DOCSLIB.ORG

064877-Corx Sem Newsletter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
064877-Corx Sem Newsletter SEM Newsletter Published by the Society for Ethnomusicology Volume 39 Number 1 January 2005 President’s Report 2004 SEM 2005 Atlanta: SEM 2005 Atlanta: By Timothy Rice, SEM President Call for Proposals Emory Welcomes SEM I want to begin my President’s re- By Judy McCulloh & Bruno Nettl, By Crystal Cheng and Tong Soon Lee port by thanking some of the people Program Committee Co-Chairs for the SEM 2005 Local Arrangements who have made this year such a suc- Committee The Society for Ethnomusicology cessful one for the Society for will hold its 50th annual meeting, No- Ethnomusicology. First, I would like to Emory University is honored to host vember 16-20, 2005, in Atlanta, Geor- th thank the annual meeting Local Ar- the 50 anniversary conference of the gia, at the Sheraton Colony Square. rangements Chair, Janet Sturman, and Society for Ethnomusicology in 2005. Our host will be Emory University. the Program Committee Chair, Larry Robert A. Paul (Dean of Emory College This meeting marks a very special Witzleben. We are fortunate that both and Charles Howard Candler Professor milestone, the 50th anniversary of the have been particularly creative: Janet in of Anthropology and Interdisciplinary her mustering of resources from the Society’s founding in 1955. Our meet- Studies), Stephen Crist (Chair, Depart- University of Arizona and the local ing in Atlanta will celebrate this anni- ment of Music), and the Local Arrange- community, and Larry in the creation of versary by reflecting on our history and ments Committee at Emory extend a a space for plenary sessions and his anticipating our future. We will also warm invitation to SEM members to imaginative construction of panels. I welcome the kinds of events and pre- come to Atlanta, Georgia. might add that the Program Committee sentations that members normally ex- The conference will be held in the had a strikingly international cast this pect at an annual meeting. Sheraton Midtown Atlanta Hotel at The annual Charles Seeger lecture Colony Square, November 16-20, 2005. year. th Besides conferences, the main mis- will be delivered by Anthony Seeger Come celebrate the 50 anniversary of sion of our Society is the publication of (University of California, Los Angeles). the founding of SEM in Atlanta, a bus- a scholarly journal and a newsletter. There will be a pre-conference sympo- Continued on page 5 Thanks are due to the Journal editor, sium on November 16, 2005, on the theme of “Race and Place: Invoking Peter Manuel, and the Newsletter edi- Call for Papers for New Music Identities” (more informa- tor, Tong Soon Lee. Both have the tion on the pre-conference will be an- Special Issue of Eth- magical capacity to make their jobs look nounced soon) easy when they surely are not. nomusicology The conference theme is SEM at 50, Continued on page 3 with the following sub-themes: By Peter Manuel, Editor, Ethnomusi- cology Inside (1) The history of ethnomusicology. This is part of our looking to the past, To commemorate the 50th anniver- 1 President’s Report 2004 tracing how we’ve gotten to where we’ll sary of the founding of SEM, the journal, 1 SEM 2005 Atlanta: Call for Papers be in 2005. This is admittedly a very Ethnomusicology, will devote one or 1 SEM 2005 Atlanta: An Emory Welcome broad topic, but one that should en- possibly two issues to articles reflecting 1 Ethnomusicology Special Issue courage an intriguing array of papers. upon various aspects of the field. While 4 2004 SEM Election Results (2) The history of SEM. This is also some of the contents will derive from 4 2004 SEM Silent Auction open-ended, ideally leading to varied papers presented at the 2005 annual 6 SEM Prizes & Awards kinds of papers as well. We might add, conference, in the interests of obtaining 7 Some Notes on Our Origins to the extent they have connections a great diversity of perspectives, we 8 People & Places in Ethnomusicology with SEM, the history of other learned hereby invite submissions from any 9 Announcements societies. SEM members who feel inspired to 10 Grants & Fellowships If looking backward is instructive, so is contribute. Articles need not be long or 12 ICTM: Music and Minorities “research”-oriented. The commemora- 13 Call for Papers looking around us at the contemporary scene. This suggests the following: tive issues, which would be jointly 13 Position Announcement: New Edi- edited by myself and two or three tor for Ethnomusicology (3) Areas neglected by SEM and ethno- others, would appear in early 2006 and 14 Obituary: José Maceda (1917-2004) musicology generally, such as ap- possibly late 2005. I sincerely encour- 17 2005 SEM Chapter Meetings proaches to research and analysis, or age readers to take this opportunity to 19 2005 Korean Music Workshop Continued on page 5 offer their thoughts on our field. 19 Conferences Calendar 2 SEM Newsletter The Society for Ethnomusicology and SEM Newsletter Guidelines the SEM Newsletter Guidelines for Contributors Editor, SEM Newsletter Tong Soon Lee Emory University •Send articles to the editor by e-mail or on a 3.5" disk with a paper copy. Department of Music Microsoft Word is preferable, but other Macintosh or IBM-compatible software 1804 North Decatur Road Atlanta, GA 30322, USA is acceptable. (Tel) 404.712.9481 (Fax) 404.727.0074 • Identify the software you use. (Email) [email protected] • Please send faxes or paper copies without a disk only as a last resort. (Website) www.emory.edu/Music The SEM Newsletter Advertising Rates Copy Deadlines The SEM Newsletter is a vehicle for exchange of ideas, news, and information among the Society’s Rates for Camera Ready Copy March issue.................. January 15 members. Readers’ contributions are welcome and Full Page $200 May issue ....................... March 15 should be sent to the editor. See the guidelines for contributions on this page. 2/3 Page $145 September issue ................ July 15 The SEM Newsletter is published four times 1/2 Page $110 January issue .......... November 15 annually, in January, March, May, and September, by the Society for Ethnomusicology. Inc., and is 1/3 Page $ 6 0 distributed free to members of the Society. 1/6 Page $ 4 0 Back issues, 1981-present [Vols. 14-18 (1981- 84), 3 times a year; Vols. 19-32 (1985-1998), 4 times Additional charges apply to non-camera-ready materials. a year] are available and may be ordered at $2 each. Add $2.50/order for postage. Address changes, orders for back issues of the SEM Newsletter, and all other non-editorial inquir- Internet Resources British Forum for Ethnomusicology ies should be sent to the Business Office, Society for Ethnomusicology, Indiana University, Morrison http://www.bfe.org.uk Hall 005, 1165 East 3rd Street, Bloomington, Indiana The SEM Website 47405-3700; (Tel) 812.855.6672; (Fax) 812.855.6673; British Library National Sound (Email) sem@ indiana.edu. http://www.ethnomusicology.org Archive SEM Membership The SEM Discussion List: SEM-L The object of the Society for Ethnomusicology International Music Collection: To subscribe, address an e-mail mes- is the advancement of research and study in the http://www.bl.uk/collections/sound- field of ethnomusicology, for which purpose all sage to: [email protected]. interested persons, regardless of race, ethnicity, archive/imc.html religion, gender, sexual orientation, or physical abil- EDU. Leave the subject line blank. Type ity are encouraged to become members. Its aims the following message: SUBSCRIBE SEM- Catalog: include serving the membership and society at large http://cadensa.bl.uk through the dissemination of knowledge concern- L yourfirstname yourlastname. ing the music of the world’s peoples. The Society, SEM Chapter Websites Ethnomusicology OnLine (EOL) incorporated in the United States, has an interna- tional membership. Mid-Atlantic Chapter Free, peer-reviewed, multimedia Web Members receive free copies of the journal journal. For more information, point and the newsletter and have the right to vote and http://www.macsem.org participate in the activities of the Society. Life mem- your browser to: bers receive free copies of all publications of the Mid-West Chapter http://umbc.edu/eol (home site) Society. Institutional members receive the journal and the newsletter. http://www.wku.edu/midwestsem/ EthnoFORUM, a.k.a. ERD (inactive) Student (full-time only) (one year) ............. $30 Niagara Chapter Individual/Emeritus (one year) Archive at: http://www.inform.umd. income $25,000 or less .............................. $50 http://www.people.iup.edu/ edu/EdRes/ReadingRoom/Newsletters/ income $25,000-$40,000 ............................ $70 rahkonen/NiagaraSEM/NiagaraSEM.htm EthnoMusicology/ income $40,000-$60,000 ............................ $80 income $60,000-$80,000 ............................ $95 Northeast Chapter International Council for Tradi- income $80,000 and above ..................... $100 http://web.mit.edu/tgriffin/necsem/ tional Music Spouse/Partner Individual (one year) ......... $35 Life membership .......................................... $900 Southwest Chapter http://www.ethnomusic.ucla.edu/ Spouse/Partner Life ................................... $1100 http://www.u.arizona.edu/~sturman/ ICTM Sponsored* (one year) .................................. $35 Institutional membership (one year) .......... $80 SEMSW/SEMSWhome.html Iranian Musicology Group Overseas surface mail (one year) ................ $10 Southern California Chapter http://groups.yahoo.com/group/ Overseas airmail (one year) ......................... $25 *Donated membership for individuals
Load more

Recommended publications
  • The Challenge of African Art Music Le Défi De La Musique Savante Africaine Kofi Agawu
    Document generated on 09/27/2021 1:07 p.m. Circuit Musiques contemporaines The Challenge of African Art Music Le défi de la musique savante africaine Kofi Agawu Musiciens sans frontières Article abstract Volume 21, Number 2, 2011 This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a URI: https://id.erudit.org/iderudit/1005272ar new anthology, Piano Music of Africa and the African Diaspora, edited by DOI: https://doi.org/10.7202/1005272ar Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of See table of contents creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the Publisher(s) encounters of Steve Reich and György Ligeti with various African repertories. Les Presses de l’Université de Montréal Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, ISSN Uzoigwe, Euba, Labi and Osman serve as illustration. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Agawu, K. (2011). The Challenge of African Art Music. Circuit, 21(2), 49–64. https://doi.org/10.7202/1005272ar Tous droits réservés © Les Presses de l’Université de Montréal, 2011 This document is protected by copyright law.
    [Show full text]
  • Dialogue in Music Project: Africa Meets North America 3Rd International Symposium and Festival
    Dialogue in Music Project: Africa Meets North America 3rd International Symposium and Festival www.amna.ethnomusic.ucla.edu presented by The UCLA Herb Alpert School of Music, Department of Ethnomusicology October 22-25, 2009 Schoenberg Music Building University of California, Los Angeles (UCLA) Contents General Information ..........................................................................................................................3 Conference Schedule..........................................................................................................................5 Thursday, 22 October 2009..................................................................................................................5 Friday, 23 October 2009.......................................................................................................................7 Saturday, 24 October 2009...................................................................................................................9 Sunday, 25 October 2009...................................................................................................................11 Monday, 26 October 2009..................................................................................................................13 Festival Concerts Program..............................................................................................................14 Thursday, 22 October 2009: Art Music, Blues, and Drumming....................................................15 Concert 1:
    [Show full text]
  • The Concept of African Pianism Emmanuel Boamah1 Abstract
    The Concept of African Pianism Emmanuel Boamah1 Abstract African Pianism is a style of piano music which employs techniques and styles used in the performance of African instrumental traditional songs and African popular music. The percussive and melodic capabilities of the piano make it an ideal medium for expressing the rhythmic and percussive features of African music. Deploying African traditional idioms in compositions using the concept of African pianism is however only one aspect of creating an art based on the fundamental principles which are essential to its well being. The paper discusses the various techniques and styles composers employ in composing music using the concept of African Pianism. Definition and Scope African Pianism describes the approach of composition that combines African elements and western elements for the piano. A composition can therefore be based on African traditional vocal music or instrumental music. The concept also deals with the keyboard music of African art composers. Works by art music composers who are not Africans, but who have learnt to use idioms in African music can be included in African Pianism. The need to write African music for the piano arises in view of evidence that the piano is a more developed musical instrument and offers greater opportunity to the composer than was realised. The percussive and melodic capabilities of the piano make it a most ideal medium for expressing the rhythmic and percussive features of African music. Akin Euba, who coined this concept African Pianism in an article entitled “Traditional Elements as the basis of New African Art Music”, writes: 1Emmanuel Boamah is Lecturer and Head of the Department of Music, School of Performing Arts, University of Ghana.
    [Show full text]
  • An Appraisal of the Evolution of Western Art Music in Nigeria
    Graduate Theses, Dissertations, and Problem Reports 2020 An Appraisal of the Evolution of Western Art Music in Nigeria Agatha Onyinye Holland WVU, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Africana Studies Commons, African Languages and Societies Commons, Ethnomusicology Commons, Fine Arts Commons, Musicology Commons, and the Music Pedagogy Commons Recommended Citation Holland, Agatha Onyinye, "An Appraisal of the Evolution of Western Art Music in Nigeria" (2020). Graduate Theses, Dissertations, and Problem Reports. 7917. https://researchrepository.wvu.edu/etd/7917 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. An Appraisal of the Evolution of Western Art Music in Nigeria Agatha Holland Research Document submitted to the College of Creative Arts at West Virginia University
    [Show full text]
  • 1 Participants of the Forum
    Participants of the Forum Kofi Agawu Mathew Lavoie Midawo Gideon Foli Alorwoyie David Locke Kwasi Ampene James Makubuya Lois Anderson Joseph Mbele Naomi Andre Eddie Meadows Kelly M. Askew Josephine Mokwunyei Daniel Avorgbedor Lester Monts Gregory Barz Anicet Mundundu Katherine Brucher Robert Newton Mellonee Burnim Mbala Nkanga Eric Charry J.H. Kwabena Nketia Jacqueline Cogdell DjeDje Alex Perullo Akin Euba Michel Rahfaldt Andy Frankel Daniel Reed Sharon Friedler Leo Sarkisian Steve Friedson Martin Scherzinger Frank Gunderson Cynthia Schmidt Isaac Kalumbu Titos Sompa Jean Kidula Mark Allen Stone Amandina Lihamba Ruth Stone Cynthia Tse Kimberlin Kenichi Tsukada Zabana Kongo Peter Wekesa Jimmy Khwambe (Dludlu) Chris Waterman 1 2 Acknowledgements Special thanks go to Lester Monts for his intellectual insights while shaping this forum, as well as for the generous monetary support provided by his office; Cynthia Schmidt for her photographs; my wife Koga Gunderson for her arduous transcription of these sessions, and Mellissa Beck for her supplemental transcription help; James Jackson at the Center for Afro- American and African Studies for his funding support; UM graduate students Joshua Tucker, Umi Vaughan, Julia Suzanne Byl, Michel Rahfaldt, & Katherine Brucher for their help in recording and taking notes at these sessions, Kelly Askew and Mathew Lavoie for their helpful discussions; Gretchen Weir and Laura San Facon for their planning and logistical support; and to J.H. Kwabena Nketia for his guidance throughout. 3 4 Foreword The U.S. Secretariat of the International Center for African Music and Dance at the University of Michigan hosted an international forum in Ann Arbor Michigan, April 6th through 9th, 2000.
    [Show full text]
  • Newsletter- Broader Sense It Encompasses Review and Recognized Authority in Bailey, Derek
    Vol. 1 Nos. 1-2 Published for the CIMA by the Music Research Institute, Richmond CA USA October 1999 Intercultural Musicology The Bulletin of the Centre for Intercultural Music Arts, London, U.K. CIMA Council of Management Steven Stanton, Chair compositions in which elements of Akin Euba, Director Robert Kwami, Deputy Director non-Western traditional music are Lucy Duran Editorial Note combined with those of Western Maxine Franklin Susan Jackson art music require a scholarly Cynthia Tse Kimberlin approach which integrates John Mayer The aim of Intercultural Musicology techniques of ethnomusicology with Richard Nzerem Malcolm Troup is to provide a forum for discourse that those of historical musicology. Mike Wright includes the development of a theoretical framework for the nascent The editors are particularly International Advisory Council field of intercultural musciology. interested in materials dealing with Charles Camilleri (Malta) S. A. K. Durga (India) interculturalism after 1950 and Samha El-Kholy (Egypt) This field includes the study of (a) welcome contributions that generate Cynthia Tse Kimberlin (USA) one’s own indigenous music culture Fernando Maglia (Argentina) discourse on the concept of Sun Xing-Qun (China) using techniques applicable to other intercultural musicology (e.g., Valerie Ross (Malaysia) music cultures (b) music cultures Klaus Hinrich Stahmer (Germany) research reports, previews and Justinian Tamusuza (Uganda) other than one’s indigenous culture (c) reviews of performances, notes on Mike Wright (U.K.) music created by combining elements the works of composers and from various cultures, and (d) other performers, biographical data on Co-Editors forms of intercultural activity, for Cynthia Tse Kimberlin & Akin Euba composers and performers, example, the study of performers who theoretical concepts bearing upon specialize in non-indigenous music creative methods in intercultural idioms.
    [Show full text]
  • Bridging Musicology and Composition: Te Global Signifcance of Bartók’S Method a Symposium and Festival
    Bridging Musicology and Composition: Te Global Signifcance of Bartók’s Method A Symposium and Festival eynote Speaker !rofessor Dr# $%szló Vikárius "irector of the Bartók Archi)e Budapest Hungary 12 to 14 August. 2010 Churchill College, Cambridge, England 1rganized by the Centre for Intercultural Musicology at Churchill College "r# Akin Euba. Director "r# Margit Ha3elleck and Dr# Philip Tompson, Symposium and Festi)al Co5directors Bridging Musicology and Composition: Te Global Signifcance of Bartók’s Method A Symposium and Festival (ckno3ledgement Te Committee of Management of the Centre for Intercultural Musicology at Churchill College gratefully ackno3ledges the generous fnancial contributions of the Uni)ersity of Pittsburgh and of Churchill College to the 2/+/ symposium and festi)al# It is very unlikely that we would ha)e been able to proceed with the e)ent without these contributions# 2n preparing for the e)ent I was assisted by a small committee at the Uni)ersity of Pittsburgh# T3o members of the committee, Dr# Phil Tompson and Dr# Margit Ha3elleck agreed to take over the running of the e)ent as co5directors# I am deeply grateful to both of them for relie)ing me of the burden of running the symposium and festi)al and for generously making their expertise a)ailable. 2 would like to thank Eric Riemer for his role in setting up the website and Dorothy Shallenberger for )arious forms of assistance with the preparations for the symposium and festi)al# 2 am very grateful to the C2M(CC Committee of Management for their support and their understanding of my tardiness at a particularly di:cult period.
    [Show full text]
  • Obituary: David Mcallester Attracting Attention As the First Female World Dance Alliance-Americas
    SEM Newsletter Published by the Society for Ethnomusicology Volume 40 Number 4 September 2006 Becoming Ethnomusi- Barbara Smith_ Hon- 2006 Charles Seeger cologists ored by UH Manoa Lecturer: Adrienne L. By Philip V. Bohlman, SEM President Music Department Kaeppler, Smithso- In this column (p.4-5), I turn from Saturday, April 29, 2006. Friends, nian Institution colleagues and supporters of the arts my concern with the issues forming the _ By Ricardo D. Trimillos, University of gathered at the UH Manoa Music De- _ context of ethnomusicology to its meth- Hawai‘i at Manoa ods. At first glance, that turn might partment as the Amphitheatre and Eth- seem like a shift from external to inter- nomusicology Wing of the complex is nal issues. We do, in fact, become dedicated in the name of Emeritus Pro- ethnomusicologists by studying it as a fessor Barbara B. Smith. discipline. Interdisciplinarity, however, Smith’s tenure as a faculty member is not so much a concept of internal and researcher has spanned virtually workings as it is of the bigger picture. It the entire life of the department—from poses questions about how we join her arrival in Hawai‘i in 1949, through together and how we recognize our her official “retirement” in 1982, and to differences before transcending them. the present day in which she remains an Interdisciplinarity, moreover, is a con- active contributor to the university and cept that ethnomusicologists hold as department as a mentor and through very precious. Many, if not most, of us fieldwork and advocacy research. feel it distinguishes our field from oth- “This is a wonderful opportunity to ers, which, so we believe, are narrower recognize the life’s work of an outstand- ing teacher, researcher and performer,” in scope and more limited in their claim _ on knowledge.
    [Show full text]
  • Life Is Short, Art and Scholarship Are Long: a Tribute in Memory of Professor Willie Oscar Anku
    LIFE IS SHORT, ART AND SCHOLARSHIP ARE LONG: A TRIBUTE IN MEMORY OF PROFESSOR WILLIE OSCAR ANKU by GEORGE DOR Introduction THis tribute, which memorializes Professor Willie Anku, is in two parts. While Part II offers insights from his scholarship on African rhythm, Part I is modeled on a typical Ghanaian eulogy, because I think it appropriate to honor an Africanist with a tribute that draws on elements of his own African culture. Accordingly, the three traditional Ewe, and broader African characteristics that I privilege in Part I are 1) the changing addressee in tributes, dirges, and female laments (the Ewe practice of talking directly to the deceased is an expression of a traditional Ewe belief in afterlife in the metaphysical realm); 2) African communality that recognizes the unique personhood of Anku as well as the extent to which his life and work intersected with members of the various communities within which he was located; 3) the poetic tone that traditional musicians, who are normally capable of multiple artistry as composer-poet-lead singer, use in remembering deceased traditional African musicians.1 PART I Salutation Togbuiwo, Mamawo1 2, THe Anku family, University of Ghana’s Music Department and School of Performing Arts, scholars, musicians, and other dear mourners, thank you for gathering to celebrate the life of Professor Willie Anku, our friend and brother. I am compelled by Dr. Anku’s untimely death to once again invoke the lyrics of “Afeto Demi tso kudidamewo me” (“Lord, redeem us from untimely deaths”), composed by the late Professor N. Z. Nayo. Formative Years I first heard of the name Willie Anku in 1972, when Professor N.Z.
    [Show full text]
  • Bulletin of the ICTM Vol. 144 (October 2020)
    BULLETIN of the INTERNATIONAL COUNCIL for TRADITIONAL MUSIC ICNo. T144, October 2020M ISSN (Online): 2304-4039 CONTENTS Secretariat and Executive Board Announcements – ICTM America and the Caribbean; Sound, Move- ment, and the Sciences. Message from the Secretary General; Mes- ICTM activities postponed or cancelled due sage from the President; ICTM Statement to Covid-19 pandemic; Call for participa- Pages 30–34 and Activities in View of Decolonization of tion: 2021 ICTM Prizes; CSTM Events at Music and Dance Studies; Call for Propos- the Society for Ethnomusicology 2020 Vir- Calendar of Events als to ICTM Dialogues 2021: Towards De- tual Annual Meeting; CSTM announces Page 35 colonization of Music and Dance Studies; new editor for their flagship journal, MU- Call for Nominations for ICTM 2021 Elec- SICultures; National Committee for Ger- Featured Publications by ICTM tions; Celebrating Barbara B. Smith, her many: Annual Assembly and Symposium; Members Centenary, and 60 Years of Ethnomusico- Study Group on Musical Instruments: Sym- logy in Hawai‘i; Search for the next Secret- posium news. Asian-European Music Research Journal; ary General; Winners of the 2020 ICTM La Meri and Her Life in Dance; Performing Pages 15–17 Prizes. Arts of North Korea; Presence Through Sound: Music and Place in East Asia; Songs Reports Pages 2–10 for “Great Leaders”; Transcultural Fandom Reports from ICTM National and Regional and the Globalization of Hallyu; Waltzing In Memoriam Representatives: Belgium; China; Germany; Through Europe. Akin Euba (1935-2020). Ghana; Kyrgyzstan; Myanmar; Nigeria; Pages 36–37 Norway; Republic of Korea; Switzerland; Page 11 United Kingdom. General Information 46th ICTM World Conference Pages 18–29 ICTM World Network; Study Groups; Ex- Revised Call for Proposals ecutive Board, Secretariat, Membership Reports from ICTM Study Groups: Ethno- Information; Publications by ICTM.
    [Show full text]
  • Board Committee Faculty Staff Documents B15 3
    I-B-15 THE GRADUATE SCHOOL AND UNIVERSITY CENTER APPOINTMENT OF V. KOFI AGAWU AS DISTINGUISHED PROFESSOR WHEREAS, Professor V. Kofi Agawu is an internationally renowned scholar of music theory, musicology and enthnomusicology with expertise in the music of Mozart, Beethoven and Mahler and African music; and WHEREAS, Professor Agawu has written five books, including, Playing with Signs: A Semiotic Interpretation of Classical Music (1991), African Rhythm: A Northern Ewe Perspective (1995), Representing African Music: Post-Colonial Notes, Queries, Positions (2003), Music as Discourse: Semiotic Adventures in Romantic Music (2009) and The African Imagination in Music (2016); and WHEREAS, in addition, Professor Agawu has written more than 75 peer-reviewed journal articles and given over 100 keynote addresses and invited lectures; and WHEREAS, Professor Agawu has been awarded a Guggenheim Fellowship, the Howard T. Behrman Award for Distinguished Achievement in the Humanities, Princeton University’s most acclaimed humanities award and is a Fellow of the Ghana Academy of Arts and Sciences; and WHEREAS, Dr. Agawu joined the Graduate Center in January 2019 as a Professor in the Music Ph.D. program. From 1998 to 2018, he was Professor of Music and then Hughes-Rodgers Professor of Music at Princeton University. Prior to that, he was Professor of Music at Yale University (1995 – 1998), Associate Professor and then Professor of Music at Cornell University (1989 – 1995) and Lecturer/Assistant Professor of Music at King’s College London (1986-1989), Duke University (1984-1986) and Haverford College (1982-1984). Dr. Agawu earned his Ph.D. in Historical Musicology from Stanford University, an M.
    [Show full text]
  • RE-TUNING MUSIC EDUCATION in GHANA a Study of Cultural
    RE-TUNING MUSIC EDUCATION IN GHANA A Study of Cultural Influences and Musical Developments, and of the Dilemma Confronting Ghanaian School Music Teachers Emmanuel James Flolu Submitted in partial fulfilment of the requirements for the D. Phil degree University of York Department of Music March 1994 ABSTRACT Since 1987 Ghana has witnessed the emergence of an educational system which gives more attention to basic (elementary) education, with emphasis on the development of the creative abilities of school students. In the current reforms, basic education is seen as the bedrock, and an important starting point for the entire programme. However, this has not been achieved in music education, which still lacks a strong foundation. Apart from its foreign orientation, school music was formulated from above, and as a result, the emphasis has been upon adult musical values and practices, songs, dances, and instruments. Effort and resources have been concentrated in this way at secondary and tertiary levels. Attempts to reform the music curriculum have, to a large extent, been hampered by the view of music as cultural symbol: the more indigenous music is included in the school curriculum, the more `Ghanaian' the education will be. This view has shown itself particularly in the continuing fight against the `imaginary enemy' of Western classical music theory. An obsession with the dichotomy between African music and Western music in schools stems from the colonial past, and has tended to divert attention from the problems of curriculum content, solutions to which might have been found by using facilities already available within the cultural environment. The present study reviews sources of influence in music education, and attempts to provide a basis for constructive debate among Ghanaian music teachers, curriculum planners, those responsible for music teacher training, and educational policy makers, about current practice and the changes of emphasis which may be needed.
    [Show full text]