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KRAKAUER-DISSERTATION-2014.Pdf (10.23Mb)
Copyright by Benjamin Samuel Krakauer 2014 The Dissertation Committee for Benjamin Samuel Krakauer Certifies that this is the approved version of the following dissertation: Negotiations of Modernity, Spirituality, and Bengali Identity in Contemporary Bāul-Fakir Music Committee: Stephen Slawek, Supervisor Charles Capwell Kaushik Ghosh Kathryn Hansen Robin Moore Sonia Seeman Negotiations of Modernity, Spirituality, and Bengali Identity in Contemporary Bāul-Fakir Music by Benjamin Samuel Krakauer, B.A.Music; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2014 Dedication This work is dedicated to all of the Bāul-Fakir musicians who were so kind, hospitable, and encouraging to me during my time in West Bengal. Without their friendship and generosity this work would not have been possible. জয় 巁쇁! Acknowledgements I am grateful to many friends, family members, and colleagues for their support, encouragement, and valuable input. Thanks to my parents, Henry and Sarah Krakauer for proofreading my chapter drafts, and for encouraging me to pursue my academic and artistic interests; to Laura Ogburn for her help and suggestions on innumerable proposals, abstracts, and drafts, and for cheering me up during difficult times; to Mark and Ilana Krakauer for being such supportive siblings; to Stephen Slawek for his valuable input and advice throughout my time at UT; to Kathryn Hansen -
The Musician in New and Changing Contexts
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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. -
Third Coast Percussion February 2 at 7:30 P.M
DeBartolo Performing Arts Center Presenting Series THIRD COAST PERCUSSION FEBRUARY 2 AT 7:30 P.M. PATRICIA GEORGE DECIO THEATRE University of Notre Dame Notre Dame, Indiana Third Coast Percussion at Notre Dame made possible through the generosity of Shari and Tom Crotty. Made possible by the Gayle A. and Steven C. Francis Endowment for Excellence in Creativity. This presentation is supported by the Arts Midwest Touring Fund, a program of Arts Midwest that is funded by the National Endowment for the Arts, with additional contributions from the Indiana Arts Commission and the Crane Group. Visit Sorin’s or Rohr’s at Morris Inn for a front row seat to a culinary performance, where dinner is always the star of the show. Morris Inn is proud to partner with the DeBartolo Performing Arts Center. OFFICIAL HOTEL OF DEBARTOLO PERFORMING ARTS CENTER 130 MORRIS INN // NOTRE DAME, IN 46556 // 574.631.2000 // MORRISINN.ND.EDU THIRD COAST PERCUSSION Sean Connors | Robert Dillon | Peter Martin | David Skidmore “Paddle to the Sea” “Madeira” * Philip Glass (b.1937)/arr. Third Coast Percussion “Crystalline” ^ Jacob Druckman (1928-1996) Paddle to the Sea, Act 1 Third Coast Percussion “Amazon” * Glass/arr. TCP “Relentless” ^ Druckman Paddle to the Sea, Act 2 Third Coast Percussion “Profound” ^ Druckman “Xingu” * Glass/arr. TCP Paddle to the Sea, Act 3 Third Coast Percussion “Fleet” ^ Druckman Paddle to the Sea, Coda Third Coast Percussion Chigwaya raditional/arr. Musekiwa Chingodza and TCP *- from Aguas da Amazonia ^- from Reflections on the Nature of Water for solo marimba “Paddle to the Sea” ©1966 National Film Board of Canada Music Performed by Third Coast Percussion Stage Direction by Leslie Buxbaum Danzig Lighting and Video Design by Joseph Burke WSBT–TV is the official media sponsor Express Press Incorporated supports Visiting artist accommodations of the 2017–2018 Presenting Series. -
Zimbabwean Mbira Music and Modern Spirituality in the Western United States
Zimbabwean Mbira Music and Modern Spirituality in the Western United States Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By James Daniel Lindroth, BM Graduate Program in Music The Ohio State University 2018 Thesis Committee: Ryan Skinner, Adviser Isaac Weiner Michelle Wibbelsman Copyright by James Daniel Lindroth 2018 Abstract Zimbabwean music found its way to the Western United States through a visiting artist in the ethnomusicology department at University of Washington in the 1960s. In this paper, I look at some of the consequential musical practices that have spread throughout the United States since then. More specifically, I look the mbira dzavadzimu, a lamellophone from the Shona people of Zimbabwe, and the role its music has taken on within the North American Zimbabwean music community. I examine the ways the music also fits within movements of modern spirituality, defined by the borrowing of foreign practices as a means of accessing “spiritual experiences.” I trace a history of the instrument through the United States, as well as the spread and attention to it within both the North American musicking community and scholarship. I then describe the “spiritual” felt by mbira players and how the sociality inherent to the performance of the instrument helps define said spiritual experiences. Finally, I describe the practices of American mbira players and the ways engaging with the music authentically allows them access to heightened affective states. This document serves the purpose of showing the ways mbira dzavadzimu is positioned within modern spirituality and the idiosyncrasies of mbira performance as a spiritual practice. -
University of Florida's Center for African Studies
2010 A PUBLICATION OF THE University of Florida’s Center for African Studies 2010 outreach director dr. agnes ngoma leslie edited by CONTACT corinna greene A PUBLICATION OF THE layout & design P (352) 392 2183 stephen rockwood morgan slavens F (352) 392 2435 University of Florida’s Center for African Studies mykl gormley www.africa.ufl.edu 427 Grinter Hall | PO Box 115560 | Gainesville, FL 32611 photography stephanie tyler morgan slavens the Center for African Studiesoutreach at the University program of Florida The Center is partially funded under Title VI of the federal Higher Education Act as a National Resource Center on Africa. One of only 12 in the U.S., Florida’s is the only Center located in the southeastern United States. The Center directs, develops, and coordinates interdisciplinary instruction, research, and outreach on Africa. The Outreach Program includes a variety of activities whose objective is to improve the teaching of Africa in primary and secondary schools, colleges, universities and local communities. Following are some of the regular activities which fall under the Outreach Program. Teachers’ Workshops The Center offers in-service workshops for K-12 teachers about instruction on Africa throughout the school year. Summer Institutes Each summer, the Center holds teaching institutes for K-12 teachers. Jambo! Each summer the Center holds a high school language program to introduce the students to an African language. Library Teachers’ summer institutes include hands-on activities such as preparing African food. Teachers may borrow videotapes and books NZWU\PM7]\ZMIKPWNÅKM Publications The Center publishes and distributes teach- ing resources including Irohin. -
Singing Culture a Study of Gospel Music in Zimbabwe
Research Report No. 121 Ezra Chitando Singing culture A Study of Gospel Music in Zimbabwe Nordiska Afrikainstitutet Uppsala 2002 Indexing terms Zimbabwe Music Cristianity Culture Language checking: Elaine Almén ISSN 1104-8425 ISBN 91-7106-494-X © the author and Nordiska Afrikainstitutet 2002 Printed in Sweden by Elanders Digitaltryck AB, Göteborg 2002 Contents 1. INTRODUCTION................................................................................................................5 1.1 The Research Questions...............................................................................................6 1.2 Gospel Music in Zimbabwe: An Overview ..........................................................7 1.3 Study Layout ...................................................................................................................8 2. METHODOLOGICAL FRAMEWORK AND INTERPRETATIVE TECHNIQUES .....................................................................................................................10 2.1 Approaches to the Study of Religious Penomena............................................10 2.2 Studying gospel Music in Zimbabwe: Methodological Considerations ..10 2.3 Gospel Music: Definitional Issues..........................................................................13 2.4 The Data and Its Collection......................................................................................15 2.5 Limitations of Data and Sources.............................................................................17 2.6 Summary.........................................................................................................................19 -
Curriculum Vitae
Curriculum Vitae Tony Perman, Ph.D. Department of Music 257 Bucksbaum Center for the Arts Grinnell College Grinnell, IA 50112 641-269-4846 [email protected] Professional Experience 2012-Present Assistant Professor, Department of Music, Grinnell College, Grinnell, IA 2010-2012 Visiting Assistant Professor, Department of Music, Pomona College, Claremont, CA. 2008-2010 Visiting Assistant Professor, Department of Music, Bowdoin College, Brunswick, ME. 2008 Visiting Instructor, School of Music, University of Illinois, Urbana-Champaign. 2000-2002 University of Illinois Mbira Ensemble Instructor, School of Music, University of 2006-2007 Illinois, Urbana-Champaign. 2006 University of Illinois Karimba Ensemble Instructor, School of Music, University of Illinois, Urbana-Champaign. Education 2008 Ph.D. Musicology: School of Music, University of Illinois at Urbana-Champaign, Urbana, Illinois. Dissertation Title: History, Ethics, and Emotion in Ndau Performance in Zimbabwe: Local Theoretical Knowledge and Ethnomusicological Perspectives. 1997 M.Mus. Ethnomusicology: School of Oriental and African Studies (SOAS), University of London, London, England. Thesis Title: Mbira Voices: Vocal Improvisation in Zimbabwean Mbira Music. 1996 B.A. Music: Kenyon College, Gambier, Ohio. Research Interests Ethnomusicology; Semiotics; Emotion; Religious Experience; Popular Music; Zimbabwe; Africa; Post- colonial identities; Transnationalism; Philosophy and Aesthetics Publications Monographs in Progress Music and the Experience of Meaning in Ndau Spiritual Life (Book Manuscript under review at The University of Chicago Press) Peircean Theory and Problems in the Anthropology of Music (Co-authored Book Manuscript in Progress) Articles and Book Chapters Forthcoming “Brevity, Ambiguity, and Expressivity in Mbira Dzavandau Performance.” In Proceedings of the “Symposium III.4: Mbira Music | Musics. Structures and Processes” of the 15th International Conference of the Gesellschaft für Musikforschung, “Music | Musics. -
Lovemore Majaivana and the Township Music of Zimbabwe
Lovemore Majaivana and the Township Music of Zimbabwe ---------------------------------------------------------------------------------------- Author: Themba Nkabinde. Themba Nkabinde was an MA student and Graduate Assistant in the Centre for Cultural and Media Studies, University of Natal, Durban, during the early 1990s. He was formerly a lecturer at the University of Zimbabwe. He was killed in a car accident under suspicious circumstances in Zimbabwe in late 1992. This site is dedicated to Themba's memory. His work is reproduced here with permission of his family, as it deals with aspects of Zimbabwean music not previously studied. Date: 1992 Type of product: Uncompleted chapter towards an MA thesis. Published: No Copyright: CMS, University of Natal, and Durban. ------------------------------------------------------------------------------------ Preface The story of Lovemore Majaivana is the story of cultural struggle and revolution. From the seedy days of rock cabarets in white Rhodesia, Lovemore "returned to the source", a return effectively marked by the 1983 epoch-making album, "Isitimela." Culture is the most critical element of revolution. The reconstruction of Zimbabwe economically, politically and socially cannot be achieved without an accompanying cultural shift away from the colonial and neo-colonial cultures that have marginalised black humanity and threatened its creativity. Lovemore's music is a fighting culture. It is for this reason that the music and the story of Majaivana is being recorded. Introduction Our work is an attempt of further scholarship on urban black culture. Those who know Zimbabwean music know only the ethnographic exertions of Hugh Tracey and Paul Berliner, or the occasional, though now frequent journalistic coverage of Zimbabwean musicians, either on radio or TV talk-shows on the BBC, or in magazines and newspapers, international or local, or on video by either American, British or New Zealand travelling journalists. -
Zimfest 2009
zimfest 2009 boulder, colorado MAUYA!! Welcome!! The ZimFest 2009 Organizing Committee would to the cool waters of Boulder Creek on a grassy • welcome! like to welcome everyone to Boulder for the shady lawn. The evening concerts will be in 18th annual Zimbabwean Music Festival! the elegant and historical Boulder Theater We have worked very hard to put together in downtown Boulder. You will be able to a wonderful festival of classes, concerts and walk to Pearl Street Mall, which is littered gatherings on and around the University with street performers and merchants, of Colorado (CU) campus, located in the along with wonderful restaurants. Rent heart of Boulder. We come together at a bike and ride along the Boulder Creek FESTIVAL NOTES FESTIVAL ZimFest each year to celebrate the music, Trail. Come listen, learn and share this dance and culture of Zimbabwe. This year amazing music and culture with others who we are offering the largest number of classes share your love for it. We whole-heartedly be- yet, with more Zimbabwean instructors than ever! lieve that you will leave this festival with hearts Our outdoor concerts will be in Central Park, adjacent full of happiness, joy and satisfaction. Mauya! Festival Art About ZimFest This year’s ZimFest shirts and artwork were created by, a The Zimbabwean Music Festival is presented by Zimfest marimba fan and mother of two who likes to “make pic- Association, a 501(C)3 nonprofit organization based in Wash- tures” (her own words). She created the festival art digitally, ington State. The organization’s mission is to support and in Photoshop, in a style inspired by the sadza resist textiles grow the global community of people who love and partici- common to Zimbabwe. -
Worlds of Music with Mark H Wilson M-F 10:30 to 11:20 Email Mawilson
Worlds of Music with Mark H Wilson m-f 10:30 to 11:20 email [email protected] or www.mhilliardwilson.com An Introduction to the Music of the World's Peoples MUSIC 117 World Music Cultures • 5 CR Introduces traditional and popular music from around the world. Through lecture, discussion, assignments, and attending world music concerts, students explore music styles and concepts and the ways in which music functions as part of society in cultures throughout the world. College level reading and writing recommended. Exams and Quizzes You will have three short papers due, One is the above Musical Autobiography and the others are two reviews of concerts I have asked you to attend. At the end of every other week you will have a short quiz where I will ask you to identify the music we have studied and then write a paragraph or two about the musical example. Attendance and Participation Attendance will constitute a very important part of your evaluation. The second most important part will be your bi-weekly quizzes. The third part of your grade will be your reviews and Musical Autobiographies. Grading Guidelines Autobiography (20%); 2 performance review (20%); 6 listening quizzes (30%); ; attendance and participation in class (30%). Professor Andrew Weintraub, of the University of Pittsburg, has established a platform for the inquiry that I do not feel I can improve upon. So I have quoted his approach and ask you to take his lead in discovery the music you have experienced and are about to. “Musical Autobiography This writing assignment is an account of your musical enculturation --defined in your textbook (p. -
Minnesota Public Radio Corporation for Public Broadcasting (CPB) – Station Activity Survey: Local Content Report Fiscal Year 2018 CPB Grantee Name: KBPR-FM | ID 1457
Minnesota Public Radio Corporation for Public Broadcasting (CPB) – Station Activity Survey: Local Content Report Fiscal Year 2018 CPB Grantee Name: KBPR-FM | ID 1457 Question 6.1: Describe your overall goals and approach to address identified community issues, needs, and interests through your station’s vital local services, such as multiplatform long and short-form content, digital and in- person engagement, education services, community information, partnership support, and other activities, and audiences you reached or new audiences you engaged. Minnesota Public Radio’s vision is to be an indispensable resource for audiences and an essential public service. We aspire to enrich the mind, nourish the spirit, expand the perspectives of MPR audiences and assist in strengthening Minnesota communities. MPR develops and distributes its multiplatform content using social, mobile, radio broadcasts, digital streaming, archiving, listening apps, Amazon Alexa, Google Home, podcasts, online blogs, live events and community forums. In FY18, three MPR major program initiatives were rolled out: • Summer 2017: The Water Main goals are to measurably increase the public’s understanding of and affinity for water and build a societal ethic that values clean, abundant, accessible water. Water Main will continue to work with all three services. Examples of FY 18 events are: o 11.20.17: With MPR News, presented Know Water Know Beer. Water is a crucial ingredient in beer, comprising more than 90 percent of it. This was a live broadcast event in Duluth where panelists in the MN craft beer industry discussed water conservation, quality and availability. o 10.2.17: With MPR News, Our Water, Our Stories.