Wecheehetowin Final Report of the Steering Committee for the University of Toronto Response to the Truth and Reconciliation Commission of Canada
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Visions for Intercultural Music Teacher Education Landscapes: the Arts, Aesthetics, and Education
Landscapes: the Arts, Aesthetics, and Education Heidi Westerlund Sidsel Karlsen Heidi Partti Editors Visions for Intercultural Music Teacher Education Landscapes: the Arts, Aesthetics, and Education Volume 26 Series Editor Liora Bresler, University of Illinois at Urbana-Champaign, Urbana, USA Editorial Board Judith Davidson, University of Massachusetts, Lowell, USA Magne Espeland, Stord University, Stord, Norway Chris Higgins, University of Illinois at Urbana-Champaign, Urbana, USA Helene Illeris, University of Adger, Kristiansand S, Norway Mei-Chun Lin, National University of Tainan, Tainan City, Taiwan Donal O’Donoghue, The University of British Columbia, Vancouver, Canada Mike Parsons, The Ohio State University, Columbus, USA Eva Sæther, Malmö Academy of Music, Lund University, Malmö, Sweden Shifra Schonmann, University of Haifa, Haifa, Israel Susan W. Stinson, The University of North Carolina at Greensboro, Greensboro, USA Scope This series aims to provide conceptual and empirical research in arts education, (including music, visual arts, drama, dance, media, and poetry), in a variety of areas related to the post-modern paradigm shift. The changing cultural, historical, and political contexts of arts education are recognized to be central to learning, experience, knowledge. The books in this series presents theories and methodological approaches used in arts education research as well as related disciplines—including philosophy, sociology, anthropology and psychology of arts education. More information about this series at http://www.springer.com/series/6199 -
Toronto Has No History!’
‘TORONTO HAS NO HISTORY!’ INDIGENEITY, SETTLER COLONIALISM AND HISTORICAL MEMORY IN CANADA’S LARGEST CITY By Victoria Jane Freeman A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of History University of Toronto ©Copyright by Victoria Jane Freeman 2010 ABSTRACT ‘TORONTO HAS NO HISTORY!’ ABSTRACT ‘TORONTO HAS NO HISTORY!’ INDIGENEITY, SETTLER COLONIALISM AND HISTORICAL MEMORY IN CANADA’S LARGEST CITY Doctor of Philosophy 2010 Victoria Jane Freeman Graduate Department of History University of Toronto The Indigenous past is largely absent from settler representations of the history of the city of Toronto, Canada. Nineteenth and twentieth century historical chroniclers often downplayed the historic presence of the Mississaugas and their Indigenous predecessors by drawing on doctrines of terra nullius , ignoring the significance of the Toronto Purchase, and changing the city’s foundational story from the establishment of York in 1793 to the incorporation of the City of Toronto in 1834. These chroniclers usually assumed that “real Indians” and urban life were inimical. Often their representations implied that local Indigenous peoples had no significant history and thus the region had little or no history before the arrival of Europeans. Alternatively, narratives of ethical settler indigenization positioned the Indigenous past as the uncivilized starting point in a monological European theory of historical development. i i iii In many civic discourses, the city stood in for the nation as a symbol of its future, and national history stood in for the region’s local history. The national replaced ‘the Indigenous’ in an ideological process that peaked between the 1880s and the 1930s. -
Defining Ethnomusicology
10 1. THE HARMLESS DRUDGE : DEFINING ETHNOMUSICOLOGY DEFINITIONS. For years, people have been asking me the question: "You're an ethnomusicologist?" Shortly after 1950 it was likely to be accompanied by expressions of wonder and of the belief that I was somehow involved with "folk" music, with "primitive music," and particularly with "ancient music," and also that I must have a great deal of companionship with a tape recorder. By 1960 the questioner would likely bring up participation in an Indonesian gamelan, or perhaps an ability to "play" many of the world's odd instruments. In the 1970s, the conversation might well include the term "ethnic" music or even the etymologically outrageous "ethnomusic," and in the eighties and nineties, free association might lead to “diversity” and “world music.” I have always found it difficult to come to a precise, concise, and readily intelligible definition. Dictionaries differ considerably but espouse limited views. In the 120 years in which modern ethnomusicology can be said to have existed, since pioneer works such as those of Ellis (1885), Baker (1882), and Stumpf (1886), attitudes and orientations have changed greatly, and so has the name, from something very briefly called “Musikologie” (in the 1880s), to “comparative musicology” (through about 1950), then to “ethno- musicology” (1950–ca. 1956), quickly to “ethnomusicology” (removing the hyphen actually was an ideological move trying to signal disciplinary independence), with suggestions such as “cultural musicology” (Kerman 1985) and “socio-musicology” (Feld 1984) occasionally thrown in. The changes in name paralleled changes in intellectual orientation and emphasis. It is difficult to find a single, simple definition, to which most people in this field would subscribe, and thus ethnomusicologists have been perhaps excessively concerned with defining themselves. -
Newcastle University
Ethnomusicology at the International Centre for Music Studies, Newcastle University Overview The International Centre for Music Studies (ICMuS) is one of the main departments in the UK for ethnomusicological studies. A particular strength of ICMuS is that staff combine hands-on musical experience with academic study, and engage with world music through approaches and methodologies that are pluralist and often boundary-crossing. Broadly speaking, interests include popular, folk and classical repertories. Since the appointment of Goffredo Plastino in 2001, ICMuS has continued to signal its commitment to ethnomusicology through the successive appointments of Nanette de Jong, Desmond Wilkinson and Simon McKerrell. In addition, other staff are also engaged in ethnographic work and/or study world musics of diverse kinds: Ian Biddle, David Clarke and Bennett Hogg. Between them, they cover the Mediterranean, North Africa, Southern Africa, Central Africa, the Caribbean, South America, Eastern and Western Europe, South Asia and Black Americas. Teaching ICMuS welcomes applications for doctoral studies in any of the areas in which its full-time staff specialise. The undergraduate curriculum includes the study of ethnomusicology from the first year: Understanding World Music introduces students to the academic study of world music; Ethnomusicology is an advanced module which focuses on ethnomusicological theories and methodologies as well as on audio-visual works; The Traditions of These Islands and Folk Music Studies provide a historical and critical -
Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). -
International Seminar of the ISME Commission on Research
Proceedings of the 25th International Seminar of the ISME Commission on Research Federal University of Paraíba, João Pessoa, Paraíba, Brazil 14-18 July 2014 Editors Oscar Odena and Sérgio Figueiredo ©International Society for Music Education 2014 www.isme.org 1 National Library of Australia Cataloguing-in-Publication Author: ISME Commission on Research International Seminar (25th: 2014: João Pessoa, Brazil) Title: Proceedings of the 25th International Seminar of the ISME Commission on Research, João Pessoa, Brazil [electronic resource] ISBN: 978-0-9942055-2-0 (eBook) Notes: Includes bibliographical references. Subjects: Music--Congresses. Music in education--Congresses. ISME Commission on Research Dewey Number: 780.7 Commissioners 2012-2014 Sérgio Figueiredo, Co-Chair and Latin American Representative Oscar Odena, Co-Chair and UK and African Representative Graça Boal-Palheiros, European Representative Bo Wah Leung, Asian Representative Evelyn Orman, USA Representative Susan O’Neill, Australia, Canada and New Zealand Representative Secretary of the Commission Christopher Johnson (past Chair 2010-2012) Honorary Life Members James Carlsen Clifford Madsen 2 Mission Statement The mission of the ISME Research Commission is to: examine through research important issues facing music education worldwide; develop, refine and demonstrate a range of research approaches, methods and techniques for critically examining issues in music education; provide a forum for the communication, critical analysis, and dissemination of research innovations in music education; and deepen and develop the research knowledge base for practitioners, policy makers, and researchers in music education. The Research Commission accomplishes its mission by providing workshops, lectures, seminars, and demonstrations in different locations in order to build research capacity and to promote research expertise in all regions of the ISME membership. -
Guidelines for Cataloging Vernacular Music Manuscripts
Guidelines for Cataloging Vernacular Music Manuscripts These “Guidelines” were developed by staff at the Center for Popular Music over the course of the American Vernacular Music Manuscripts (AVMM) project. Cataloging practices were based on the cataloging rules articulated in the latest draft (version 5D) of The Descriptive Cataloging of Rare Materials (Music) using RDA standards, with modifications specific to the project materials and access goals. Fixed Fields. Fixed-Field music manuscript elements, such as item format and date of publication/creation, were coded consistently across MARC 21 records. Elements that were most commonly used in the cataloging of music manuscripts are indicated in bold italics below. Fixed field elements Abbr. Code Meaning Type Type d Manuscript notated music Bibliographic level BLvl m Monograph/Item Descriptive Cataloging Form Desc i ISBD Encoding Level Elvl I Full by OCLC participants None of the following: microfilm, Form of item Form _ microfiche, microopaque, lrg print Music Parts Part _ Unspecified d Instrumental and vocal parts e Instrumental parts f Vocal parts n Not applicable u Unknown Format of Music Fmus a Full score b Full score, miniature or study size c Accompaniment reduced for keyboard d Voice score (accompaniment omitted) Condensed score or piano-conductor e score i Condensed score m Multiple formats u Unknown Music in other than score form (such z as solo instrument) Cataloging Source Srce d Other (Cataloging data not from LC) Form of Composition Comp _ No information supplied bd Ballads -
Society for Ethnomusicology 58Th Annual Meeting Abstracts
Society for Ethnomusicology 58th Annual Meeting Abstracts Sounding Against Nuclear Power in Post-Tsunami Japan examine the musical and cultural features that mark their music as both Marie Abe, Boston University distinctively Jewish and distinctively American. I relate this relatively new development in Jewish liturgical music to women’s entry into the cantorate, In April 2011-one month after the devastating M9.0 earthquake, tsunami, and and I argue that the opening of this clergy position and the explosion of new subsequent crises at the Fukushima nuclear power plant in northeast Japan, music for the female voice represent the choice of American Jews to engage an antinuclear demonstration took over the streets of Tokyo. The crowd was fully with their dual civic and religious identity. unprecedented in its size and diversity; its 15 000 participants-a number unseen since 1968-ranged from mothers concerned with radiation risks on Walking to Tsuglagkhang: Exploring the Function of a Tibetan their children's health to environmentalists and unemployed youths. Leading Soundscape in Northern India the protest was the raucous sound of chindon-ya, a Japanese practice of Danielle Adomaitis, independent scholar musical advertisement. Dating back to the late 1800s, chindon-ya are musical troupes that publicize an employer's business by marching through the From the main square in McLeod Ganj (upper Dharamsala, H.P., India), streets. How did this erstwhile commercial practice become a sonic marker of Temple Road leads to one main attraction: Tsuglagkhang, the home the 14th a mass social movement in spring 2011? When the public display of merriment Dalai Lama. -
A Thesis Presented to by December, 1997
DIGITAL FREEDOM: THE CANADIAN RIGHT WING ON THE INTERNET A Thesis Presented to The Faculty of Graduate Studies The University of Guelph by SEAN P. HIER In partial fulfillment of revirements for the degree of Master of Arts December, 1997 @ Sean Hier, 1997 NationaI Library Bibliothique nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. nie Wellington Ottawa ON K1A ON4 Ottawa ON KIA ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence ailowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retauis ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts f?om it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT DIGITAL FREEDOM: THE CANADIAN RIGHT WING ON THE INTERNET Sean P. Hier Advisor: University of Guelph, 1997 Professor Stanley Barrett This thesis is an investigation of the Canadian right wing, with a particular focus on how right wing groups are utilizing the internet for advertising and recruitment. An investigation of the Freedom-Site, a Web site based in Toronto, was undertaken over a period of approximately four months. -
Minutes of the Council of the City of Toronto 1 February 13, 14 and 15, 2002
Minutes of the Council of the City of Toronto 1 February 13, 14 and 15, 2002 Guide to Minutes These Minutes were confirmed by City Council on April 16, 2002. Agenda Index MINUTES OF THE COUNCIL OF THE CITY OF TORONTO WEDNESDAY, FEBRUARY 13, 2002, THURSDAY, FEBRUARY 14, 2002 AND FRIDAY, FEBRUARY 15, 2002 City Council met in the Council Chamber, City Hall, Toronto. CALL TO ORDER 1.1 Deputy Mayor Ootes took the Chair and called the Members to order. The meeting opened with O Canada. 1.2 CONFIRMATION OF MINUTES Councillor Duguid, seconded by Councillor Holyday, moved that the Minutes of the regular meeting of Council held on the 4th, 5th and 6th days of December, 2001, and the Minutes of the Special meeting of Council held on the 20th day of December, 2001, be confirmed in the form supplied to the Members, which carried. 1.3 ENQUIRIES AND ANSWERS (1) Council had before it the following regarding a review of the City of Toronto’s spending associated with the City of Toronto’s Bid for the 2008 Olympics: (a) Enquiry dated December 13, 2001, from Councillor Walker (See Attachment No. 1, Page 195); and 2 Minutes of the Council of the City of Toronto February 13, 14 and 15, 2002 (b) Answer to the foregoing Enquiry dated February 12, 2002, from Mayor Lastman (See Attachment No. 2, Page 196). Disposition: Consideration of the foregoing Enquiry and Answer was deferred to the next regular meeting of City Council scheduled to be held on April 16, 2002. (2) Council had before it the following regarding MFP Financial Services Limited: (a) Enquiry dated December 13, 2001, from Councillor Walker; and (b) Answer to the foregoing Enquiry dated February 11, 2002, from the Commissioner of Corporate Services. -
Society for Ethnomusicology 59Th Annual Meeting, 2014 Abstracts
Society for Ethnomusicology 59th Annual Meeting, 2014 Abstracts Young Tradition Bearers: The Transmission of Liturgical Chant at an then forms a prism through which to rethink the dialectics of the amateur in Eritrean Orthodox Tewahedo Church in Seattle music-making in general. If 'the amateur' is ambiguous and contested, I argue David Aarons, University of Washington that State sponsorship is also paradoxical. Does it indeed function here as a 'redemption of the mundane' (Biancorosso 2004), a societal-level positioning “My children know it better than me,” says a first generation immigrant at the gesture validating the musical tastes and moral unassailability of baby- Holy Trinity Eritrean Orthodox Church in Seattle. This statement reflects a boomer retirees? Or is support for amateur practice merely self-interested, phenomenon among Eritrean immigrants in Seattle, whereby second and fails to fully counteract other matrices of value-formation, thereby also generation youth are taught ancient liturgical melodies and texts that their limiting potentially empowering impacts in economies of musical and symbolic parents never learned in Eritrea due to socio-political unrest. The liturgy is capital? chanted entirely in Ge'ez, an ecclesiastical language and an ancient musical mode, one difficult to learn and perform, yet its proper rendering is pivotal to Emotion and Temporality in WWII Musical Commemorations in the integrity of the worship (Shelemay, Jeffery, Monson, 1993). Building on Kazakhstan Shelemay's (2009) study of Ethiopian immigrants in the U.S. and the Margarethe Adams, Stony Brook University transmission of liturgical chant, I focus on a Seattle Eritrean community whose traditions, though rooted in the Ethiopian Orthodox Church, are The social and felt experience of time informs the way we construct and affected by Eritrea's turbulent history with Ethiopia. -
Burkholder/Grout/Palisca, Eighth Edition, Chapter 31 27 Chapter 31
27 13. What did the U.S. gain in the Spanish-American war of 1898? Chapter 31 The Early Twentieth Century 14. When did the U.S. join ______ in WW I? Who was 1. [771] What are the four evidences of reconstructing president? music? 15. What was Sigmund Freud's view? 2. TQ: Take a wild guess: When do you think the different technologies became available? Recording Photography 16. (774) SR: Who invented the phonograph? When? Do Film you understand the process? Television Computer (PC size) 17. SR: He started with ____ but changed to ____. Mass production? 3. We meet all the requirements above, so what's the problem? 18. SR: In ____, recording went to a ______. They were ___ inches in diameter, could hold ____ minutes worth of 4. Music of the 20th century is more ___ than previous music and sold for ___, which is about __ today. centuries. 19. SR: Who was the first recording artist? When? 5. What are the new traditions? 20. SR: Orchestra sound was ___. Beethoven's Fifth, 6. What are the new methods beyond tonal music? recorded in ____, had ___ gathered in an "_____." 7. What are the competing styles? 21. SR: Improvements were made in ___ for orchestral sounds. By the late 19___, most significant orchestral works had been recorded about ___ times each. 8. What are the new sounds? 22. (775) SR: In 19__, Columbia Records introduced the __, a __-inch disc which rotated at ___ revolutions per minute rather than ___, thus allowing about __ minutes 9.