DOCSLIB.ORG

SEM Student News Vol 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SEM Student News Vol 1 SEM{STUDENTNEWS} An initiative of the Student Concerns Committee of the Society for IN THIS ISSUE Ethnomusicology Welcome! Letter From The Editor 1 Letter From The President Of SEM 2 Letter From The Presidents Of The SCC 3 SEM Student News Chapter Updates 4 Volume 1 | Fall 2010 Volume Conferences 5 A Word From The Pacific Review Of Ethnomusicology 5 Feature: Historical Ethnomusicology 6 Getting To Know Each Other: Three Student Profiles 6 Article: Contemplating Historical Ethnomusicology 9 Recent Student Publications 11 Call For Submissions 11 Our Staff 12 Our First Issue! a letter from the editor By Lauren E. Sweetman (New York University) I am excited to say it (so read it out ethnomusicology and related musical expression. Here we see not loud!): these are the first words of the disciplines to share their stories. We only the passion that has long driven first issue of SEM’s new student want to provide our immense, often us, but also the interdisciplinary newsletter! This particular moment disconnected community with a nature of music research to which we marks a beginning of something, and chance to get to know each other, a all can relate. beginnings are powerful. I grappled place to articulate our comings and with various ways to say hello, to goings, and a platform to voice the At SEM Student News, we ultimately welcome you, to invite you in to what debates and tensions we encounter. work for you. Please feel free to send is, for us, an undeniable labor of love. We hope to arm you with information us your input, ideas, and comments Such labor, however, often includes and updates, or, in a word, news: via email, and join our Facebook moments of stress and frustration that news of your peers, news of events, group. We want to use this newsletter perhaps reflect our more general news of experiences. as an opportunity for students to student existence. But this existence is publish and speak to each other, for what we have in common, what we Each issue will include a variety of students to experiment with forms, can all share. So please join us, as articles, interviews, and updates of ideas, and opinions that may not fit celebrators and empathizers, as conferences, publications, and other neatly into other publications at this students and colleagues, as we begin pertinent materials. Each issue will be point in our careers. So let us know this endeavor together in the devoted to a particular field or theme what you think! In letters, prose, following pages. in ethnomusicology. This issue, poetry, articles, or however else you focused on historical express yourself, we welcome you. In this newsletter, we strive to create a ethnomusicology, invites us to begin forum for students in by looking back into the richness of Society for Ethnomusicology © 1 When Nagras Roamed the Planet a letter from the president of sem By Gage Averill (University of British Columbia) When I entered graduate school in 1984, it was permanent academic jobs aren’t as easy to come by, Vol. 1 | Fall 2010 Vol. pretty obvious what an ethnomusicologist was and so some graduates find themselves in itinerant did. We studied transcription and analysis, played in sessional (“casual”) roles, working in related fields, or world music ensembles, read about the history and maintaining “independent” scholar credentials. theories of our discipline, and then went somewhere Everything from recording to publishing is direct-to- in the world to study and play music and wrote about digital, and nearly everything is available anywhere it. We debated whether the Nagra reel-to-reel tape and anytime. Hardly any information can be machine was the best for fieldwork, and we generally described as being “scarce.” {STUDENTNEWS} thought that the field could be broken down into Merriam-like approaches and Hood-like approaches. The relationship to culture-bearers, the nature of SEM We typed up field notes with carbon copies (real publishing, the ethics of fieldwork, the nature of a carbon) and mailed them home to our advisors. And “field,” the attitude towards advocacy and we saw ourselves as the guardians and promoters of intervention, the range of subjects considered valid scarce, undervalued sounds from around the world. for ethnomusicological study, and the embrace of Of course, this was changing even then, but I’m not interdisciplinary scholarship— these are all shifting making this up! under the feet of our students (and indeed under all of our feet) at an extraordinary pace. For those of us This all will register with our current sophisticated who are excited by change, these are incredible times graduate students as very quaint. Surely we must to live in, but the challenges of plotting a meaningful have also walked the four miles to school in the career (academic or not) in this world are formidable. morning and stopped to milk the cows on the way! It’s staggering to contemplate what has happened to Graduate students in the era I described at the start the discipline, and how different the intellectual typically had to wait a whole year between getting landscape must look to contemporary graduate together and discussing our issues at the annual students, a scant 25 years or so since the nostalgic meetings. That kind of approach can’t keep up with portrayal I painted above. the immediacy or range of issues confronting us now. So it strikes me as a very progressive move to bring The world is a more dangerous place and it is a more graduate students in ethnomusicology together fraught process to travel around it. So many of our through a real-time electronic journal. As President “field sites” now seem less susceptible to of the Society for Ethnomusicology, let me officially romanticization when beset by climate change, war, welcome this publication into being, and let me say ethnic cleansing, poverty and disease. Research plans that I hope it will strengthen the work of our need research ethics board approvals. Electronic graduate students and the Society as a whole. Many media are ubiquitous, so ethnomusicologists are not good things will come of this. But as a former the only ones pointing cameras and microphones. graduate student, let me say — unofficially — just Travel grants are more difficult to come by and how jealous I am of your ability to communicate necessitate much more in terms of linguistic and field with a global community of graduate students in preparation. The discipline has expanded but ethnomusicology! Society for Ethnomusicology © 2 Welcome! a letter from the student concerns committee By SCC Presidents Charlotte D’Evelyn (Univ. of Hawai’i), Ian Goldstein (UC Berkeley), and Alyson Jones (Univ. of Michigan) On behalf of the SEM Student Concerns Additionally, and in keeping with our goals, this year Vol. 1 | Fall 2010 Vol. Committee, welcome to the SEM STUDENT we are launching this student newsletter. Each issue NEWSLETTER! We are pleased and excited to will focus on one specific area of concern to students. sponsor this new newsletter, which will be a solid We encourage students to add to the above list by forum for students to connect with one another suggesting future topics for discussion! The idea is to throughout the year. actively engage with one another, both to support each other in our academic pursuits and to foster a For those of you who do not know about us, SEM’s deeper knowledge of and sensitivity to the field of {STUDENTNEWS} Student Concerns Committee (SCC) is a collective of ethnomusicology. We also seek to strengthen our SEM graduate and undergraduate student members of the community of students and future scholars through Society for Ethnomusicology. Our goal is to provide developing a mutually beneficial social network. an avenue for students to explore a broad range of topics, from methodologies, strategies for navigating We invite all SEM student members to join SCC. the academic job market, and work in applied There is truly strength in numbers. In this spirit, ethnomusicology, to how to pursue research funding, professors and other faculty are invited to join our etc. The SCC is very active at the annual SEM efforts and are welcome to attend our annual conferences. We sponsor panels, host a first-time meeting. Together we are advocating for one attendees gathering, and run a silent auction. For the another, addressing our various needs as students, first time, at SEM 2010 we are organizing a students- and cultivating a stronger field of ethnomusicology, only, off-site social outing. We are also beginning to now and for the future. hold SCC meetings at various SEM chapter conferences, with very positive feedback. Welcome, and enjoy the newsletter! SCC PRESIDENTS: (from left to right) Charlotte D’Evelyn (University of Hawai’i), Ian Goldstein (UC Berkeley), and Alyson Jones (University of Michigan). Society for Ethnomusicology © 3 SEM Student News updates from our chapter reps Southern California + Hawai’i Northern California By Loribeth T. Gregory (UC Riverside) By Kumiko X Uyeda (UC Santa Cruz) At this year’s SEMSCHC meeting, students Loribeth T. The Northern California Chapter Meeting of the SEM was Vol. 1 | Fall 2010 Vol. Gregory (UCR) and Jason Busniewski (UCSB) were voted held on March 6, 2010 at the University of California, Santa in as the new co-chairs for the following year. SEMSCHC Cruz. Included in the meeting were seven presentations, a has always had low attendance at the Student Concern's panel discussion on Web 2.0 as Pedagogy in Ethnomusicology, meetings. To remedy this, Loribeth and Jason intend to screening of the film “Kahyangan: The Balinese Journey of the publicize the committee as a way for students from various Soul,” a hands-on workshop on West Javanese Gamelan, and schools in the chapter to network and discover their similar concluded with a wonderful performance by the Central Asian interests.
Load more

Recommended publications
  • SEM Newsletter Ethnomusicology Volume 51, Number 3 Summer 2017
    the society for SEM Newsletter ethnomusicology Volume 51, Number 3 Summer 2017 Music, Social Justice, and Resistance Jeffrey A. Summit, Research Professor, Tufts University Department of Music n 5-7 May 2017, a group of colleagues held a confer- this conference as a way to launch projects that would Oence entitled Music, Social Justice, and Resistance engage additional colleagues and work with established in Tiverton, RI. The conference, organized by Jeffrey A. initiatives and interest groups committed to the role of Summit (Tufts University) and sponsored by The Depart- music in social justice and advocacy. Funding and space ment of Music, Tufts University and The Tufts Jonathan constraints limited participation in this initial gathering and M. Tisch College of Civic Life, was hosted and funded by we welcome the future involvement of our colleagues who philanthropists and activists Dr. Michael and Karen Roth- are committed to these issues and already engaged in man. This meeting’s framing impactful projects, nation- question was “Taking into ally and globally. account the current politi- Coming out of this meet- cal direction in our country, ing, we see opportunities and rising authoritarian to expand and deepen tendencies globally, how can national and international we—as musicians, activists, engagement with music and scholars—leverage our and social justice by work- research, teaching, per- ing within the established formance, and activism to structures of academic develop and intensify social and professional organiza- justice initiatives with local tions. An important goal of and global impact?” our retreat was to begin This small gathering of discussing and develop- seventeen colleagues, musi- ing projects that could cians, and activists had am- have a significant national bitious goals.
    [Show full text]
  • An Approach to the Pedagogy of Beginning Music Composition: Teaching Understanding and Realization of the First Steps in Composing Music
    AN APPROACH TO THE PEDAGOGY OF BEGINNING MUSIC COMPOSITION: TEACHING UNDERSTANDING AND REALIZATION OF THE FIRST STEPS IN COMPOSING MUSIC DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Vera D. Stanojevic, Graduate Diploma, Tchaikovsky Conservatory ***** The Ohio State University 2004 Dissertation Committee: Approved By Professor Donald Harris, Adviser __________________________ Professor Patricia Flowers Adviser Professor Edward Adelson School of Music Copyright by Vera D. Stanojevic 2004 ABSTRACT Conducting a first course in music composition in a classroom setting is one of the most difficult tasks a composer/teacher faces. Such a course is much more effective when the basic elements of compositional technique are shown, as much as possible, to be universally applicable, regardless of style. When students begin to see these topics in a broader perspective and understand the roots, dynamic behaviors, and the general nature of the different elements and functions in music, they begin to treat them as open models for individual interpretation, and become much more free in dealing with them expressively. This document is not designed as a textbook, but rather as a resource for the teacher of a beginning college undergraduate course in composition. The Introduction offers some perspectives on teaching composition in the contemporary musical setting influenced by fast access to information, popular culture, and globalization. In terms of breadth, the text reflects the author’s general methodology in leading students from basic exercises in which they learn to think compositionally, to the writing of a first composition for solo instrument.
    [Show full text]
  • Characteristics of Online Music Courses: a Survey Of
    CHARACTERISTICS OF ONLINE MUSIC COURSES: A SURVEY OF MUSIC FACULTY _________________ A Dissertation Presented to The Faculty of the Moores School of Music University of Houston _____________________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________________ By Dan M. Littles August 2014 CHARACTERISTICS OF ONLINE MUSIC COURSES: A SURVEY OF MUSIC FACULTY _________________ An Abstract of A Dissertation Presented to The Faculty of the Moores School of Music University of Houston _____________________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________________ By Dan M. Littles August 2014 CHARACTERISTICS OF ONLINE MUSIC COURSES: A SURVEY OF MUSIC FACULTY ABSTRACT The purpose of this study was to determine the perceptions of music faculty toward course suitability for online delivery, the pedagogical practices of online music faculty, and the current predominate characteristics of online music courses. A review of the literature found no studies that surveyed music faculty to find the current characteristics of online music courses. A researcher-designed survey was completed by participants (N = 230) from 160 randomly selected institutions accredited by the National Association of Schools of Music (NASM). The majority of participants were from large universities (10,000 or more students) and did not have previous experience teaching music online. Most universities offering undergraduate and graduate courses online have done so for 4 or fewer years. Music history, music appreciation, and religious studies in music were the most commonly offered online undergraduate courses, and music education, music research, and music technology were the most common graduate courses.
    [Show full text]
  • Multicultural Considerations in Music Therapy Research Seung-A Kim Ph.D., L.C.A.T., MT-BC Molloy College, [email protected]
    Molloy College DigitalCommons@Molloy Faculty Works: Music Therapy Music Therapy 2016 Multicultural Considerations in Music Therapy Research Seung-A Kim Ph.D., L.C.A.T., MT-BC Molloy College, [email protected] Cochavit Elefant Follow this and additional works at: https://digitalcommons.molloy.edu/mustherapy_fac Part of the Music Therapy Commons DigitalCommons@Molloy Feedback Recommended Citation Kim, Seung-A Ph.D., L.C.A.T., MT-BC and Elefant, Cochavit, "Multicultural Considerations in Music Therapy Research" (2016). Faculty Works: Music Therapy. 8. https://digitalcommons.molloy.edu/mustherapy_fac/8 This Book Chapter is brought to you for free and open access by the Music Therapy at DigitalCommons@Molloy. It has been accepted for inclusion in Faculty Works: Music Therapy by an authorized administrator of DigitalCommons@Molloy. For more information, please contact [email protected],[email protected]. Chapter 8 MULTICULTURAL CONSIDERATIONS IN MUSIC THERAPY RESEARCH Seung-A Kim • Cochavit Elefant Our society has become more diverse in the past decade, as evidenced by the influx of immigrants, multiracial and minority groups, and the increasing age gap between generations (Population Reference Bureau, 2015). Consequently, culture has been regarded as a significant construct among researchers. By proposing Culture-Centered Music Therapy, Stige (2002) encourages “all music therapists [to be] more culture-centered in their work and thinking, not by labeling their work as such but integrating cultural perspectives in their thinking” (p. 5). As our own worldviews influence all aspects of music therapy (Dileo, 2000; Wheeler & Baker, 2010), cultural factors provide a significant foundation to all music therapy research. With this perspective, music therapy researchers are essentially multicultural researchers.
    [Show full text]
  • The History of the Louisiana State University School of Music
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 The iH story of the Louisiana State University School of Music. Charlie Walton Roberts Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Roberts, Charlie Walton Jr, "The iH story of the Louisiana State University School of Music." (1968). LSU Historical Dissertations and Theses. 1458. https://digitalcommons.lsu.edu/gradschool_disstheses/1458 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 68-16,326 ROBERTS, Jr., Charlie Walton, 1935- THE HISTORY OF THE LOUISIANA STATE UNIVER­ SITY SCHOOL OF MUSIC. Louisiana State University and Agricultural and Mechanical College, Ed.D., 1968 Music University Microfilms, Inc., Ann Arbor, Michigan THE HISTORY OF THE LOUISIANA STATE UNIVERSITY SCHOOL OF MUSIC A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Education i n The Department of Education by Charlie Walton Roberts, Jr. B.Mu.Ed., Louisiana State University, 1957 M.A., Louisiana Polytechnic Institute, 1964 May, 1968 ACKNOWLEDGMENT The author acknowledges with gratitude the assistance of Dr. William M. Smith, his major professor, for his guidance throughout this study and his graduate program at Louisiana State University.
    [Show full text]
  • 8Th Annual Gamut Conference Program
    The Graduate Association of Musicologists und Theorists presents the 8th annual GAMuT Graduate Student Conference Saturday, February 6, 2021, 9:00am–5:45pm CST Held via Zoom, University of North Texas Keynote Speaker: Olivia Bloechl (University of Pittsburgh) “Doing Music History Where We Are” Generously Supported by The Division of Music History, Theory, and Ethnomusicology Program 9:00 Welcome and Opening remarks Peter Kohanski, GAMuT President/Conference Co-Chair Benjamin Brand, PhD, Professor of Music History and Chair of the Division of Music History, Theory, and Ethnomusicology 9:15 Race and Culture in the Contemporary Music Scene Session Chair: Rachel Schuck “Sounds of the 'Hyperghetto': Sounded Counternarratives in Newark, New Jersey Club Music Production and Performance” Jasmine A. Henry (Rutgers University) “‘I Opened the Lock in My Mind’: Centering the Development of Aeham Ahmad’s Oriental Jazz Style from Syria to Germany” Katelin Webster (Ohio State University) “Keeping the Tradition Alive: The Virtual Irish Session in the time of COVID-19” Andrew Bobker (Michigan State University) 10:45 Break 11:00 Reconsidering 20th-Century Styles and Aesthetics Session Chair: Rachel Gain “Diatonic Chromaticism?: Juxtaposition and Superimposition as Process in Penderecki's Song of the Cherubim” Jesse Kiser (University of Buffalo) “Adjusting the Sound, Closing the Mind: Foucault's Episteme and the Cultural Isolation of Contemporary Music” Paul David Flood (University of California, Irvine) 12:00 Lunch, on your own 1:00 Keynote Address Session
    [Show full text]
  • Music Associate of Arts Transfer Degree
    Music Associate of Arts Transfer Degree The Associate of Arts for Transfer (AA-T) in Music develops a well-rounded musician. Students who pursue this degree will have guaranteed admission to a California State University (CSU) campus upon successful completion of the specified program requirements. This degree provides students with transfer preparation and pre-professional training. Students should consult with a counselor to determine whether this degree is the best option for their transfer goals. The Associate in Arts for Transfer (AA-T) or the Associate in Science for Transfer (AS-T) is intended for students who plan to complete a bachelor's degree in a similar major at a CSU campus. Students completing these degrees (AA-T or AS-T) are guaranteed admission to the CSU system, but not to a particular campus or major. To earn a music AA-T degree, students must complete the following Associate Degree for Transfer requirements: • completion of the following major requirements with grades of C or better; • completion of a minimum of 60 CSU transferable semester units with a grade point average of at least 2.0; and • certified completion of the CSU General Education-Breadth (CSU-GE) or Intersegmental General Education Transfer Curriculum (IGETC) for CSU, which requires a minimum of 37-39 units. It is highly recommend that students complete courses that satisfy the U.S. History, Constitution, and American Ideals requirement as part of CSU-GE or IGETC before transferring to a CSU. Students planning to transfer to a baccalaureate institution and major in Music should consult with a counselor regarding the transfer process and lower division requirements.
    [Show full text]
  • 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.
    [Show full text]
  • ABSTRACT Title of Thesis: RESEARCH ON
    ABSTRACT Title of Thesis: RESEARCH ON MUSIC AND HEALING IN ETHNOMUSICOLOGY AND MUSIC THERAPY May May Chiang, Master of Arts, 2008 Directed By: Professor J. Lawrence Witzleben Department of Musicology and Ethnomusicology, Chair. This thesis examines current developments in the research and discourse on music and healing. Ethnomusicology has involved extensive work on documenting traditional music and healing traditions; however, ethnomusicologists have neglected to contribute their knowledge and effort to healthcare-oriented research. Music therapy, on the other hand, has been focusing on the benefit of the patient, but rarely relates its practices to traditional music and healing traditions or non-Western music. Despite the recent establishment of the Medical Ethnomusicology Special Interest Group in the Society for Ethnomusicology and increasing awareness of world music and cultural diversity in music therapy, scholars in the two fields have not yet collaborated with each other extensively. The motivations for this thesis are: to review previous developments in research on music and healing, to find out the reasons for the changes in the research trends of the past decade, and to see possible research directions in the future. RESEARCH ON MUSIC AND HEALING IN ETHNOMUSICOLOGY AND MUSIC THERAPY By May May Chiang Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Professor J. Lawrence Witzleben, Chair Professor Robert Provine Professor Jonathan Dueck © Copyright by May May Chiang 2008 Acknowledgements I would like to show my appreciation to the ethnomusicologists and music therapists with whom I have communicated, especially to Dr.
    [Show full text]
  • School of Music 1
    School of Music 1 specific degree requirements below) and the foundation general School of Music education courses (a First Year Seminar, taken in the first semester, a quantitative reasoning course, and students must fulfill the university- wide writing requirement consisting of the completion of 4 Writing Mission Enhanced courses along the course of the degree completion). At The School of Music is committed to teaching students to... the end of the sophomore year, each student's record is reviewed by the faculty to determine eligibility for junior status; students must • become critical thinkers, effective leaders and literate, competent pass a sophomore decision jury at that time in order to be eligible for musicians; upper division study in their performance area. An oral competency • exhibit significant proficiency in areas of specialization, developed examination is also taken at the sophomore decision jury, which must through individualized study; be passed or replaced by taking an approved oral communications • work collaboratively with faculty and peers in experiences centered class. All students complete a senior recital or a senior project specific on student needs, goals and aspirations; to their major. • embrace enriching life values and ethical practices; and Recitals • practice individual responsibility for lifelong learning and for supporting and participating in the arts, artistic endeavors and Music majors must appear in general student recitals at least once artistic entities. each semester, with the exception of the
    [Show full text]
  • An Introduction to Music Studies Pdf, Epub, Ebook
    AN INTRODUCTION TO MUSIC STUDIES PDF, EPUB, EBOOK Jim Samson,J. P. E. Harper-Scott | 310 pages | 31 Jan 2009 | CAMBRIDGE UNIVERSITY PRESS | 9780521603805 | English | Cambridge, United Kingdom An Introduction to Music Studies PDF Book To see what your friends thought of this book, please sign up. An analysis of sociomusicology, its issues; and the music and society in Hong Kong. Critical Entertainments: Music Old and New. Other Editions 6. The examination measures knowledge of facts and terminology, an understanding of concepts and forms related to music theory for example: pitch, dynamics, rhythm, melody , types of voices, instruments, and ensembles, characteristics, forms, and representative composers from the Middle Ages to the present, elements of contemporary and non-Western music, and the ability to apply this knowledge and understanding in audio excerpts from musical compositions. An Introduction to Music Studies by J. She has been described by the Harvard Gazette as "one of the world's most accomplished and admired music historians". The job market for tenure track professor positions is very competitive. You should have a passion for music and a strong interest in developing your understanding of music and ability to create it. D is the standard minimum credential for tenure track professor positions. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres, e. Mus or a B. For other uses, see Musicology disambiguation. More Details Refresh and try again. Goodreads helps you keep track of books you want to read. These models were established not only in the field of physical anthropology , but also cultural anthropology.
    [Show full text]
  • 7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
    7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field.
    [Show full text]