскин" и изрази личних и групних идентитета учесника у том... more

Music composer duo Laxmikant - Pyarelal composed music for approximately 490 Hindi films from 1963 to 1998. The total number of Hindi films for which they composed music evidences how their compositions are attractive for Indian... more

This article emphasizes that in the education of young Cameroonians, there is need to conceive cultural rootedness through language from a non-essentialist perspective.A clear decision on the choice of national languages to be taught... more

The origins of the banjo in Irish music, from Africa to nineteenth-century blackface minstrelsy, to the Flanagan Brothers on the vaudeville circuit of the early twentieth century.

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- by Rory J Corbett
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- 7
  Irish Studies, American Studies, Musicology, Ethnomusicology

Издание представляет собой сборник докладов и сообщений Всероссийской научной конференции. В ходе конференции были обсуждены следующие вопросы: Фольклор как социоисторическая реальность и проблемы его изучения; Фольклор в контексте... more

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- by Ryan Persadie
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- 12
  Gender Studies, Women's Studies, Dance Studies, Ethnomusicology

This short opinion piece, published in the Fall/Winter 2015 issue of SEM Student News on the trajectories of Music Education and Ethnomusicology, provides some reflections on my integrative research in these two areas. As suggested by the... more

Articles/Makaleler Arslan, F. (2016). Muhibban’ın “Nefes”leri. Rast Müzikoloji Dergisi, 4(3), 1396-1423. doi:10.12975/rastmd.2016.04.03.00095 Avşar, M., & Kolukırık, K. (2016). Tokatlı Halk Şairi Ve Mahallî Sanatçı Eşref Tonbuloğlu’nun... more

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- by Nuh Fikri Soysal and +1
  fazlı arslan
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- 21
  Musicology, Ethnomusicology, Historical Ethnomusicology, Applied Ethnomusicology

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- by John C Franklin
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- 60
  Ancient History, Music, Musical Composition, Early Music

I am happy to announce the Fall Issue of the Rast International Musicology Journal (RMJ) 2014. With this issue RMJ aspires to have major contributions particularly to the field of Historical Musicology with its content that has been... more

I am happy to announce the Fall Issue of the Rast International Musicology Journal (RMJ) 2014. With this issue RMJ aspires to have major contributions particularly to the field of Historical Musicology with its content that has been prepared with meticulous research.
Asst. Prof. Nuri Güçtekin, in his article, Ismail Hakki Bey and the First Private Music School in the Ottoman State: The School of Ottoman Music (1910-1920), explains the establishment process of the institution and its contributions to the field of Turkish Music in light of the information obtained from the first-hand sources. Author also presents the biography of İsmail Hakkı Bey, the founder of the school, with the additional data from archive documents that had never been published before. In virtue of these new information, we now have some untold anectodes about the life of İsmail Hakkı Bey.
In another significant article, Asst. Prof. Ali Tan and Demet Uruş analyze the differences between the six notated versions of Itrî’s composition of the Mevlevi Ayin in maqam Segâh. Based on this analysis, the authors examine the reasons behind these differences and the placement of notation within the realm of Turkish music performance.
The article, Usûl Hymns in Turkish Religious Music, written by Asst. Prof. Mehmet Nuri Uygun of Marmara University Department of Turkish Religious Music, examines in great detail the musical structure and performance style of this particular form of religious music.
In the last article of this issue, The Place and Importance of Notacı Hacı Emin Bey's Book "Nota Muallimi" in the History of Turkish Music Education” written by Asst. Prof. Gökhan Yalçın examines the Notacı Hacı Emin Bey’s book, “Nota Muallimi” and exhibits how music texts are used in Turkish music education. The author also addresses the issue of notation of several compositions that are deemed fundamental to the history of Turkish music theory and emphasizes the importance of the book “Nota Muallimi” using the information about these compositions.

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- by Nuh Fikri Soysal and +1
  özden kır
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- 15
  Musicology, Ethnomusicology, Historical Ethnomusicology, Cultural Musicology

Μουσικολογική & Τροπική Ανάλυση του τραγουδιού «Έναν ψ̌ην κι έναν κορμόπον», που κυκλοφόρησε για πρώτη φορά το 1980 στο δίσκο «Το Αηδόνι του Πόντου», στον οποίο τραγουδά ο Στάθης Νικολαΐδης και παίζει λύρα ο Γιώργος Ακριβόπουλος. Η... more

This paper examines the Ulale ensemble as one of the traditional musical instruments of Egbe people Ijebu of Ijebu-Ode in order to examine and provides the full description of its structure and construction, performance practice and... more

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- by Kayode O Olusola
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- 14
  African Studies, Musicology, Ethnomusicology, African History

Etnomüzikoloji disiplini hem geçirdiği tarihsel süreç hem de güncel durumu açısından sürekli oluşum halinde olan bir alandır. Her ne kadar geçmişi müzik folkloru, müzik etnografisi, müzik sosyolojisi, hatta müzik felsefesi gibi birçok... more

en: VIII Congreso de la SibE (Sociedad de Etnomusicología) ¿A quién pertenece la música? La música como patrimonio y como cultura, Zaragoza, 25 -28 marzo 2004. Reflexiones sobre la enseñanza de la etnomusicología en España a comienzos... more

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- by Shzr Ee Tan
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- 7
  Music Education, Musicology, Ethnomusicology, Critical Race Studies

The pattern of acquisition of speech- and music-related skills during early stages of human infancy provides insight into the origins of language and music. Indiscriminate until shortly after birth, babies start gradually developing... more

The pattern of acquisition of speech- and music-related skills during early stages of human infancy provides insight into the origins of language and music. Indiscriminate until shortly after birth, babies start gradually developing acoustic features in their vocalizations, as well as accompanying behaviors that make it possible to distinguish their attempts to speak from their attempts to sing. Comparative analysis of tonal organization of children's original (non-imitative) vocalizations in their developmental succession throughout the first 3 years of life casts light on several important acoustic features. These features play an important role in the separation of music from verbal skills and shaping the primordial music system the infant uses to address his/her musical needs.
Much of the existing scholarship commits a fundamental error by interpreting the earliest forms of human speech and music in terms of "adult" state of their mastery, regarding children's communication as a sort of "defective" imitation of adults' models. Moreover, such models are significantly biased towards Western classical music and Indo-European languages, which despite their cultural importance in the modern world, nevertheless, constitute only a small fraction of typology of tonal musical and phonological verbal organization. A much more comprehensive approach towards children's music and speech has been developed by Lev Vygotsky and his circle: Alexander Luria, Aleksei Leontyev, Alexander Zaporozhets, Peter Galperin, as well as Boris Teplov. They and their followers regarded children's speech and music as reflecting a child's own peculiar method of thinking. The Vygotskian approach shares much in common with that of Piaget and the neo-Piagetians, but offers an alternative framework for explanation of the dichotomy between language and music—based on the methodology of intonation theory by Boleslav Yavorsky and Boris Asafyev. This theory was implemented in the state program of obligatory education within all territories of the former USSR; it had passed deep scrutiny throughout many years of administration over a massive population, which resulted in creation of a special discipline of ear development that theoretically and practically dealt with the development of "musical hearing" as distinguished from "verbal hearing" throughout childhood. Unfortunately, much of this literature is unknown to Western developmental specialists. This chapter covers this gap, familiarizing English-speaking scholars with the unique perspective on early musical and verbal development by Soviet and modern Russian ear-training specialists, with special attention to the issue of absolute pitch.
Advances in the methodology of intonational analysis made possible an adequate description and deeper understanding of the principles that govern tonal organization of non-Western types of music—including those that are based on timbre rather than pitch. This approach can be effectively applied to the analysis of both, ethnological and developmental data—to identify the common patterns of ontogenetic and phylogenetic development.

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- by Aleksey Nikolsky
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- 20
  Ethnomusicology, Modality, Tonal theory, Speech & Hearing Sciences

A number of Latin American countries express nationalism via "folkloric" dance and musical troops performing indigenous material. Venezuela does not do this. It uses instead a nation-wide network of youth orchestras, many including... more

Embodied cognition posits that the mind and body function as a single entity and that all aspects of the mind are shaped by the body. Embodied pedagogy, influenced by embodied cognition, realizes the role of the body and its relationship... more

Harezmli edebiyatçı Mulla Bekcan Rahmanoğlu (1900–1939) ve sazende Muhammed Yusuf Devanzade (1881–1952) tarafından 1925 yılında Moskova Kooperatif Neşriyatı aracılığıyla yayımlanan “Harezm Müzik Tarihçesi” adlı bu kitapçık, 15. yüzyılın... more

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- by Hüseyin Akbaş
- •
- 32
  Music, Music Education, Music History, Music Theory

Recent scholarship has addressed the roles epistemological colonialism plays in music education. Following several publications on decoloniality in music studies and education, this article discusses how ethnomusicological pedagogies and... more

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- by Jeff Roy
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- 20
  Music, Music Education, Music Theory Pedagogy, Music History

Nastava glazbe u općeobrazovnim školama odvija se na dvjema razinama. Dakako, potpuno je razumljivo kako je jedna razina osnovnoškolska, dok je druga srednjoškolska. Kad je riječ o nastavi glazbene kulture u osnovnim školama, tada je... more

Nastava glazbe u općeobrazovnim školama odvija se na dvjema razinama. Dakako, potpuno je razumljivo kako je jedna razina osnovnoškolska, dok je druga srednjoškolska. Kad je riječ o nastavi glazbene kulture u osnovnim školama, tada je kritička analiza ili unutarnja reforma nastavnoga plana i programa aktualna tema glazbenih pedagoga te inih stručnjaka već dugi niz godina. Uvođenjem mnogih mjera stari, “uobičajeni”, “svaštarski”, predodređeni i nedovoljno glazbeni program zamijenilo se novim, “neuobičajenim”, urednijim, otvorenijim te ispunjenijim glazbom. S druge strane, moguća značajna unutarnja reforma plana i programa glazbene umjetnosti u gimnazijskom programu vrlo je spretno odolijevala svim upućenim kritikama. Ipak, poneko izraženo nezadovoljstvo ponajprije je bilo usmjereno, također, na oveliku prisutnost verbalnoga nauštrb glazbenoga, no i na nadmoć dijakronijskoga nad sinkronijskim modelom u konceptu nastave. Ono što je ostavljeno po strani i što je uvelike marginalizirano, odnos je zastupljenosti muzikoloških i etnomuzikoloških sadržaja koji i uobličavaju nastavu glazbene umjetnosti, a već i površan pogled na nastavni plan i program ukazuje na premoć muzikoloških sadržaja. Stoga autorica istražuje način na koji se prema etnomuzikološkim sadržajima ophode oni koji ga u nastavi i predstavljaju. Kakva je uopće percepcija tih sadržaja onih kojima je on i predstavljen? Što činiti kako bi etnomuzikološki sadržaji uživali veće simpatije, na koji ih način osuvremeniti, približiti,
modernizirati?

Ključne riječi: etnomuzikološki sadržaji; glazbena umjetnost; kritika; muzikološki sadržaji

Abstract
Teaching of music as a part of general educational process takes place at two levels. Certainly, it is self-explanatory that the one level includes elementary school, and the other one
secondary school. When it comes to the elementary school, than, subsequently, critical analysis and internal reform of the curriculum represent the major and current topics of music educators and experts close to the field of music for many years. Introducing the several criterion, the old one, “conventional”, “miscellaneous”, and deterministic curriculum was replaced with new one, unconventional, precise, more open and filled with music. On the other hand, possible and significant internal reform of the curriculum of the music programme in gymnasium have resisted all the addressed criticism. However, some expressed disappointment, especially, were oriented toward, as well, predominance of the verbal instead of musical and also predominance of the synchronic over the diachronic pattern in the concept of teaching. Marginalized and somewhat less-favoured aspect is relation in between musicological and ethnomusicological contents which form the concept of teaching of music at the secondary school, and predominance of the musicological content is inevitable. Therefore, the author seeks the attitude of the teachers toward ethnomusicological contents and what is the general perception the attitude of the students, as
well: what to do to popularize ethnomusicological contents; how to modernize them?

Key words: ethnomusicological contents; music; criticism; musicological contents

The paper explores the possibility of reviving the Serbian rural musical tradition in the city of Topola in central Serbia. I will draw upon a singing workshop that I gave to, and that informed a field study that I conducted on, a young... more

The complex processes that led to the emergence of salsa as an expression of a Latin identity for Spanish-speaking people in New York City constitute the background before which the Cuban timba discourse has to be seen. Timba, I argue, is... more

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- by Patrick Froelicher
- •
- 2
  Art, Ethnomusicology and Music Education

Este capítulo de libro forma parte de la publicación "La investigación musical en las regiones de México" coordinada por el Dr. Luis Díaz-Santana y editada por la Universidad Autónoma de Zacatecas. El texto consiste en un reporte de... more

Ce chapitre fondé sur l’ethnographie d’une master class de composition à Tachkent montre comment la notion d’école nationale est refondue dans une perspective globalisée, où la musique devient un élément de présentation de soi à l’étranger.

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- by Lucille Lisack
- •
- 8
  Music Education, Musicology, Globalization, Ethnomusicology

In the Balkans, wind instrument kaval has been present in rural areas as a shepherd instrument. Data about the presence of kaval in Serbian tradition were not wider known or studied for quite a long time. The renewed interest for playing... more

The study investigates factors associated with music students’ academic performance at NCE level using Oyo State College of Education, Oyo, as case study. Purposive sampling procedure was used to administer a questionnaire to all... more

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- by Haris Sarris
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- 11
  Ethnomusicology, Violin Pedagogy, Violin, Ornamentation

This article presents a dialogue with authors of the so called Black Atlantic to introduce in the debate about a musical education based on the philosophical and aesthetic pillars and knowledge of African (diaspora) musical arts. It... more

In this paper I wish to explore my academic journey in the field of ethnomusicology and to ruminate on the reception of ethnomusicology as an academic discipline in contemporary Greek tertiary education. Raising critical questions... more

Intangible cultural heritage archives face a dilemma when it comes to repatriation. Claims and counterclaims from source communities must be balanced within legal frames and ethical obligations of museums to give back, restitute, or... more

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- by Daniel Atesh Sonneborn and +1
  Sita Reddy
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- 15
  Indigenous Studies, Intellectual Property, Online Museum, Archives

Book review for "Towards a Global Music Theory: Practical Concepts and Methods for the Analysis of Music Across Human Cultures," by Mark Hijleh. Published in the Global Forum for Arts & Christian Faith, 2016: VOL. 4, NO. 1.

بررسي برخي ازعوامل آسيب پذيري مقوله آواز و آوازخواني در جامعه امروز ايران

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- by Gaudenzio Ragazzi
- •
- 11
  Music, Music History, Popular Music Studies, Dance Studies

Some Yorùbá cultural values and expressions embedded in Egbeda-Egga women's folksongs are the focus of this paper. With the use of in-depth interview and participant-observer methods, a collection, description and interpretation of some... more

This article focuses on the role of music in the context of humanitarian and existential crisis. It argues that the ethnographic field of the refugee camp is everything else than an unproductive space, a “waiting room” of the... more

García Gallardo, F.J. & Arredondo Pérez, H. (2005). «Tweenies»: una serie de televisión como modelo para la educación musical en el aula desde una propuesta transdisciplinar [«Tweenies»: a TV-series as model for musical education in the... more

García Gallardo, F.J. & Arredondo Pérez, H. (2005). «Tweenies»: una serie de televisión como modelo para la educación musical en el aula desde una propuesta transdisciplinar [«Tweenies»: a TV-series as model for musical education in the classroom a transdisciplinary proposal]. Comunicar, 25.

RESUMEN:
Tweenies es una serie televisiva para niños creada por la BBC. La 2 de TVE la emite diariamente, de lunes a viernes, alrededor de las nueve de la mañana. Los Tweenies son cuatro niños (Bella, Milo, Fizz y Jake) de entre tres y cinco años de edad, que conviven en la serie con sus cuidadores o profesores, el anciano Max y Judy, así como con sus mascotas el perro Doodles y su nueva perrita Izzles. Esta serie educativa nos muestra la actividad diaria de los Tweenies, cómo pasan el día haciendo manualidades, cantando, disfrazándose, bailando,… con el apoyo, asesoramiento y estímulo de Max y de Judy, quienes a su vez les cuentan historias, les leen un libro a diario o utilizan el ordenador para resolver y consultar dudas. Analizando los capítulos emitidos entre los años 2004 y 2005 y centrándonos principalmente en sus aspectos y propuestas musicales, observamos un modelo educativo transdisciplinar en el que la música, la vivencia y la interpretación musical ocupan un destacado papel. En esta comunicación mostraremos algunas de nuestras reflexiones en torno a estos asuntos, interesándonos por las abundantes canciones que cada día interpretan los Tweenies como actividad cotidiana, sobre todo en el espacio denominado Hora de cantar. En otras publicaciones anteriores a ésta hemos considerado la posibilidad de trabajar la música en el aula de Infantil y Primaria a través de una propuesta curricular transdisciplinar y que partiera de problemas sociales relevantes (García Gallardo y Travé González, 2003). Con esta serie televisiva creemos que se ejemplariza algunas de nuestras propuestas y se ofrece de modo divulgativo y a través de un medio masivo un modelo educativo cercano a la vida misma, integrador de las disciplinas y áreas curriculares que en la escuela nos empeñamos en disgregar y distanciar unas de otras. Además, el modo en que se vivencia la música y los personajes de la serie interpretan sus canciones nos aportan un modelo de gran utilidad e interés para nuestras aulas: en un contexto de juego, dramatizándolas, con o sin coreografía, dejándolas abiertas a procesos creativos, conectadas con el resto de asuntos y problemáticas tratados en el capítulo, presentadas no como mero entretenimiento, sino formando parte del modo en que investigan y descubren el medio sus protagonistas. Y todo ello atravesado e impregnado por actitudes y valores que fomentan la vida sana, el respeto a la diferencia, el cuidado de los animales, etc.

ABSTRACT:
Tweenies is a televising series for children created by the BBC. The TVE2 (Spanish TelevisionChannel 2) emits it every day on mornings (from Monday to Friday). Their protagonists are four children between three and five years old coexisting in a preschool center. After the analysis of the Series, we observed an educative transdisciplinary model, a model which worries on the personal values education, and in which the music plays an important role through abundant and varied practices and musical experiences.

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- by Herminia Arredondo Pérez and +1
  Francisco J. García Gallardo
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- 22
  Music Education, Education, Popular Music, Ethnomusicology

Ethnomusicology and Music Education

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