Music Traditions, Cultures, and Contexts
Publication Year: 2010
Music Traditions, Cultures, and Contexts is a tribute to the ethnomusicologist Beverley Diamond in recognition of her outstanding scholarly accomplishments. The volume includes essays by leading ethnomusicologists and music scholars as well as a biographical introduction.
The books contributors engage many of the critical themes in Diamonds work, including musical historiography, musical composition in historical and contemporary frameworks, performance in diverse contexts, gender issues, music and politics, and how music is nested in and relates to broader issues in society. The essays raise important themes about knowing and understanding musical traditions and music itself as an agent of social, cultural, and political change. Music Traditions, Cultures, and Contexts will appeal to music scholars and students, as well as to a general audience interested in learning about how music functions as social process as well as sound.
Published by: Wilfrid Laurier University Press
LIST OF ILLUSTRATIONS
LIST OF MUSIC ILLUSTRATIONS
We would like to thank all who have contributed to making Music traditions, cultures, and contexts a reality, including, first and foremost, the book's contributors: John Beckwith, Rob Bowman, Virginia Caputo, Beverley...
Music traditions, cultures, and contexts is a tribute to Beverley Diamond to celebrate her sixtieth birthday, which fell on 4 June 2008. Together with the volume's contributors, we offer it to Bev1 in recognition...
1 Beverley Diamond: Life Stories, Academic Directions and Teaching, Research and Scholarly Activity
In reflecting on how we might write about Bev's life and work in this opening text, we have chosen to let Bev's own voice "speak" her story, rather than have us write that story. In opting...
2 Conversations with Clifford Crawley
When Gordon Smith asked who might write a chapter about Cliff for this book of essays, I responded "Could I do it?" without a moment's thought. For years Cliff and I had talked about recording his stories, his memories...
3 Ethnomusicology Critiques Itself: Comments on the History of a Tradition
More perhaps than the practitioners of other disciplines, ethnomusicologists have been critical of their own field. One might almost say that the practice of critiquing...
4 Is Fieldwork Still Necessary?
This chapter examines the nature of fieldwork, both fieldwork as defined by ethnomusicology, which uses it as a major method of data collection, and fieldwork as a more general everyday...
5 Toward a History of Ethnomusicology's North Americanist Agenda
In the beginning, or so the origin myth might recount, early ethnomusicologists worked in many regions of North America. Alice Fletcher, Franz Boas, Frances Densmore, Marius Barbeau...
6 Encountering Oral Performance as Total Musical Fact
Oral tradition is commonly used to designate the creation, dissemination, transmission, and preservation of verbal and musical "texts" by means of oral-aural communication and its retention in memory. This process requires...
7 You Also Work as a Church Organist? Whatever For?
When invited to participate in this volume to honour Bev, one of my wonderful, longtime friends and colleagues in the Society for Ethnomusicology (SEM), I again became aware...
8 The Politics of Organology and the Nova Scotia Banjo: An Essay in Honour of Beverley Diamond
I am pleased to contribute to this collection of writings in honour of Beverley Diamond. I have known her since 1971, and am pleased that she is now my colleague at Memorial University. No one...
9 Strategies of Survival: Traditional Music, Politics, and Music Education among Two Minorities of Finland
This chapter examines the factors and strategies involved in the process of incorporating traditionally orally transmitted music into formal and established educational programs.1 The...
10 Father of Romance, Vagabond of Glory: Two Canadian Composers as Stage Heroes
How often in the annals of lyric theatre has the real or imaginary life story of a composer served as the inspiration? Faced with this trivia question, an opera buff or a fan of musical...
11 Funk and James Brown: Re-Africanization, the Interlocked Groove, and the Articulation of Community
It is interesting to note that the three dominant styles of African- American popular music in the early and mid-1960s—Motown, Stax, and Chicago soul—were all in their own individual...
12 On the One: Parliament/Funkadelic, the Mothership, and Transformation
In "towards a poetics of performance," Richard Schechner locates the "essential drama" of performance "in transformation—in how people use theatre as a way to experiment with, act out...
13 Politics through Pleasure: Party Music in Trinidad
Since the 1990s, the commercial value of soca has been widely recognized.1 Soca's socio-cultural and musical accomplishments, however, remain contentious and contested....
14 A Festschrift for the Twenty-First Century: Student Voices
In the fall of 2006, a group of Beverley Diamondââ¬â¢s former students came together to contribute to this Festschrift. As an educator, mentor, supervisor, researcher, fieldworker, collaborator...
APPENDIX: BEVERLEY DIAMOND-PUBLICATIONS AND LECTURES
Page Count: 366
Publication Year: 2010
OCLC Number: 859672385
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