DOCSLIB.ORG

Bridging Musicology and Composition: Te Global Signifcance of Bartók’S Method a Symposium and Festival

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. Tree members of the committee 9uth Da)is. Abiola Irele, and Tim Cribb deser)e special mention. not least of all for allo3ing me to bounce ideas of them# I ha)e not been able to visit Churchill College since 2//< and Tim Cribb has acted in numerous ways as C2M(CC’s liaison with the College. Abiola Irele generously made personal funds a)ailable when we contemplated hiring the West Road Concert Hall for a concert that was to feature Bartok’s Sonata for Two Pianos and Percussion and although the plan was e)entually deemed infeasible, we are grateful for his generosity all the same. 2ntroduction Since we last met at Churchill College in August 2//<. se)eral interesting meetings ha)e taken place at other venues# In November 2//<. the Central Conser)atory of Music (CC1M) in BeiAing hosted another dialogue on the theme “(frica Meets China in Music” and in July 2//E the dialogue series moved to Bangalore, India for the third Africa Meets Asia meeting. hosted by the Indiranagar Music Society# Te frst dialogue symposium to be held outside Asia was on the theme “(frica Meets North America ?(M>(@C and was hosted by UC$( in Los Angeles in October 2//F# All the dialogue e)ents mentioned so far in)ol)ed Africa and another region of the world. but Africa need not be in)ol)ed at all# In fact the strength of the concept is confrmed when other regions meet bilaterally and this happened in 2//E when the CC1M hosted China Meets Finland. =hen the Centre for Intercultural Musicology was created in 2//G. we announced a series of e)ents covering a f)e5year period and culminating in 2/+/ in the Bartok symposium that is no3 taking place. (nother e)ent. Composition in Asia. which we scheduled for 2//F. was cancelled and we very much hope that it can be re-scheduled for the next f)e5year phase of the C2M(CC. 1ur sister organization. Centre for Intercultural Music Arts. pre)iously located in London. England. continues to thri)e in Spain and recently held its 1/th biennial symposium and festi)al at the Melila campus of the Uni)ersity of Granada# 4rom these e)ents. it is clear that the concepts of interculturalism in musicology and composition are gaining credence globally. and we look for3ard to the ways in which this symposium and festi)al will contribute additional momentum to this creati)e and intellectual movement# 2 Schedule of E)ents Tursday. August 12 F:H/ "iscussion with Justinian Tamusuza ( Musical Language of an African Contemporary Art5Music Composer: Infuence from a Changing Musical Habitus 2n my presentation I plan to discuss the infuences on my art5music compositional approach (my music compositional language/)oice) which I used in writing my frst string Kuartet Mu Kkubo Ery’Omusaalaba ?+FEE@# Te musical situation. and its demands that I 3as experiencing during the time of writing the string quartet. forms what I describe as my musical habitus. or the musical location I was situated in at that time. In general. it was the musical habitus I was in at that time, my cultural music background. the tonal music infuences I had gone through both in schools and at Makerere Uni)ersity. that determined the compositional voice which is manifested in the string quartet# I wrote the string quartet as one of the maAor reKuirements for a Masters Degree in 2/th5Century Music at the Lueen’s Uni)ersity of Belfast# Te work is in Ebitundu Bina (four movements): Ekitundu Ekisooka (First Movement@. Ekitundu Ekyokubiri (Second Movement@. Ekitundu Ekyokusatu (Tird Movement@. and Ekitundu Ekyokuna (Fourth Movement@# Te music compositional language/)oice I used in the string quartet was infuenced by my home background. my ethnic music culture/!anda Music (Bartok comes in here), 3estern music I learnt and practiced in schools. the Department of Music. Dance, and "rama. Makerere Uni)ersity. St# Augustine Choir. the Centenary Memorial Choir (C(C0MC*1@. and. and the western 2/th5century music practices I acKuired while studying at Belfast# Terefore, the infuence on my music compositional language that I used in the string quartet was dual in nature: the ethnic music. and western classical music infuences# Dustinian Tamusuza frst learnt Ganda music as a child from traditional musicians who used to play traditional musical instruments at his parents’ home in Kibisi# He frst learned formal music composition from Re)# Dr# Anthony Okelo at the department of Music. "ance, and Drama. Makerere Uni)ersity# He ser)ed as choir director and accompanist of St# Augustine Choir. and the Catholic Centenary Memorial Choir. C(C0MC*1# It is these t3o choirs for which he frst wrote and arranged music. 7amusuza studied contemporary art music composition with Ke)in Volans while at the Lueen’s Uni)ersity of Belfast and with Michael Pisaro, Jay Yim. and Allan Stout at >orth3estern Uni)ersity. Illinois. US(# He came to world prominence when his string Kuartet. featured on the Kronos Quartet album Pieces of A"ica. was frst on the Billboard Chart for both classical and ja&z music in US(. in 1FF,# 7amusuza has more than 2/ international publications which include music works. articles in both music journals. and encyclopedias. and C"s# He is professor of music in the department of Music. Dance, and Drama. at Makerere Uni)ersity# He ser)ed as head of department. and he teaches music composition. musicology. and performance. +/:H/ "iscussion with Roger Zahab Making the Violin Speak: From Script to Action Music for unaccompanied )iolin lays bare both the extent of a composer’s comprehensi)e skill O the conception of complex and ofen harmonically deri)ed music for an instrument originally made to play melodic lines as 3ell as hisJher understanding of 3 a performer’s physical task in reali&ing the notation O and the )iolinist’s comprehension of the musical 3ork and command of the instrument# Tis discussion 3ill center on e)ol)ing performance practice relating to )iolin music by D#S# Bach and Béla Bartók and also the infuence of these composers’ works on others# 9oger Zahab instigates complex relations through his acti)ities as composer. violinist. conductor. teacher and writer# *e has written much chamber. vocal and orchestral music in addition to work in dance, theater and video# Recently. recordings on Albany Records ha)e been made of levitation of pianos durin# a waltz played by pianist Eric Moe, and Eart%’s Ji# and Silence Orc%ids played by pianist Bennett Lerner# Tese recordings and others are also a)ailable on i7unes# Recent works include numerous commissions for soloists and small ensembles as well as O%io entelec%ron - a multi5media performance work providing continuous ser)ice in all dimensions which was materialized by the Pittsburgh Ne3 Music 0nsemble, vibrant life for string orchestra. and vioentelec%ron - for violin and orchestra in fexible instrumentation# Current projects under3ay include a music drama version for small spaces of Charles Dickens’ A C%ristmas Carol. and large works for piano (at t%e piano@ and for orchestra in fexible instrumentation utili&ing multi5media (entelec%ron symp%ony@# (s a violinist. Zahab has premiered more than a hundred works by such composers as Dohn Cage, Daron Hagen. Gilda Lyons. Ste)en Mackey. Ursula Mamlok. Eric Moe, J#*# 3abena Nketia. Dennis Riley. Tison Street. Orianna Webb and Christian Wol;# 9ecordings as violinist and composer are a)ailable on the Truemedia. Albany. and Koch 2nternational Classics labels# His version of John Cage’s (irteen Harmonies for violin and keyboard instrument is published by C.4#!eters Corporation# For more information as well as recordings and scores of shorter works visit 333#rogerzahab#net# Scores are a)ailable at 333#ne3musicshelf#com# ++:H/ Cofee Break +,:// "iscussion with Alex Knapp 4rom Folksong to Artsong: Inspiration or AppropriationR Tis discussion focusses upon the legitimacy or other3ise of making "art music" arrangements of traditional melodies. and of utili&ing liturgical chants and folk songs as the bases of original compositions# Taking examples from my o3n pieces.
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]
  • 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]
  • 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]