International Council for Traditional Music

Total Page:16

File Type:pdf, Size:1020Kb

International Council for Traditional Music PROMOTION. INTERNATIONAL COUNCIL FOR TRADITIONAL MUSIC Escola de Muska " SPONSORSHIP CAP ES 36,hWORLD·CONFERENCE, RIO DE JANEIRO, BRAZIL, JULY 4-11 2001 The International Council for Traditional Music is a Non-Governmental Organization (NGO) in Formal Consultative Relations with UNESCO Fundacao Universitaria 1r Jose Bonifacio IDATErrIME IJuly 4 July 5 July II ROOM Salao 16:00 - 8:00 9:0010:30 Dourado PM Opening Welcome Ceremony Reception 11:00 - 12:30 Plenary Session: Samba Salao 2:30 - 4:00 9:0010:30 2:30- 6:00 ,yO 9:00-10:30 9:00-10:30 Pedro Panel: The Panel: Confronting the Open Meeting 'hey Have a Word for Music in New Contexts Panel-The Caiman politics of Past, Shaping the to ".txu What is "Music'? 11:00 - 12:30 Relationships between Experience Future.. Discuss Forms 12:30 Panel: The Censorship of Music: Researchers and the and ]]:00 - 12:30 of oClHuenting Garifuna Forms and Effects Communities They Study Interpretation.. Plenary Session Organization : Collaborative Efforts 2:30 - 4:00 Panel 11:00-12:30 2:30 - 4:00 and n ~esearchers and the Recent Ethno musicological Research in Music of the 4:30- 6:00 Panel: Interchange niry Research in Indigerious Societies Middle East and Beyond Panel: Shifting Ethnomusicologists among :OO!'9neJ from South American Lowlands­ 12:30 - 1:00 Contexts, and Independent Brazilians P(}p~Iaf Mu.sic in Indonesia.. _ part I Closing Session Changing Record Production in Studying 4:3Q26:OO fanel 4:30 - 6:00 Panel Roles: The Brazil and Beyond Traditional [email protected] ta the Source: Hispanic Recent Ethno musicological Relationships 4:30- 6:00 Music Mu~CfrGrn tbe Americas in the Research in Indigenous ... - part II between General Assembly of Recl~truction of Cultural Researches ICTM Idertil)' and Gypsy Communities Salao 2:30 - 4:00 9:0010:30 9:00"10: 30 9:00-10:30 9:00 -10:30 Moniz de Music and Issues in the Study of Issu,WiJl the Study of South Asian Successes and Challenges in Music, Curing, Education and Nationalism in Aragao the Music of the Rom Mu<lc Archival Preservation Tourism the Pacific 2:30-4:00 IlC]O- ]2:30 11:00 - 12:30 1I:00 - 12:30 4:30 - 6:00 Panel: Tradition, The!WorklQIPopnlar Music Global Dances from Local Traditions Folk Music Rediscovered Samba Modernity and Identity Prastlice in the North East of 2:30 - 4:00 Panel in the Music of Recife Bra;::il Ancient Music ofIsraelJPalestine: 2:3C!-4:0() What are the Sources and How Parrjclpatory Action Research Should We treat Them? 4:30-6:00 4:30 - 6:00 GloUal MJ.,1'ic and Local Realities National Symbols and Music SalaD 10:30 - II :00 10:3":0- U:OO 10:30 - 11:00 10:30 - 11:00 Vermelllo 4:00 - 4:30 4:0[0-4:30 4:00-4:30 4:00 - 4:30 Coffee Breaks CojH" BteakS Coffee Breaks Coffee Breaks i Sala206 2:30 -4:00 9:00 - 10:30 9:00-10:30 9:00'- 10:30 I'm Archived: Issues in Research Old Songs in New Places Studies in the Music ofEast Reports of 2:30 -4:00 11:00 - 12:30 Asia Archival Musical Performances Music and Religion in Brazil 1I:00 - 12:30 Collaboration in New Contexts 2:30-4:00 Studies of Boi- Bumba in Around the Dance, Revival and Identity Brazil World 4:30 - 6:00 4:30 -6:00 New Trends in Critical Analysis New Problems for Ethno musicological Sound Archives Sala231 4:30 - 6:00 9:00 -10:30 9:0(.,10:30 9:00-10:30 The Dance, Music Ritual Mus it,ldernity and Issues in Chinese Music Ethnomusicolo and Identity Intel ~atiGrJa.liz.ation in Asia and 11:00 - 12:30 gist as Actor 2:30 - 4:00 the I!,cific Music, Minorities and and Activist Historical Studies II :(.0_ 12:30 Ethnornusicologists Issu tsin tl1~ Study of the Music of 2:30 - 4:00 East .Asia Methodological Issues 2:3( 1-4:00 4:30- 6:00 IssUI fS in \l1~ Study of Indigenous The Effect of Technology on Music Mus .1(: of Brazil and Argentina 4:3( 1-6:00 ~~ SaJla232 2:30 -4:00 9:0( '-l0: 30 9:00- 10:30 9:00-10:30 Stndy Gronp on M!.l-~ 'itand 'technology: Radio and Mediating Sounds Workshop on Archival Historical Sources of Otl1< 'tMaS', ~!edia 11:00-12:30 Preservation Techniques Part I Traditional Music 11:( '0- 12:30 Overtones and Classical Music J 1:00- 12:30 IssUi es in 0cltiil Dance Theory Workshop on Archival 2:3( '-4:0() 2:30 - 4:00 Preservation Techniques Part II Stuc:iesi]) Urban Music in Brazil Issues in the Music of Asia 4:3 ~ ',l&:2g 4:30- 6:00 N bterflotiofla\ Council for Traditional Music- 36th WorldCotlf~renc~ st Touristic 1 Floor Support (Blumer) .p. IllterttQtionQI COUt1CiI for Traditional Music - 36t h World COllferel1ce smoll lake 2 ndPIoor Program Committee urges all participants to take CONFERENCE PROGRAM advantage of this time to get to know one The International Councilfor Traditional Music another-the bonds forged at ICTM World is a Non-Governmental Organization (NGO) in Conferences often endure for decades and result Formal Consultative Relations with UNESCO in fruitful international collaboration. Program In addition to its World Conferences, the ICTM International Council for Traditional Music sponsors a number of Study Groups, whose 36th World Conference concentration on a single topic allows Rio de Janeiro, Brazil participants to meet in smaller groups and focus July 4-11, 2001 on specific subjects. Participants interested in the activities of any of the Study Groups that is General Introduction holding a business meeting at this Conference The first ICTM World Conference held in South should feel free to attend them. The ICTM also America since 1954 has attracted scholars from sponsors Colloquia-single meetings on a 43 countries, addressing a great variety ofissues special topic. If participants wish to pursue ideas in over 180 separate presentations. The subject growing out of the meeting in a Colloquium matter of the presentations reflects the diversity format, please contact the Secretary General. ofinterests, training, and approach that are found around the world in the study of music. This conference brings many people together who Information on the Program have never met, who share only a limited The sessions will all be held in the Forum de knowledge of any language in common, butwho . Ciencia e Cultura of the Universidade Federal will be changing the directions of scholarship in de Rio de Janeiro, at Avenida Pasteur 250, Praia the future. Vermelha, Rio de Janeiro, unless otherwise indicated. The evening film session and the The organization ofthis conference, with its long Saturday afternoon cultural events will be held ., coffee breaks, long lunches, free evenings, -and elsewhere. Most of the sessions will be held in days without scheduled papers, is meant to the same five or six rooms in the building, and provide the participants with many opportunities signs and local assistants will guide you to them. to meet informally under circumstances where The Program Committee tried to limit the they can overcome the inevitable language number of sessions to no more than five at any difficulties and culturally forged perspectives in one time. It inevitably happens that two papers relative privacy and camaraderie. The city of participants wish to hear are being presented Rio de Janeiro is filled with comfortable places simultaneously. To increase participants' ability to eat, drink and talk late into the night­ to move from session to session, the Session something its residents enjoy doing as well. The Chairs have been asked to start their sessions on 6 time,andtofollow theprogrambylimitingeachpaper 36thWorld ConferenceProgram Committee: to twenty minutes ofpresentation and ten minutes Prof. Anthony Seeger, U.S.A. (Chair); Prof. of discussion. Thismeans thatpapersin each session Samuel Mello Araujo Jr., Brazil; Prof. R.J. de should be starting every half hour: at 9:00,9:30, Menezes Bastos, Brazil; Prof. Gerard Behague, 10:00; 11:00, 11:30, 12:00; 2:30, 3:00, 3:30; 4:30, U.S.A.; Prof. Dieter Christensen, U.S.A.; Dr. 5:00; 5:30. If the person scheduled to deliver a Dumisani Maraire, Zimbabwe (Deceased); Prof. paper does not appear, Session Chairs have been Victoria Eli Rodriguez, Cuba; Dr. Adrienne L. asked not to start the next paper until the next half Kaeppler, U.S.A.; Mr. Don Niles, Papua New hour. Guinea; Dr. Jonathan P.J. Stock, U.K.; Prof. Yamaguti Osamu, Japan. Acknowledgements The 36th World Conference Organizing The Chair of the Program Committee would like Committee has worked long and hard to make to acknowledge the hard work and very the conference a success in Rio de Janeiro. thoughtful contributions of his fellow Program Without them there would be no conference: Committee members, listed below. We mourn the loss of Dr. Dumisani Maraire who did not Prof. Samuel de Araujo, Brazil (Chair); Profa. live to see the results ofour collective work. The Elizabeth Travassos, Brazil; Profa. Martha Program Chair also thanks the three University Ulhoa, Brazil; Profa. Cassia Frade, Brazil; Prof. of California at Los Angeles graduate students Mario Costa, Brazil; Profa. Rosa Zamith, Brazil. who assisted him with the preparation of the program and the abstracts: Jack Bishop, Andrew . The following Institutions and Agencies have Connell, and Juniper Hill. Finally, the program provided funding for the conference: UNESCO, and abstract books could not have been CNPq, FAPERJ, Fundacao Jose Bonifacio, and completed without the assistance of Nerthus various departments and sectors of the Federal Christensen, editor of the ICTM Directory and University of Rio de Janeiro (UFRJ).
Recommended publications
  • Geografias Da Comunicação: Espaço De Observação De Mídias E De
    3 Geografias da Comunicação: espaço de observação de mídia e de culturas Organização Sonia Virgínia Moreira Coleção GPs da INTERCOM Direção de Osvando J. de Morais Vol. 1 – Comunicação e Esporte: Reflexões – Anderson Gurgel, Ary José Rocco Jr., José Carlos Marques e Márcio de Oliveira Guerra, orgs. (2012) Vol. 2 – Políticas de Comunicação e Sociedade – Valério Cruz Brittos e Ruy Sardinha Lopes, orgs. (2012) Vol. 3 – Geografias da comunicação: espaço de observação de mídia e de culturas – Sonia Virgínia Moreira, org. (2012) DIRETORIA GERAL DA INTERCOM 2011 – 2014 Presidente - Antonio Carlos Hohlfeldt Vice-Presidente - Marialva Carlos Barbosa Diretor Editorial - Osvando J. de Morais Diretor Financeiro - Fernando Ferreira de Almeida Diretor Administrativo - José Carlos Marques Diretora de Relações Internacionais -Sonia Virginia Moreira Diretora Cultural - Rosa Maria Cardoso Dalla Costa Diretora de Documentação - Nélia Rodrigues Del Bianco Diretor de Projetos - Adolpho Carlos Françoso Queiroz Diretora Científica - Raquel Paiva de Araújo Soares Secretaria Maria do Carmo Silva Barbosa Genio Nascimento Mariana Beltramini Jovina Fonseca Direção Editorial: Osvando J. de Morais (UNISO) Presidência: Muniz Sodré ( UFRJ) Conselho Editorial - Intercom Alex Primo (UFRGS) Marcio Guerra (UFJF) Alexandre Barbalho (UFCE) Margarida M. Krohling Kunsch (USP) Ana Sílvia Davi Lopes Médola (UNESP) Maria Teresa Quiroz (Universidade de Christa Berger (UNISINOS) Lima/Felafacs) Cicília M. Krohling Peruzzo (UMESP) Marialva Barbosa (UFF) Erick Felinto (UERJ) Mohammed Elhajii (UFRJ) Etienne Samain (UNICAMP) Muniz Sodré (UFRJ) Giovandro Ferreira (UFBA) Nélia R. Del Bianco (UnB) José Manuel Rebelo (ISCTE, Portugal) Norval Baitelo (PUC-SP) Jeronimo C. S. Braga (PUC-RS) Olgária Chain Féres Matos (UNIFESP) José Marques de Melo (UMESP) Osvando J.
    [Show full text]
  • Geidai Arts Summit 2012 from Asia to the World -The Development and Cooperation-
    GEIDAI ARTS SUMMIT 2012 FROM ASIA TO THE WORLD -THE DEVELOPMENT AND COOPERATION- 10/10/2012 Tokyo University of the Arts 参加大学 Univerity Invited Central Academy of Fine Arts 中央美術学院 Central Conservatory of Music 中央音楽学院 Academy of Arts & Design, Tsinghua University 清華大学美術学院 Shanghai Conservatory of Music 上海音楽学院 China Academy of Art 中国美術学院 Xinjiang Arts Institute 新疆芸術学院 Shanghai Institute of Visual Art, Fudan University 復旦大学上海視覚芸術学院 Tainan National University of the Arts 台南芸術大学 National Taiwan University of Arts 台湾芸術大学 Taipei National University of the Arts 台北芸術大学 College of Fine Arts, Seoul National University ソウル大学校美術大学 College of Music, Seoul National University ソウル大学校音楽大学 Korea National University of Arts 韓国芸術綜合学校 Daegu University 大邱大学校 Korean Academy of Film Arts 韓国映画アカデミー Korea National University of Cultural Heritage 韓國傳統文化大學校 Mongolian State University of Arts and Culture モンゴル国立文化芸術大学 Institut Seni Indonesia Yogyakarta インドネシア芸術大学ジョグジャカルタ校 Institut Seni Indonesia Denpasar インドネシア芸術大学デンパサール校 Vietnam University of Fine Arts ベトナム美術大学 Ho Chi Minh City University of Fine Arts ホーチミン市美術大学 Vietnam National Academy of Music ベトナム国家音楽学院 Silpakorn University シラパコーン大学 LASALLE College of the Arts ラサール芸術大学 National Academy of Arts, Culture & Heritage 国立芸術文化遺産大学 Aichi Prefectural University of Fine Arts and Music 愛知県立芸術大学 Okinawa Prefectural University of Arts 沖縄県立芸術大学 Kanazawa College of Art 金沢美術工芸大学 Kyoto City University of Arts 京都市立芸術大学 Tokyo University of the Arts 東京藝術大学 86 GEIDAI ARTS SUMMIT 2012 Contents 89 President’s Foreword 90 Schedule of
    [Show full text]
  • PORT 365 Course Syllabus
    University of Washington Department of Spanish and Portuguese Studies Portuguese 365/ JSIS A 365 From Samba to Funk: A Portray of Brazilian Society through Music (Mapping Luso-Brazilian Cultures) Areas of Knowledge: Individual and Societies, Diversity, Visual Literary and Performing Arts Winter 2020 Instructors: Eduardo Viana da Silva [email protected] Class meets on T/Th – 1:30-3:20 pm Phone number: (206) 543-794 Denny Hall, room 259 Office: Padelford, room C-222 Office hours: Tue (3:30-4:30) Th (11:30-12:30) JSIS A 365/ PORT 365 - Catalogue Description Explores cultures of Brazil, Portuguese-speaking Africa, Asia, and Europe within the framework of cultural studies theory. Follows an interdisciplinary approach, drawing from readings, audio files (radio), films and documentaries in history, literature, arts and performances, anthropology, among others. Focuses on selected cultural aspects and countries. Taught in English. Course Description for Winter 2020 This course will look at several cultural representations of Brazil and other Portuguese-speaking countries through music, including genres as samba, choro, tropicália, maracatu, and funk, among others. Most of the course work will focus on Brazilian society and history through music. We will also study some of the musical genres from Portugal, Angola, Cape Verde, and Mozambique and its historical and cultural aspects as well. By the end of this course students will be able to: • Evaluate aspects of culture formation through several music genres in Brazil, Mozambique, Angola, Cape Verde, and Portugal; • Cultivate a critical appreciation and understanding of music genres and artists from the Luso-Brazilian world; • Develop an understanding of pertinent culture differences and global citizenship; • Consider the lasting ideas and values of similarities and differences between the self and the other, in light of each culture; • Learn to read and interpret critically; • Evaluate ideas from multiple perspectives.
    [Show full text]
  • Further Reading, Listening, and Viewing
    The Music of Central Asia: Further Reading, Listening, and Viewing The editors welcome additions, updates, and corrections to this compilation of resources on Central Asian Music. Please submit bibliographic/discographic information, following the format for the relevant section below, to: [email protected]. Titles in languages other than English, French, and German should be translated into English. Titles in languages written in a non-Roman script should be transliterated using the American Library Association-Library of Congress Romanization Tables: Transliteration Schemes for Non-Roman Scripts, available at: http://www.loc.gov/catdir/cpso/roman.html Print Materials and Websites 1. Anthropology of Central Asia 2. Central Asian History 3. Music in Central Asia (General) 4. Musical Instruments 5. Music, Sound, and Spirituality 6. Oral Tradition and Epics of Central Asia 7. Contemporary Music: Pop, Tradition-Based, Avant-Garde, and Hybrid Styles 8. Musical Diaspora Communities 9. Women in Central Asian Music 10. Music of Nomadic and Historically Nomadic People (a) General (b) Karakalpak (c) Kazakh (d) Kyrgyz (e) Turkmen 11. Music in Sedentary Cultures of Central Asia (a) Afghanistan (b) Azerbaijan (c) Badakhshan (d) Bukhara (e) Tajik and Uzbek Maqom and Art Song (f) Uzbekistan (g) Tajikistan (h) Uyghur Muqam and Epic Traditions Audio and Video Recordings 1. General 2. Afghanistan 3. Azerbaijan 4. Badakhshan 5. Karakalpak 6. Kazakh 7. Kyrgyz 8. Tajik and Uzbek Maqom and Art Song 9. Tajikistan 10. Turkmenistan 11. Uyghur 12. Uzbekistan 13. Uzbek pop 1. Anthropology of Central Asia Eickelman, Dale F. The Middle East and Central Asia: An Anthropological Approach, 4th ed. Pearson, 2001.
    [Show full text]
  • Domination and Resistance in Afro-Brazilian Music
    Domination and Resistance In Afro-Brazilian Music Honors Thesis—2002-2003 Independent Major Oberlin College written by Paul A. Swanson advisor: Dr. Roderic Knight ii Table of Contents Abstract Introduction 1 Chapter 1 – Cultural Collisions Between the Old and New World 9 Mutual Influences 9 Portuguese Independence, Exploration, and Conquest 11 Portuguese in Brazil 16 Enslavement: Amerindians and Africans 20 Chapter 2 – Domination: The Impact of Enslavement 25 Chapter 3 – The ‘Arts of Resistance’ 30 Chapter 4 – Afro-Brazilian Resistance During Slavery 35 The Trickster: Anansi, Exú, malandro, and malandra 37 African and Afro-Brazilian Religion and Resistance 41 Attacks on Candomblé 43 Candomblé as Resistance 45 Afro-Brazilian Musical Spaces: the Batuque 47 Batuque Under Attack 50 Batuque as a Place of Resistance 53 Samba de Roda 55 Congadas: Reimagining Power Structures 56 Chapter 5 – Black and White in Brazil? 62 Carnival 63 Partner-dances 68 Chapter 6 – 1808-1917: Empire, Abolition and Republic 74 1808-1889: Kings in Brazil 74 1889-1917: A New Republic 76 Birth of the Morros 78 Chapter 7 – Samba 80 Oppression and Resistance of the Early Sambistas 85 Chapter 8 – the Appropriation and Nationalization of Samba 89 Where to find this national identity? 91 Circumventing the Censors 95 Contested Terrain 99 Chapter 9 – Appropriation, Authenticity, and Creativity 101 Bossa Nova: A New Sound (1958-1962) 104 Leftist Nationalism: the Oppression of Authenticity (1960-1968) 107 Coup of 1964 110 Protest Songs 112 Tropicália: the Destruction of Authenticity (1964-1968) 115 Chapter 10 – Transitions: the Birth of Black-Consciousness 126 Black Soul 129 Chapter 11 – Back to Bahia: the Rise of the Blocos Afro 132 Conclusions 140 Map 1: early Portugal 144 Map 2: the Portuguese Seaborne Empire 145 iii Map 3: Brazil 146 Map 4: Portuguese colonies in Africa 147 Appendix A: Song texts 148 Bibliography 155 End Notes 161 iv Abstract Domination and resistance form a dialectic relationship that is essential to understanding Afro-Brazilian music.
    [Show full text]
  • ACTA HISTRIAE 24, 2016, 3, Pp
    ACTA HISTRIAE ACTA ACTA HISTRIAE 24, 2016, 3 24, 2016, 3 ISSN 1318-0185 Cena: 11,00 EUR UDK/UDC 94(05) ACTA HISTRIAE 24, 2016, 3, pp. 463-688 ISSN 1318-0185 UDK/UDC 94(05) ISSN 1318-0185 Zgodovinsko društvo za južno Primorsko - Koper Società storica del Litorale - Capodistria ACTA HISTRIAE 24, 2016, 3 KOPER 2016 ACTA HISTRIAE • 24 • 2016 • 3 ISSN 1318-0185 UDK/UDC 94(05) Letnik 24, leto 2016, številka 3 Odgovorni urednik/ Direttore responsabile/ Darko Darovec Editor in Chief: Uredniški odbor/ Gorazd Bajc, Furio Bianco (IT), Flavij Bonin, Dragica Čeč, Lovorka Comitato di redazione/ Čoralić (HR), Darko Darovec, Marco Fincardi (IT), Darko Friš, Aleksej Board of Editors: Kalc, Borut Klabjan, John Martin (USA), Robert Matijašić (HR), Darja Mihelič, Edward Muir (USA), Egon Pelikan, Luciano Pezzolo (IT), Jože Pirjevec, Claudio Povolo (IT), Vida Rožac Darovec, Andrej Studen, Marta Verginella, Salvator Žitko Urednika/Redattori/ Editors: Gorazd Bajc, Urška Lampe Prevodi/Traduzioni/ Translations: Urška Lampe (angl., slo.), Gorazd Bajc (it.) Lektorji/Supervisione/ Language Editor: Urška Lampe (angl., slo.), Gorazd Bajc (it.) Stavek/Composizione/ Typesetting: Grafis trade d.o.o. Izdajatelj/Editore/ Published by: Zgodovinsko društvo za južno Primorsko / Società storica del Litorale© Sedež uredništva/Sede della redazione/ Address of Editorial Board: SI-6000 Koper/Capodistria, Kreljeva/Via Krelj 3, e-mail: [email protected], internet: http://www.zdjp.si/ Tisk/Stampa/Print: Grafis trade d.o.o. Naklada/Tiratura/Copies: 300 izvodov/copie/copies Finančna podpora/ Supporto finanziario/ Javna agencija za raziskovalno dejavnost Republike Slovenije / Slovenian Financially supported by: Research Agency Slika na naslovnici/ Foto di copertina/ Picture on the cover: Nedelja v Peroju / Domenica a Peroi / Sunday in Peroj – August Tischbein, August Selb: Memorie di un viaggio pittorico nel litorale austriaco (Trieste 1842) Redakcija te številke je bila zaključena 16.
    [Show full text]
  • ICTM Abstracts Final2
    ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants.
    [Show full text]
  • Programme Specification
    Programme Specification I. Programme Details Programme title Music & […] Possible combinations African Studies Arabic Burmese Chinese Development Studies Hebrew History History of Art/Archaeology Indonesia Japanese Japanese Studies Korean Linguistics Middle Eastern Studies Persian Social Anthropology South Asian Studies South East Asian Studies Study of Religions Swahili Thai Turkish Vietnamese Final award (exit awards will be made as BA ☒ MA ☐ outlined in the Taught Degree Regulations) BSc ☐ MSc ☐ Other ... ☐ Mode of delivery Distance-learning ☐ On-campus ☒ Professional body accreditation (if applicable) n/a Academic year this specification was created 2016/17 Dates of any subsequent amendments II. Programme Aims: What will the programme allow you to achieve? 1. To develop knowledge of Music in its practical, theoretical, historical, social and other aspects, with particular reference to the musics of Asia and Africa and the associated diaspora communities; and to develop understanding of these cultures and communities through Music. 2. To provide a foundation for further study at postgraduate level and for professional employment. [1/4] III. Programme Learning Outcomes: What will you learn on the programme? There are four key areas in which you will develop: Learning Outcomes: Knowledge 1. Music of Asia and Africa. This is broadly defined to include: music from the major regions covered by the School, namely Africa, Near and Middle East, South and South-east Asia, East Asia and Central Asia; the music of diasporic cultures of Asian and African origin; and Asian and African contributions to global developments in music. 2. The principles and methods that may be applied to the study of any music in its cultural setting, and the problems and insights that arise when we compare musics on a worldwide basis; i.e.
    [Show full text]
  • Teacher's Notes
    Teacher's Notes SCHOOLS’ PACK – BRAZIL 2009 The Planning Sheet can be used as an outline of the topic for the period of the work. It is set out under ten themes: Introduction: FACT SHEETS 1. Brazil: the Land Fact sheet 1 Fact sheet 1a 2. Brazil: the Environment Fact sheet 2 Fact sheet 2a 3. Brazil: the Country and its People Fact sheet 3 Fact sheet 3a Fact sheet 3b – Isolated Amazon Tribes Fact sheet 3c - Isolated indigenous peoples in Brazil 4. Brazil: living and working in Brazil Fact sheet 4 5. Maria and Carlos Fact sheet 5 – meet Maria and Carlos Fact sheet 5a – At Home in Rio with Maria Fact sheet 5b – Living in Manaus with Carlos 6. Schools in Brazil Fact sheet 6 - Schools in Brazil 7. Living in Brasília Fact sheet 7 Fact sheet 7a 8. Brazil: Carnival Fact sheet 8 9. Brazil: its Sports Fact sheet 9 10. Brazil: Tourism Fact sheet 10 – ‘Brazil for Kids’ http://www.brazil.org.uk/school/brazilforkids.html 1 Schools’ Pack – Brazil 2009 Text in bold italics in the teachers’ notes indicates an extension activity Fact Sheets can be used as a source of information for teachers and pupils Fact Sheets 1a, 2a, 3a, 4a and 7a include differentiated information on these themes. Activity Sheets 1 - 16 can be printed for use in class. They relate to the relevant Fact Sheet in the Teachers’ Notes. Activities 17 – 26 can be introduced whenever wanted. They are not related to any specific Fact Sheet. ACTIVITY SHEETS 1. Where is Brazil 2.
    [Show full text]
  • Gavin D. Douglas Curriculum Vitae
    Gavin D. Douglas Curriculum Vitae email: [email protected] Academic Position 2008-present Associate Professor, Ethnomusicology (Music Studies Dept. Head 2012-2016) UNC Greensboro. School of Music, Theatre and Dance 2002-2008 Assistant Professor, Ethnomusicology UNC Greensboro. School of Music Education 2001 PHD (Ethnomusicology) — University of Washington Dissertation: State Patronage of Burmese Traditional Music 1993 MMUS (Musicology/Ethnomusicology) — University of Texas at Austin Thesis: Popular Music in Canada: Globalism and the Struggle for National Identity 1991 BA (Philosophy) — Queen’s University 1990 BMUS (Performance Classical Guitar) — Queen’s University Publications (Books) 2010 Music in Mainland Southeast Asia: Experiencing Music Expressing Culture. New York, Oxford: Oxford University Press. Publications (Articles, peer reviewed) Forthcoming “Sound Authority in Burma,” in Sounds of Hierarchy and Power in Southeast Asia. Nathan Porath, ed. NIAS Press In Press ““Buddhist Soundscapes in Myanmar: Dhamma Instruments and Divine States of Consciousness.” Proceedings of the 4th Symposium of the ICTM Study Group on Performing Arts of Southeast Asia. Mohd Anis Md Nor and Patricia Matusky (eds.) Denpasar, Bali: Institut Seni Indonesia (ISI). In Press “Burma/Myanmar: History, Culture, Geography,” in The Sage Encyclopedia of Ethnomusicology, Janet Sturman J. and Geoffrey Golson, eds. In Press “Burma/Myanmar: Contemporary Performance Practice,” in The Sage Encyclopedia of Ethnomusicology, Janet Sturman and Geoffrey Golson, eds. 2015 “Buddhist
    [Show full text]
  • Contemporary Carioca: Technologies of Mixing in A
    Con tempo C o n t e m p o r a r y raryC a r i o c a Cari oca ontemporary CCarioca Technologies of Mixing in a Brazilian Music Scene Frederick Moehn Duke University Press Durham anD LonDon 2012 © 2012 Duke University Press All rights reserved. Printed in the United States of America on acid-free paper ♾ Designed by Kristina Kachele Typeset in Quadraat and Ostrich Sans by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Stony Brook University, which provided funds toward the publication of this book. For Brazil’s musical alchemists ontents Illustrations ix C Preface xi Acknowledgments xxiii Introduction 1 1 Marcos Suzano: A Carioca Blade Runner 25 2 Lenine: Pernambuco Speaking to the World 55 3 Pedro Luís and The Wall: Tupy Astronauts 92 4 Fernanda Abreu: Garota Carioca 130 5 Paulinho Moska: Difference and Repetition 167 6 On Cannibals and Chameleons 204 Appendix 1: About the Interviews, with a List of Interviews Cited 211 Appendix 2: Introductory Aspects of Marcos Suzano’s Pandeiro Method 215 Notes 219 References 245 Discography 267 Index 269 llustrations Map of Rio de Janeiro with inset of the South Zone 6 1 “mpb: Engajamento ou alienação?” debate invitation xii 2 Marcos Suzano’s favorite pandeiro (underside) 29 I 3 Marcos Suzano demonstrating his pandeiro and electronic foot pedal effects setup 34 4 A common basic samba pattern on pandeiro 48 5 One of Marcos Suzano’s pandeiro patterns 49 6 Marcos
    [Show full text]
  • Brazilian Piano Through the Ages
    James Madison University JMU Scholarly Commons Senior Honors Projects, 2010-current Honors College Spring 2012 Brazilian piano through the ages: A look at the development in style through the context of social issues and historical influences Rebecca Lin Chen James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/honors201019 Recommended Citation Chen, Rebecca Lin, "Brazilian piano through the ages: A look at the development in style through the context of social issues and historical influences" (2012). Senior Honors Projects, 2010-current. 400. https://commons.lib.jmu.edu/honors201019/400 This Thesis is brought to you for free and open access by the Honors College at JMU Scholarly Commons. It has been accepted for inclusion in Senior Honors Projects, 2010-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Brazilian Piano Through The Ages: A Look at the Development in Style Through the Context of Social Issues and Historical Influences _______________________ A Project Presented to the Faculty of the Undergraduate College of Visual and Performing Arts James Madison University _______________________ in Partial Fulfillment of the Requirements for the Degree of Bachelor of Music _______________________ by Rebecca Lin Chen May 2012 Accepted by the faculty of the Department of Music, James Madison University, in partial fulfillment of the requirements for the Degree of Bachelor of Music. FACULTY COMMITTEE: HONORS PROGRAM APPROVAL: Project Advisor: Paulo Steinberg, D.M.A. Barry Falk, Ph.D., Assistant Professor, Music Director, Honors Program Reader: Andrew Connell, Ph. D., Associate Professor, Music Reader: Bob Hallahan, B.M.
    [Show full text]